New York Film Academy (NYFA) Acting for Film alum Anatolii Panchenko (Анатолий Панченко) has plenty to celebrate as his first major acting credit is in one of the biggest TV shows in France — Le Bureau des Légendes (a.k.a The Bureau).
Poster for season five of ‘The Bureau’
The political spy thriller television series, The Bureau , was created by Éric Rochant and produced by TOP– The Oligarchs Productions and Canal+. The series follows agents of the DGSE (General Directorate of External Security), France’s principal external security service. Panchenko appears in the latest season as Alexis Bakatine, a young, promising counterintelligence agent.
The New York Times named The Bureau as a NYT Recommendation, calling it “a stylish foreign espionage thriller” and “easy to binge.”The Times also hails the thrilling series as “one of the smartest and most authentic-feeling procedural espionage series anywhere in the world.”
Anatolii Panchenko as Alexis Bakatine in ‘The Bureau’
The first season received favorable reviews worldwide and won several awards. The sophomore season of the series also received much discussion as one of the best television seasons ever produced in France. The third and fourth seasons, respectively, aired in France beginning May 22, 2017 and October 22, 2018, and were also met with critical acclaim.
The first episode of the fifth season was originally slated to close Cannes Series 2020; being out of the competition itself. However, due to the public health crisis, the Festival de Cannes was pushed to October. The season went on to air in France on April 6, 2020, and is now available on Amazon Prime and Sundance Now.
Anatolii Panchenko (Middle) in ‘The Bureau’
Panchenko’s worldwide acting debut is in one of the most gripping seasons of the series yet. The NYFA alum also reveals that his character has an “interesting story arc and connection” with Malotru, the star of the show played by Mathieu Kassovitz (Amélie).
New York Film Academy encourages everyone to check out Anatolii Panchenko in the critically acclaimed series and would like to congratulate the NYFA alum for landing his first-ever acting credit; NYFA looks forward to seeing what is next for the international performer.
When shooting abroad, a solid production team is essential for shooting projects in an area you may be unfamiliar with. New York Film Academy (NYFA) MFA Filmmaking alum, Valéria Costa, makes it her job to ensure that foreign companies have everything they need, which is exactly what she recently did for the Netflix productions of Sergio and Street Food: Latin America.
Originally from São Paulo, Brazil, Costa came to NYFA after wanting to learn the practical side of filmmaking. “I also wanted to study abroad and improve my English,” she tells NYFA, “so I decided to apply to the MFA Filmmaking program at NYFA and kill two birds with one stone.”
Valéria Costa (Left) on set
Costa has since worked her way up through the ranks at production house Brazil Production Services, becoming a as a Production Manager. She has worked on multiple projects both in Brazil and in the United States including Netflix’s Hyperdrive and 90 Day Fiancé: The Other Way. Costa also worked on the NYC unit for the Brazilian feature filmMinha Vida em Marte and on the set of the shoot for the Get to Know Me music video with Brazil’s biggest popstar, Anitta.
Costa’s recent projects as a production manager have been with big name titles like the Netflix film Sergio, which premiered at this year’s Sundance Film Festival, starring Ana de Armas and famous Brazilian actor Wagner Moura. “It was a great experience,” shares Costa. “We had several weeks of pre-production and the challenge to build a 100+ local Rio de Janeiro crew, and served as the main members of the crews (being bilingual) to communicate between the Brazilian crew and American crew that flew to Brazil for this shoot.”
Film poster for ‘Sergio’
As with any production, Sergio posed many challenges for Costa and the crew. Some of those challenges included finding the right person for a certain type of shoot and transforming a whole set to resemble an entirely different decade.
“We had an underwater scene being filmed in the Rio de Janeiro that meant we needed to bring in the best underwater camera operator in Brazil to ensure we had the best footage possible,” reveals Costa. “We also needed to make sure all scene components were true to the time period, with many written as Sergio’s flashbacks from the 70’s; everything from street signs, cars, beach wear, people’s wardrobe, accessories, and more needed to be thought through.”
Poster for ‘Street Food: Latin America’
Another exciting project helmed by Costa and her team was Netflix docuseries Street Food: Latin America. Costa managed the Brazil Unit for the streaming series and reveals it was a “fulfilling experience” but also challenging overall.
“The city of Salvador [where the shoot was taking place] is not as developed as São Paulo or Rio de Janeiro, so, at some point during production, we had an issue with the equipment and we had to act very fast and put somebody on a plane to bring equipment from São Paulo for us ASAP so our schedule wasn’t affected. Everything worked out in the end and I’m very happy that people from all over the world get to know some of the best Brazilian and Latin American food.”
Valéria Costa (Second from left) with the production crew behind the scenes of a shoot
Costa’s job is certainly never quiet. Besides having the usual responsibilities of a Film Production Manager, she is also in charge with advising her clients on the local filming requirements of the country that they are looking to film in, while also seeking to align their expectations based on the limitations of that location.
“There’s a Brazilian saying that I believe summarizes working in the film industry for me: ‘A rapadura é doce, mas não é mole não.’ That translates to something like, “The candy is sweet, but it’s not easy to bite. What we do is definitely not easy. You work long hours, deal with extremely tight deadlines and budget limitations, but I really love making movies and dealing with all the moving parts of a set and once you can see the final product I can guarantee that it’s worth it.”
New York Film Academy would like to congratulate MFA Filmmaking alum Valéria Costa on her recent successes for the two Netflix productions, and is excited to see what’s in store for Costa as she continues to manage productions in two different global hemispheres of the world.
In late July, New York Film Academy (NYFA) MFA Documentary Filmmaking alum Drama del Rosario received one of the two awarded prizes for the 2020 PBS Short Film Festival. The documentary filmmaking alum caught the eye of voters and the prestigious Jury for the competition and ultimately received this years ‘Juried Prize’ for his film In This Family.
Del Rosario was awarded the prestigious prize by eight jury members, who selected the NYFA alum’s film as their favorite out of all the festival selections. In addition to del Rosario’s film, all festival selections are available to the public to watch online.
‘In This Family’ film poster
Del Rosario is a Filipinx documentary filmmaker based in Los Angeles. He is the recipient of the 2019 BAFTA-GSA Commissioning Grant for his documentary film, I’m Okay (And Neither Are You), which touches on sexual assault trauma from a gay couple’s perspective. The NYFA alum is known for creating documentary films that challenge the Filipinx Catholic background and he has worked with many international names including BeBe Zahara Benet (Winner, RuPaul’s Drag Race, Season 1) and Sophie Sumner (Winner, America’s Next Top Model, Cycle 18).
His latest documentary, In This Family, is a twelve minute short film that chronicles what happens after del Rosario’s teach outs him as a gay man and includes recordings of his family’s reaction to the news.
“Thank you so much to everyone who watched and voted for my documentary! Your support has been so overwhelming, and I am so moved by all the messages from queer youth, parents of queer children, and teachers of queer students,” shared del Rosario. “I hope this documentary moves us closer to helping the LGBTQIA+ community feel safe and loved, especially within Asian families and schools.”
Del Rosario also credits NYFA alum Naya Rivera, who tragically passed away in early July, as a source of inspiration for his short film. “In the documentary, I reference various queer programs, Glee especially. Naya Rivera’s character, Santana Lopez, was one of the crucial queer characters that helped me and my family get to where we are now. It is a testament to how much queer entertainment can change the life of a family on the other side of the world. Rest in Power, Naya Rivera.”
The NYFA alum also shares that this documentary is an important release in his native country as it is produced by Cinematografo, which is under the Filipino production company ABS-CBN International. “It has been so humbling to have this documentary represent how important it is to keep Philippine media alive and growing! Our voices need to be heard!” His full statement can be found below.
With New York Film Academy (NYFA) beginning to expand its offerings and conducting specialized workshops online, actors like Online Acting for Film alum, Elnaaz Norouzi, can take classes to polish their craft from renowned industry professionals anywhere in the world. Elnaaz Norouzi, who recently studied in a 4-Week Acting for Film Workshop, also stars in the Netflix original series Sacred Games.
Norouzi was born in Tehran, Iran, and later moved to Germany, where she also learned English, German, and French in addition to her native language of Farsi. When she moved to India years later, Norouzi also learned Hindi, Urdu, and Punjabi, allowing her to speak a grand total of seven languages.
NYFA alum Elnaaz Norouzi as Zoya in ‘Sacred
Just like learning languages opens the doors to understanding different cultures and behaviors, so does becoming an actor. “I always found it super fascinating to learn and to know what other people feel or what makes them do things the way they do them,” says Norouzi. “I feel it takes a lot for an actor to be able to put themselves in the shoes of another.”
In addition to acting, Norouzi has also been working as an international model for over ten years with brands like Dior, Lacoste, and Le Coq Sportif, to name a few, but it is acting that Norouzi is most passionate about.
When she began her acting career in India, Norouzi remembers taking a lot of classes in Mumbai, but it was always her dream to go to New York Film Academy. With Norouzi’s normally packed schedule winding down due to the global pandemic, she realized it was time to make that dream a reality and enrolled in NYFA’s Online Acting for Film Workshop. “I learned so much about what I’ve never done before with my scripts. My next script will be full of left-hand side notes.”
Photo Courtesy of Elnaaz Norouzi
While many remember their first experience in the film industry, Norouzi remembers several. Her first acting roles for films, Maan Jao Naa and Khido Khundi, were part of two separate film industries, the Pakistani (“Lollywood”) and Punjabi (“Pollywood) industries, respectively. “It’s amazing to be able to explore different film industries. Each of them work so differently,” she says. “Both of those films were only my first two films and I got to learn so much while doing them.”
After her film acting debut, Norouzi quickly found herself involved in Netflix’s first original series in India called Sacred Games, based on Vikram Chandra’s 2006 novel of the same name. “I remember being one of the last girls to audition for Zoya and Jameela’s role. After I got the role, I discovered they were auditioning girls for over three months for my part and weren’t able to find anyone suitable. By the time I was cast, the shooting for the first season had already started.”
NYFA alum Elnaaz Norouzi in Netflix poster for ‘Sacred Games’
“I felt very proud bagging the role, but back then I didn’t expect much because I didn’t know much about Netflix, and no one in India had Netflix yet.” After the series was released, the show became such a success that people began subscribing to Netflix just to watch Sacred Games. “People started recognizing me and calling me Zoya [Norouzi’s character] and I realized how big the show had actually become.”
The show currently has two seasons available on Netflix and it is likely it will be renewed for a third season. “It may take some time since the original book covered only the first two seasons, so our fabulous writers must write something new for us now.
Aside from another season of Sacred Games, Norouzi shares she has two films coming up, including a Bollywood film that was delayed in its release due to COVID-19 and a South Indian action film in Tamil. “Lots of people have asked me if Tamil is going to be my eighth language, but that will surely not happen. It was hard enough to learn it for the film, I don’t think I can learn the entire language,” she jokes.
New York Film Academy would like to thank actress and NYFA alum Elnaaz Norouzi for taking the time to share her experience in the global film industry and looks forward to seeing Elnaaz in her upcoming projects. Sacred Games (Seasons 1 & 2) are currently streaming now on Netflix.
In pre-production and during a shoot, Arjun Ravi has one of the toughest jobs for a film; communicating a director’s vision to the audience as a cinematographer. Like other DP’s (Director of Photography), he is tasked with giving the audience an accurate portrayal of the director’s ideas, characters, settings, and emotions, which are integral elements for any film.
Originally from the state of Kerala in Southern India, Ravi graduated from NYFA’s Los Angeles campus in 2017 after completing a 1-Year Conservatory Program for Cinematography. “NYFA has great exposure to many renowned lecturers and guests from the industry,” he says, “which got me interested to join the course even more.”
After graduating, Ravi brought the hands-on skills he learned in his cinematography course back to India with him, where he has gone on to shoot three feature films and is currently in production on another.
Official film poster for ‘The Kung Fu Master’
One of Ravi’s more recent films, The Kung Fu Master (Directed by Abrid Shine) is a vengeful action film shot in Auli, India, where Ravi remembers filming for four months in negative degree temperatures with a short amount of time for shooting in daylight (8:00 a.m. – 4:00 p.m.). The film itself was martial arts heavy, requiring an even more specialized way for Ravi to shoot since he was capturing action sequences. Ravi, who shot the action-packed film with a handheld camera, describes filming each scene for The Kung Fu Master as a “breathtaking” experience.
“Each scene had to be captured in multiple angles in very few takes, as the actors would get extremely exhausted very quickly due to the lack of oxygen.” In addition to the meticulous detail for shooting the action sequences, Ravi also focused on capturing the environment for the film to convey the director’s tone and sense of place. “A lot of historical places were captured in the film to bring out the beauty of the state [in India] where we were filming.”
From the fast-paced action of The Kung Fu Master, Ravi then pivoted to his next project, Vaanku, which was “a completely different style of story compared to The Kung Fu Master.” Ravi worked alongside female director Kavya Prakash to tell a more concentrated, character-driven story about four ambitious young women in a coming-of-age drama.
“We shot the feature in 29 days. The lighting felt more sophisticated, yet simple at the same time, which gave the movie the look it needed.” Vaanku, which was originally slated to be released in 2020, has since pushed back its release date due to the COVID-19 pandemic.
All of Ravi’s feature films that he has shot are all considered part of the Malayalam film industry. “Malayalam, to those who may not know, is a language spoken in the southern part of India majority in Kerala, also known as “God’s own country.” Ravi shares that the Malayalam film industry is well known for its scripted films and famous actors, including Mohanlal (Manjil Virinja Pookkal,Rajavinte Makan) and Mammooty (New Delhi). Other well known films that have come from the Malayalam film industry include Kalapani (1996), Manichitrathazu (1993), Killukkum (1991), and many more.
As for what’s next for Ravi, he is currently in production on his latest film, Jillampeppere. He also shares that some of the best advice to becoming a great cinematographer is focusing on your lighting, framing, and, most importantly, knowing what the director needs.
Arjun Ravi shooting ‘The Kung Fu Master’
“I listen to the story a few times from the director before we head out for some location scouting.” Ravi notes that there are additional discussions surrounding topics like “the color pattern we would use on the house, for the film as a whole, and the other properties involved with the film.” One of the final parts of Ravi’s process with the director includes making “the shot division [list] according to the dates of the location and the actors, while also taking into account whether there are any action scenes or any kids on the set that day; which means we will need have more time and care.”
New York Film Academy would like to congratulate Cinematographer Arjun Ravi on his success in the Malayalam film industry and looks forward to seeing more from the NYFA alum in the coming future.
When Angolan filmmakers Fradique (a.k.a. Mario Bastos) and Hugo Salvaterra, a NYFA Fulbright student, met in high school, little did they know it would be the beginning of a friendship and collaboration that would continue into adulthood, where they would both be studying at the New York Film Academy, and take them to the prestigiousWe Are One: A Global Film Festival. Created by the Tribeca Film Festival as a fundraiser for organizations addressing the world’s COVID-19 crisis, We Are One includes selections from top festivals such as Cannes, Berlin, Venice, and Rotterdam.
Air Conditioner, Fradique’s first fictional feature as writer and director,will premiere on YouTube on Saturday, June 6, 2020, at 11:45 am Eastern. It will then become available on demand for seven days afterwards. Attending the premiere is free, but donations are welcome.
Crickett Rumley, NYFA’s Director of Film Festivals, caught up with Fradique and Hugo right before the festival and asked them about their experiences.
Fradique on set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Congratulations on this amazing success. Fradique, could you tell us more about Air Conditioner and how it came to be?
Fradique: This is actually a project that I had started writing a couple of years ago while I was developing what was supposed to be my first fiction film, The Kingdom of Casuarinas. Air Conditioner was kind of a side project that eventually ended up becoming my first fiction film, which for me was a big lesson on how in our line of work these things take many years. Sometimes the next one is not the one you thought it would be. The film was written by me and the director of photography, Ery Claver, who is a very talented filmmaker and someone that sees cinema as I do.
Air Conditioner is a magic neo-realistic journey through downtown Luanda, Angola, where we follow Matacedo, a security guard of an old building, while he tries to retrieve his boss’s AC in a city where all the AC’s are falling. This is a film about loss, how we live together as society, and a critique of social classes in a city that is past-present-future. My biggest inspiration for this film was my own life experience growing up and living in many different buildings in downtown Luanda and also the idea that these invisible workers that are the heart and soul of our city should be main characters on the stories we watch on the big screen.
Rumley: What was the most challenging thing about making the film? What did you learn in the process?
Fradique: The film was produced and shot with a very small crew, almost guerrilla-style, so letting go and accepting what surroundings are offering you was my biggest challenge and lesson. Usually in all my projects, I try to be as meticulous as I can regarding the script, storyboard, and shooting plan, but with this film we wanted to work not only with non-actors, but also with the real location where the story takes place, the building. In the end, the film resulted from creative acts derived from a deep structure. It privileges character and location over traditional narrative. The improvisation in this project was not simply a free flow of expression, but a rigorous and disciplined act of playing from a given structure at its core. I believe that this mixture was essential to bring some raw and poetic experiences to the screen while pushing at the same time stronger performances from the cast.
Film poster for ‘Air Conditioner’
Rumley:The film premiered at Rotterdam, which is an amazing place to launch. What was that experience like?
Fradique: Yes, the film had its World Premiere at the Rotterdam International Film Festival in the section of ‘Bright Future Main Program’ in 2020. For me, it was an honor to have the first festival screening at IFFR. It was my second time over there and I love and stand for everything that the festival believes. A lot of filmmakers that inspire me have been at IFFR; it’s a great home for the global south cinema. The feedback after the screenings exceeded my expectations, which were very low because I was very tired after a year of working on the film. We had five screenings and they were all sold out before the festival even started. The audience in Rotterdam are very generous and authentic cinephiles. We had great reviews at The Hollywood Reporter, The Guardian, and other local newspapers. The original soundtrack, which was composed by Aline Frazão for the film, was one of the elements that reviewers and the audiences mention a lot. She did an incredible job, and I believe the music in the film brought to the surface the soul of the main character, Matacedo, as well the city of Luanda.
Rumley:Fradique and Hugo, what are you each looking forward to with the film’s screening at We Are One?
Fradique:How this festival was put together still amazes me. We Are One offers a global audience easy access to great films and conversations about filmmaking. It’s free, yet it’s also open to donations to fight against Covid-19. For me as a filmmaker in the current crisis that was an important criterion to join this initiative because it has bigger concerns than defending a particular festival or film. It shows how important it is to work and act collectively. We are all still learning and trying to figure out what the future of independent cinema and festivals will be, but it’s important to try new formats and be open. I hope at the festival Air Conditioner reaches audiences that probably were not going to watch this film or simply give someone who is at home a small pleasant journey to Luanda, Angola.
Hugo:Personally, I’m mostly proud of the company’s achievement, amazed at the scale and sheer diversity of the festival. After attending many festivals like Tribeca, LA and NY film festivals or even the Venice Biennale, this feels like the most diverse and representative curatorship I’ve seen thus far. It truly represents cinema and independent cinema as a planetary global experience. It also gives me added hope that the usually non-English, non-western filmmaking voices can also be heard on a global scale for a more democratic and inclusive future for all independent filmmakers.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Let’s backtrack for a minute to the beginnings of your collaboration. How did you meet and start working together? Was it attending NYFA, or back at home?
Fradique: I met Hugo while I was still in high school here in Angola. Afterwards we went to study abroad. He went to Europe, and I went to the US in 2004 where I did NYFA’s 1-Year Filmmaking program and also a BFA at the Academy of Art in San Francisco. Once I got back to Angola in 2010, I started a production company called Geração 80, with Jorge Cohen and Tchiloia Lara. Hugo was one of the first artists to come on board at Geração 80. Our production company will celebrate 10 years this year.
Hugo:I met Fradique in the cocoon of our high school here in Luanda, Angola, in our youth. If my memory doesn’t fail me, I think I formed a kinship with him when I was still in university in Lisbon making music on the side. He showed some interest in shooting a video for a small EP I had made in my bedroom, something I never expected, and it meant a lot at the time. Our connection really took off when I joined Geração 80. I did my first job for the company while I was living in London in the end of 2011 then joined in early 2012, way before NYFA. I was still an aspiring filmmaker, writing film reviews and working mostly with photography. A memorable day is when I first made it into his bedroom, shortly after arriving from London. Large sections of his DVD film collection mirrored mine. That’s when I realized that more than a friend, I had found a brother through our shared passion for film.
Rumley:Hugo, what was your position on ‘Air Conditioner?’
Hugo: I was fresh from returning to Angola post-NYFA and figuring out how to promote my film “1999” here in Luanda. In an independent production company, a lot of sacrifices have to be made in order to make things happen. So I was focused on the commercial end of the company making sure that my colleagues could enjoy the freedom and necessary focus to produce and shoot the film.
On set of ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Your production company sounds really interesting. Can you describe it, how you work, what you do, how you started it?
Fradique:We will celebrate a decade next month. We started only with three people, and today we are a group of eighteen professionals working in the audiovisual industry in Angola. At the beginning the goal was to just make cinema, but soon we realized that we had to do other work to survive. In Angola there’s no film funds or initiatives, so being able to put together a production company that does not only cinema, but commercial and corporate work gave us the resources to be able to build a great team and acquire top equipment to make us more independent. Over the last ten years, we produced one feature fiction film, four feature-length documentaries, six short films and worked on a couple of international co-productions. When it comes to producing our films, we work very much like a collective. Everyone works on each other’s projects, and we only finish a film when it reaches an audience. We don’t make films to be put into drawers, we believe independent/author cinema should meet bigger audiences as well. We are tired of seeing our film theaters only with Hollywood films. We want not only more Angolan cinema in our theaters, but also African cinema.
Hugo:For me the real beauty of being part of this collective is also that, all of us, despite our differences, are committed to the power of movies, storytelling and all its magical elements. Our aim is to make movies, not products, which is increasingly more difficult in a time where everything is commodified either through likes or commerce. Making movies for us is not a job, it’s a way of living. We are in essence not in the movie business, but in the business of making movies. It’s our passion and desire to make films that informs the process and the how and that to me is special.
Rumley:How do you think your education at NYFA and the work you did here prepared you for a career in filmmaking?
Fradique:NYFA gave me the foundation of what it means to be an independent filmmaker. Learning how to work collectively on other classmates’ projects and at the same time experience different positions on the set was fundamental for me to be able not only to fully understand the craft and the importance of every person on set, but also l to later on have the resources to open up a production company in my home country. On top of all that, I did my one year program almost entirely on film. We only did one main digital project with a MINI DV, no REDs at the time. Everything else was in 16mm, and each gave me more confidence as a director in the beginning of my career.
Hugo:I was already in my early 30s when I made it into NYFA, so I almost missed the window to becoming a filmmaker. I’m very grateful for the two years spent there, particularly in New York, where I was able to find the confidence and tools not only to learn what filmmaking is, but also find my artistic voice. Los Angeles was different but essential in learning a more formal, business-oriented way of producing films. There, I focused more on how to write a feature within a more conventional three-act structure and developed technically on set, playing with the vocabulary of film in a way that made me a much stronger filmmaker.
Filming ‘Air Conditioner’ (Photo Credit: Cafuxi)
Rumley:Do you have any special shout-outs to faculty or staff who really helped or inspired you?
Fradique:I have great memories of teachers like Tassos Rigopoulos and Claude Kerven. Together with my fellow classmates, they represent the best first lessons I had about filmmaking.
Hugo:Brad Sample’s capacity to analyze, deconstruct and mentor, Ben Cohen’s humor, intellect and love of film history, Rae Shaw’s production acumen stand out. Sanora Bartels, Greg Marcks, and Robert Taylor for teaching me the science of script writing. There are others I’m sure, but those stand out.
Rumley: What advice do you have for recent graduates making their way in to the professional world?
Fradique: As it became easier to have the resources to make films, also it seems more difficult with so many options to follow or trying to keep up with all the trends and gadgets. My advice would be don’t get stuck on the gear, to spend more time and make meaningful connections and partnerships with the people you work with. Watch a lot of films and think collectively, that’s the root of filmmaking. Surround yourself with people that are different from you but have the same passions, values towards art and don’t forget the best stories are found at home, wherever that might be.
Hugo:Filmmaking is a mansion with many rooms and it’s very easy to get lost wandering in it, figure out what your strengths are and sink into what and who you are. By that I mean, what do you bring to a story, a set, a crew, a production company? What are you making films for? If you’re able to answer that, regardless of success or failure, you will find the nourishment you need to carry on.
Cast and Crew of ‘Air Conditioner’ including NYFA Alumni Fradique and Hugo Salvaterra (Photo Credit: Cafuxi)
Rumley:These are trying times in the world today, and art matters more than ever. Do you want to share any words about the importance of film in the lives of humans living right now? The role of Angolan film in world cinema?
Fradique:The world we have today is the result of the same and single story being told for centuries. We need more diversity behind the cameras and in what see on the screen. We need to remember that culture, art, is not mere entertainment or something to disconnect us from our daily life online. Be aware not only of your country’s borders, but your social and society borders as well. Cinema is more than a mirror; it is art and memory with all the senses, feelings and its lapses. Let’s take care of our memories.
Hugo: At its core, film is still the only art form that explores what it means to be human. It’s not the imitation of life, it is the imagination of everything life could be. In a time when the very existence of organized human life is at stake, we have to make sure, now more than ever, that the films we’re making get to the core of that exploration. There is a war raging that isn’t new, one that is fought between commerce and the full potential of film as an art form. It’s an age-old battle, where there will always be those who will try to define films as a monolith, by creating markets and monopolies where the overarching definition and structure of a film is the same and where its success is only measured by if it won anything in a festival or how much money it made vs. the whole history of the art form, where the writers, directors and producers made a film because they wanted to birth something that was urgent, as a way of life, as means of catharsis, beyond conventions of class or structure. Filmmakers have made the history, inside big studios or the smallest of spaces, with the biggest crews and the most skeletal ones, by understanding and studying film history and the art form. Angola is a young country and is showing potential to create both types of films, both profit-driven ones and ones that channel and respect the history of film as an art form. We champion the latter.
Rumley:Anything else that you would like to say to the NYFA community?
Fradique: Be safe and be informed. If you have the chance, watch Air Conditioner at We Are One: A Global Film Festival starting June 6th.
Rumley: Congratulations! We wish you the best with your We Are One screening and in all your endeavors. Keep making art; keep telling your stories. They matter.
New York Film Academy would like to thank Fradique and Hugo Salvaterra for taking the time to speak about their new film, Air Conditioner, and congratulates them on the premiere of their film at the We Are One Film Festival.
UPDATE June 19, 2020: Fresh off their screening with the We Are One Global Film Festival, Fradique and members of his crew and production company, Geração 80, will join Crickett Rumley, NYFA’s Director of Film Festivals, for a discussion of their film Air Conditioner on June 25, 2020. To register, click here.
On Thursday, February 13, the African Black American Film Society kicked off their first meeting of the year by setting the initiative of the club in motion as several New York Film Academy (NYFA) students as well as alumni from various departments gathered to discuss the way forward.
Members showed a keen interest in organizing and hosting events that would build morale, as well as establish and solidify relations amongst individuals. During the event, new members also had the pleasure of meeting the ABA advisor, NYFA Producing instructor Kim Ogletree.
Ogletree spoke about the Industry Lab and how it is beneficial in assisting creatives in developing their projects. The club has a lot in store for current and potential members this year in terms of numerous networking and collaborative opportunities that will benefit students in their respective fields.
Four days later, on February 17, the ABA hosted an African Heritage Day presentation and screening. ABA members Lethabo Mokgatle and Thembelihle Nkosi provided a presentation about South Africa and some of the things that make their home country special to them. They screened Sarafina!, the 1992 South African musical film about the 1976 Soweto uprising against apartheid that stars Whoopi Goldberg.
Before the screening, all the attendees got into an engaging discussion about both South African and African American history, violence, injustice, and how there are so many similarities between the two. At the end of the screening, not only were people exposed to a new movie they’d never seen before, but had learned from each other’s experiences.
Though the attendees came from different geographical locations around the world, this did not limit the ABA meeting as everyone was able to connect, respect, listen and engage with others’ points of view and grow our overall understanding.
Written by ABA members Thembelihle Nkosi and Rhema Boston
The Farewell, the multiple award-winning drama-comedy film starring Awkwafina, was shot by director of photography and New York Film Academy Cinematography alum Anna Franquesa-Solano, with BFA Filmmaking alum Qianying Zhou working as 1st Assistant Camera.
Both Solano and Zhou started their journeys from outside the United States. Solano originally hails from Spain and attended the 1-YearCinematography conservatory at NYFA’s New York campus in 2010. Zhou, who enrolled in the 1-Year Filmmaking conservatory at NYFA’s New York campus in 2010 before continuing her studies in theBFA Filmmaking program at NYFA-Los Angeles, is from China.
“I believe in order to grow, you have to step out of your comfort zone,”Franquesa-Solano tells NYFA. “My first big leap was moving to New York without even speaking English in order to study cinematography. A few years later I challenged myself again by shooting The Farewell, a demanding project that came with a lot of responsibility. These two have been so far some of the most important decisions of my career.”
NYFA Cinematography Alum Anna Franquesa-Solano
These decisions have paid off, both for Franquesa-Solano and for the beautifully-shot film. The Farewell was a Grand Jury Prize nominee at Sundance before earning numerous nominations and awards, including nominations for Best Foreign Language Film at the Golden Globes and BAFTA Awards and, most recently, winning top prize at the Independent Spirit Awards for Best Feature.
The Farewell tells the story of a Chinese family who decide not to tell their grandmother she is dying, scheduling a wedding to bring the family together before she dies. The film was written and directed by Lulu Wang and stars Awkwafina, the Queens-born rapper, comedian, producer, writer, and actress who has steadily risen in fame since appearing in films like Ocean’s 8 and Crazy Rich Asians. Her dramatic talent in the film earned her numerous nominations and awards as well, including a Golden Globe win for Best Performance by an Actress in a Motion Picture – Musical or Comedy.
New York Film Academy congratulates 1-Year Cinematography alum Anna Franquesa-Solano and BFA Filmmaking alum Qianying Zhou on the success of The Farewell and looks forward to following their blossoming careers!
The 2020 Awards Season culminated with a groundbreaking Best Picture win for South Korean film Parasite at the 92nd Academy Awards on Sunday, February 9. The win for the critically-acclaimed film by Bong Joon Ho was the first time in Academy history that a foreign language film took home the top prize.
The film also won Best International Feature Film, as well as Best Director and Best Original Screenplay for Bong, who shared the latter with Jin Won Han. The multiple wins for Bong follows years of critical acclaim for previous efforts including Snowpiercer and Okja.
New York Film Academy (NYFA) Broadcast Journalism alum Federica Polidoro was able to interview Bong Joon Ho right after last year’s Cannes Film Festival, where Parasite won the Palme d’Or. The interview was an Italian video exclusive and released on Il Sole 24 Ore.
Parasite wasn’t the only win for diversity at the Academy Awards. With Hair Love winning Best Animated Short, producer Karen Rupert Toliver became the first black woman to win an Oscar in an animation category. Jojo Rabbit director Taika Waititi was the first indigenous person to be nominated for Best Adapted Screenplay, and when he won, became the first person of Maori descent to win an Oscar.
Other notable news from this year’s ceremony includes the announcement of the Academy Museum of Motion Pictures, which will open its door in December of this year. Netflix also celebrated on Sunday, with Laura Dern’s Oscar win giving the streaming giant its first Academy Award in any acting category. Dern won for Netflix’s Marriage Story, co-starring previous NYFA guest speaker Adam Driver.
At this year’s Academy Awards ceremony, the NYFA community celebrated a win as well, after seeing several alumni, faculty, and guest speakers involved with Oscar nominees across many categories. Toy Story 4, co-starring previous NYFA guest speaker Tony Hale, brought Pixar another trophy for Best Animated Feature.
New York Film Academy congratulates all the winners at this year’s Academy Awards, and looks forward to seeing even more international diversity included in the future!
Best Picture Ford v Ferrari The Irishman Jojo Rabbit Joker Little Women Marriage Story 1917 Once Upon a Time in Hollywood Parasite – WINNER
Lead Actor Antonio Banderas, Pain and Glory Leonardo DiCaprio, Once Upon a Time in Hollywood Adam Driver, Marriage Story Joaquin Phoenix, Joker – WINNER Jonathan Pryce, The Two Popes
Lead Actress Cynthia Erivo, Harriet Scarlett Johansson, Marriage Story Saoirse Ronan, Little Women Charlize Theron, Bombshell Renee Zellweger, Judy – WINNER
Supporting Actor Tom Hanks, A Beautiful Day in the Neighborhood Anthony Hopkins, The Two Popes Al Pacino, The Irishman Joe Pesci, The Irishman Brad Pitt, Once Upon a Time in Hollywood – WINNER
Supporting Actress Kathy Bates, Richard Jewell Laura Dern, Marriage Story – WINNER Scarlett Johansson, Jojo Rabbit Florence Pugh, Little Women Margot Robbie, Bombshell
Director Martin Scorsese, The Irishman Todd Phillips, Joker Sam Mendes, 1917 Quentin Tarantino, Once Upon a Time in Hollywood Bong Joon Ho, Parasite – Winner
Animated Feature How to Train Your Dragon: The Hidden World, Dean DeBlois I Lost My Body, Jeremy Clapin Klaus, Sergio Pablos Missing Link, Chris Butler Toy Story 4, Josh Cooley – WINNER
Animated Short Dcera, Daria Kashcheeva Hair Love, Matthew A. Cherry – WINNER Kitbull, Rosana Sullivan Memorable, Bruno Collet Sister, Siqi Song
Adapted Screenplay The Irishman, Steven Zaillian Jojo Rabbit, Taika Waititi – WINNER Joker, Todd Phillips, Scott Silver Little Women, Greta Gerwig The Two Popes, Anthony McCarten
Original Screenplay Knives Out, Rian Johnson Marriage Story, Noah Baumbach 1917, Sam Mendes and Krysty Wilson-Cairns Once Upon a Time in Hollywood, Quentin Tarantino Parasite, Bong Joon-ho, Jin Won Han – WINNER
Cinematography The Irishman, Rodrigo Prieto Joker, Lawrence Sher The Lighthouse, Jarin Blaschke 1917, Roger Deakins – WINNER Once Upon a Time in Hollywood, Robert Richardson
Best Documentary Feature American Factory, Julia Rieichert, Steven Bognar – WINNER The Cave, Feras Fayyad The Edge of Democracy, Petra Costa For Sama, Waad Al-Kateab, Edward Watts Honeyland, Tamara Kotevska, Ljubo Stefanov
Best Documentary Short Subject In the Absence, Yi Seung-Jun and Gary Byung-Seok Kam Learning to Skateboard in a Warzone, Carol Dysinger – WINNER Life Overtakes Me, Kristine Samuelson and John Haptas St. Louis Superman, Smriti Mundhra and Sami Khan Walk Run Cha-Cha, Laura Nix
Best Live Action Short Film Brotherhood, Meryam Joobeur Nefta Football Club, Yves Piat The Neighbors’ Window, Marshall Curry – WINNER Saria, Bryan Buckley A Sister, Delphine Girard
Best International Feature Film Corpus Christi, Jan Komasa Honeyland, Tamara Kotevska, Ljubo Stefanov Les Miserables, Ladj Ly Pain and Glory, Pedro Almodovar Parasite, Bong Joon Ho – WINNER
Film Editing Ford v Ferrari, Michael McCusker, Andrew Buckland – WINNER The Irishman, Thelma Schoonmaker Jojo Rabbit, Tom Eagles Joker, Jeff Groth Parasite, Jinmo Yang
Sound Editing Ford v Ferrari, Don Sylvester – WINNER Joker, Alan Robert Murray 1917, Oliver Tarney, Rachel Tate Once Upon a Time in Hollywood, Wylie Stateman Star Wars: The Rise of Skywalker, Matthew Wood, David Acord
Sound Mixing Ad Astra Ford v Ferrari Joker 1917 – WINNER Once Upon a Time in Hollywood
Production Design The Irishman, Bob Shaw and Regina Graves Jojo Rabbit, Ra Vincent and Nora Sopkova 1917, Dennis Gassner and Lee Sandales Once Upon a Time in Hollywood, Barbara Ling and Nancy Haigh – WINNER Parasite, Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee
Original Score Joker, Hildur Guðnadóttir – WINNER Little Women, Alexandre Desplat Marriage Story, Randy Newman 1917, Thomas Newman Star Wars: The Rise of Skywalker, John Williams
Original Song “I Can’t Let You Throw Yourself Away,” Toy Story 4 “I’m Gonna Love Me Again,” Rocketman – WINNER “I’m Standing With You,” Breakthrough “Into the Unknown,” Frozen 2 “Stand Up,” Harriet
Makeup and Hair Bombshell – WINNER Joker Judy Maleficent: Mistress of Evil 1917
Costume Design The Irishman, Sandy Powell, Christopher Peterson Jojo Rabbit, Mayes C. Rubeo Joker, Mark Bridges Little Women, Jacqueline Durran – WINNER Once Upon a Time in Hollywood, Arianne Phillips
Visual Effects Avengers: Endgame The Irishman 1917 – WINNER The Lion King Star Wars: The Rise of Skywalker
On January 28, New York Film Academy’s New York campus, located in downtown Manhattan across the street from Battery Park, hosted a dinner party to celebrate the Chinese Lunar New Year—the Year of the Rat—in the student lounge.
More than fifty students from across the globe joined the dinner to taste a variety of traditional Chinese dishes and celebrate the Year of the Rat together. Additionally, several representatives from New York Film Academy recently celebrated the Lunar New Year at the Consulate General of the People’s Republic of China in New York.
New York Film Academy wishes everyone a warm and happy Lunar New Year!
Check out the photos below from our successful Chinese Lunar New Year celebration: