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NZ Hip Hop Stand Up is a new video series about New Zealand hip hop. Featuring Scribe, Ladi6, Church & AP and more, each episode features a different track from Aotearoa hip hop's 30-year history.

Starting in 1988 with 'E Tū' by Upper Hutt Posse and ending in 2019 with 'Ready or Not' by teen sensations Church & AP, we talk to all the major players involved in some of the most influential and loved tracks this country has ever produced.

They share the stories behind their songs, their life experiences and the positive effects hip hop has had in communities all around Aotearoa, which, in turn, created role models for many young New Zealanders searching for a culture that resonated with them.

Each episode features a different influential track, with artists of all generations discussing it's importance and relevance to New Zealand and the landscape of NZ hip hop.

The series is directed by Chris Graham, who's responsible for some of the most well-known and groundbreaking music videos in New Zealand, for artists like Scribe, King Kapisi, Dei Hamo, Smashproof and Home Brew.

NZ Hip Hop Stand Up was made possible by the RNZ/NZ On Air Innovation Fund.

Series Classification: PG (Parental Guidance Recommended for Younger Viewers) | Produced by The Downlow Concept

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NZ Hip Hop Stand Up is a new video series about New Zealand hip hop. Featuring Scribe, Ladi6, Church & AP and more, each episode features a different track from Aotearoa hip hop's 30-year history.

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> Series Classification: G (General Programmes) | Produced for RNZ by Disorient Pictures Ltd

> Jump to Episodes

This is Us is a series of digital stories created by Iranian-New Zealand film-maker Ghazaleh Golbakhsh in response to the 15 th March 2019 terrorist attacks in Christchurch.

Soon after March 15th, when PM Jacinda Arden said, "they are us"-some of us Muslims were left wondering who is the "they" in her well-meaning but problematic declamation? This series is an opportunity for New Zealand Muslims to talk about themselves - "us" as we see ourselves.

Each "storyteller" is asked the same question, "what do you love the most?". Sometimes the answer is simple - a love of tennis, the beach or of the great outdoors. Often the answers lead into deeper contexts such as the strong connections between Islam and tangata whenua or how the love of cooking allows someone to learn about patience. At other times, the stories tackle harder issues such as xenophobia faced by a family who has been here for over a century or the realities of life since the attacks.

The series aims to delight with stories that are ordinary yet special; unique yet universal. It provides a platform for self-representation of Muslims but more importantly, the series is an opportunity for everyone in the country to listen to voices that have thus far only been relegated to vox pops after the tragedy of 15th March 2019.

Together, the series will paint an intimate picture of how we call fit into this place, this country and the larger human fraternity.

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Series Classification: G (General Programmes) | Produced for RNZ by Disorient Pictures Ltd > Jump to Episodes This is Us is a series of digital stories created by Iranian-New Zealand film-maker Ghazaleh Golbakhsh in response to the 15 th March 2019 terrorist attacks in Christchurch.

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> Series Classification: PG (Parental Guidance Recommended for Younger Viewers) | Produced for RNZ by Hex Work Productions

> Jump to Episodes

Alice Snedden's Bad News is an eight part docu-comedy series that tackles some of the most contentious political and social issues confronting Aotearoa in 2020. Hosted by comedian Alice Snedden, Bad News exposes present day injustices, explores what they tell us about our past, and meets the people bringing about change to the status quo.

Each episode interrogates a different topic, encompassing everything from the right to die to the outlawing of migrant sex work. Why don't churches pay taxes? Why can't all prisoners vote? And what the hell is a TERF anyway?

"This season of Bad News, we've attempted to pick topics that don't always get the attention they should. By shining a light on these issues, I hope that people walk away with an understanding of why they should care about them, or at the very least, an understanding of why I care about them." - Alice Snedden.

A broad range of interviews with experts explore these sensitive, nuanced subjects, while Snedden wrestles with her own specific point of view and set of privileges. Hone Harawira (Ngāti Hau, Ngāti Wai, Ngāti Hine, Aupouri, Ngāpuhi, Ngāti Whatua) will weigh in on the ongoing impact of colonisation, Georgina Beyer (Te Ati Awa, Ngāti Mutunga, Ngāti Raukawa and Ngāti Porou) on gender critical feminists, and David Seymour (Ngāti Porou) on the euthanasia debate.

Snedden traverses the country to locate different perspectives and find herself everywhere from the set of Shortland Street, to the play room of a brothel, to being thrown out of Parliament's Banquet Hall and threatened with legal action.

"Between filming numerous topless scenes, trying on coffins for size and getting electrocuted by Madame Mary, it's a thrilling victory to only emerge from filming with only one pending lawsuit." - Alice Snedden.

Our host will also be joined by a cast of curious comedians to express some of their own personal frustrations with the way that our society still operates. These include Kura Forrester (Ngāti Porou) dissecting her experiences as a half Pākehā, half Māori woman, the formerly Christian Eli Mathewson confronting the charitable status of churches, or Brynley Stent picking out her favourite coffin.

"Nothing screams comedy more than serious social justice issues! The series aims to be funny and informative and I'm grateful that we're always talking to people who provide one of those, allowing me to be comfortable in bringing nothing to the table." - Alice Snedden.

This is a series for an audience who feels unsatisfied with the way tricky issues are handled in snappy news bulletins and clickbait headlines. It will hand the microphone to those who don't normally get much longer than a soundbite to share their experiences and will use humour and relatability to speak to an audience that might not otherwise engage with these issues.

Bad News encompasses the full spectrum of feelings that come with participating in our society in 2020. Expect anger, chaos and sadness, sprinkled with moments of joy and humanity. Expect to hear from marginalised voices speaking on the thorniest issues of our time. Expect not to get all the answers, but perhaps some new questions.

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Series Classification: PG (Parental Guidance Recommended for Younger Viewers) | Produced for RNZ by Hex Work Productions > Jump to Episodes Alice Snedden's Bad News is an eight part docu-comedy series that tackles some of the most contentious political and social issues confronting Aotearoa in 2020.

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Short documentaries created by students at tertiary institutions

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> Series Classification: G (General Programmes) | Produced by RNZ

From marching in the streets, to quiet conversations with friends and family, to practical civic engagement. RNZ speaks to a generation passionate about representing and seeing positive change for their communities, and country. They are Generation Next.

Generation Next is a video series profiling young New Zealanders talking about the issues they care about. Produced by Leilani Momoisea, Claire Eastham-Farrelly, Jogai Bhatt, Eleisha Foon, and Nathan Mckinnon.

'I'm proud to be a afakasi Samoan New Zealander with lived experience of depression'

Josiah Tualamali'i is passionate about ensuring young Pasifika and Māori have a seat at the table, particularly when it comes to decision-making around mental health. Read more Video

Episode 4 | Josiah

'It's critical Pacific peoples understand we have every right to vote'

Opinion: An online campaign called Pacific Votes Count aims to encourage New Zealand's Pacific communities to recognise the importance of voting. Read more Video

'It's critical Pacific peoples understand we have every right to vote'

As a proud NZ-born Indo-Fijian, being Muslim has shaped Sana Ditta's worldview. This is the first time she has openly spoken about the Christchurch terror attacks and recalled the impact of that day.

...

Episode 2 I Sana

Mez and Mahlete Tekeste only envisioned the protest march to be themselves and their close circle of friends. Within 24 hours, their flyer had been shared by some of the biggest names in NZ. Read more Video

Episode 1 | Mez & Mahlete

RNZ speaks to a generation passionate about representing and seeing positive change for their communities, and country. They are Generation Next. Read more Video

Promotional trailer | Introducing Generation Next

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Series Classification: G (General Programmes) | Produced by RNZ From marching in the streets, to quiet conversations with friends and family, to practical civic engagement. RNZ speaks to a generation passionate about representing and seeing positive change for their communities, and country. They are Generation Next.

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> Series Classification: G (General Programmes) | Produced by Fire Fire

> Jump to Episodes

The Outliers is a gritty, unapologetic look at youth from minority backgrounds in New Zealand. From great adversity comes great strength, so the aim of The Outliers is to search out youth who are the standout, the anomaly or the outlier in their community and in New Zealand. The Outliers will meet inspirational youth while also exploring the source of most minority success - the community where they come from!

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Series Classification: G (General Programmes) | Produced by Fire Fire > Jump to Episodes The Outliers is a gritty, unapologetic look at youth from minority backgrounds in New Zealand. From great adversity comes great strength, so the aim of The Outliers is to search out youth who are the standout, the anomaly or the outlier in their community and in New Zealand.

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A series of sustainability-focused short films by emerging young film-makers. Made with the support of NZOA, TMP, NZFC & The Vista Foundation.

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New Zealanders have been going to the 'flicks' in the local dream palace, flea pit or picture house since the early 1900s.
A collection of stories, interviews and ephemera about movies covered by Radio New Zealand during 2015.
New Zealand cinemas - Celluloid Circus Find more about cinemas in New Zealand at Te Ara Meteor Picture Theatre, The Square, Palmerston North. Photo by Snapshots Unlimited for 'From Swamp to City' by R H Billens and H L Verry from Palmerston North City Library, via DNZ
The Meteor Picture Theatre opened in the era of the 'talkies', in September 1937. It had a capacity of 940 and was considered one of the most up-to-date in the country. The Meteor was closed in 1963.

King's Theatre, Hastings. By David Williams from MTG Hawke's Bay via DNZ.

The photo was taken after the 3 February 1931 Hawke's Bay earthquake, while the cinema was being renovated for temporary usage under the name Cosy Theatre.

The Lyceum opened on 30th September, 1911. The architect for the building was Mr Hood. In 1914, it had a full orchestra for sound accompaniment of the movies. The Lyceum was renamed the Regent Theatre after being re-modelled in 1947. The building stood next to the Feilding Hotel in Kimbolton Road.

Promoted as "The Show Place of Christchurch," the city's largest theatre was leased to Christchurch Cinemas Limited... Fitted with sound apparatus for the "talkies," and seat plugs for hearing aids, it opened on the 1st of March, 1930.

Mayfair Cinema Kaikoura by geoftheref via Te Ara.
Tivoli Theatre, 1953. From Feilding Library via DNZ.
The Tivoli was built in the mid 1920s. Construction took two or three years owing to a cement shortage. It was destroyed by fire in February 1972.

Regent 3 Cinema Levin, 2000 by Mike Walker/ Horowhenua Historical Society Inc. via DNZ.

The Anzac Theatre, Dargaville. by RNZ. This community cinema featured in Country Life in 2014.

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New Zealanders have been going to the 'flicks' in the local dream palace, flea pit or picture house since the early 1900s. A collection of stories, interviews and ephemera about movies covered by Radio New Zealand during 2015. New Zealand cinemas - Celluloid Circus Find more about cinemas in New Zealand at Te Ara Meteor Picture Theatre, The Square, Palmerston North.

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New Zealand is well-known for making great documentaries - we like real-life stories it seems. But they do occasionally tend to ramble. That's not the case of our preeminent documentary initiative, the crowd-funded Loading Docs project. This year's ultra-short documentaries have to say what they've got to say in less time than a pop single - around three minutes. Simon Morris talks to two prospective film-makers, Ursula Williams - Now and Then - and Michael Weatherall - , and to the Project Manager, Nia Phipps. Loading Docs is funded by New Zealand On Air, with support from the NZ Film Commission and Te Mangai Paho.

See terms of use.

Recent stories from Standing Room Only

Podcast (MP3) Oggcast (Vorbis)

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New Zealand is well-known for making great documentaries - we like real-life stories it seems. But they do occasionally tend to ramble. That's not the case of our preeminent documentary initiative, the crowd-funded Loading Docs project. This year's ultra-short documentaries have to say what they've got to say in less time than a pop single - around three minutes.

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DocPlay - Streaming the world's best documentaries in one place.

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Taste of Cinema - Movie Reviews and Classic Movie Lists

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Great short documentaries are hard to come by, even more so than narratives, but why? To assemble everything great we find in feature documentaries, into a short duration, without having the level of control found in narratives, makes it an almost impossible achievement. So when documentarians ARE able to pull off such feats, it's important that they get the recognition they deserve.

This list highlights short documentaries that are not only of high standing quality, but are also readily available to view online. Of course some great masterpieces were not able to make this list, but unfortunately there are so few available to watch for free.

If I happened to miss one of your favourite short documentaries that are also available for the world to see online, then be my guest and add it to the comments.

20. Employees Leaving the Lumière Factory (1895)

A black-and-white silent documentary directed and produced in 1895 by the celebrated Louis Lumière. The film consists of one continuous sequence where workers leave the Lumière factory, consisting mainly of women who look as if they had just finished a hard day's work.

The film at one point was considered to be the first film ever made, whether this is true or not (which is isn't, the 1888 film 'Roundhay Garden Scene' by Louis Le Prince takes this cookie) it is still the first film to consciously attempt refined composition, and to focus properly on the direction of its mise-en-scene.
Why it's essential?
You can't talk about essential documentaries, or any type of film for that matter, without mentioning at least one Lumière Brothers picture. It's pretty much in the rules!

If you do not see any worth in its artistic importance, then surely you have to appreciate its general historical value. Yes, yes, it may only be people walking out of a factory, but seeing film in its infancy and people from a time so far from us now, is enthralling, right?

19. Luv'in the Black Country (2010)

This 10 minute doc-drama is based around the first love testimonials of three old people who pass by a neglected industrial canal line. Shot in black and white, the film explores the gentle canals and abandoned factories that reside in a heavily industrialised region of Britain called, the Black Country. Three local residents share stories of their first loves and nestled within their recollections is heartbreak and frustration. The fall of the local industry resulted in many of the local people losing their identity and sense of purpose.
Why it's essential?
A quiet, yet passionate protest film about the effects Margaret Thatcher's privatisation had on small industrial regions of the UK. Without the use of narration (apart from an old archive clip at the start and end), direct reference to politics or manipulative music, the documentary ironically uses the positive theme of love to show the bitter-sweet deterioration of a cultural identity.

18. Ten Minutes Older (1978)

Although Herz Frank's short film Ten Minutes Older has to be seen on the big screen, it is still effective even when watched on a smaller one. The film captures the faces of an auditorium full of children as they watch a show we never properly see. We are only allowed to view the children reacting in different ways, with different emotions and never once does it get tiresome.
Why it's essential?
A fascinating and moving experiment, it will open your eyes to the emotional power of adolescent innocence and curiosity. The fact it is essentially a post-modern meta-documentary, a film showing us the reactions of children watching another film, helps us re-evaluate and appreciate the influence cinema actually has.

Critic and filmmaker Mark Cousins called Ten Minutes Older one of the greatest films ever made and clearly had an influence on his own film - A story of children and film.

17. Churchill's Island (1941)

Using a mix of newsreel, official British government and detained German government film footage, Churchill's Island is a WWII propaganda film about Britain's fight against Germany. The film begins with Britain and Germany fighting in an air war in 1940, then to the ship battles in the Atlantic and finally, all the way to England where the Brits are preparing for a sea invasion on the southern coasts.

The documentary soon reveals its true purpose when the narrator informs us that with the help of America and Canada, England will not be defeated by Germany.
Why it's essential?
It was the very first film to win an Academy Award for a Documentary Short Subject and the first National Film Board of Canada (NFB) film to win an Oscar.

It is also a good historical record of the many attempts made to get the USA and Canada to join Britain in the rapidly developing WWII.

16. Women's Quarter (1966)

Depicting the everyday life of prostitutes in Tehran's red light district in the 1960s, the film intimately follows several women and probes into the frantic conditions that directed them into their profession. Controversial at the time, the film was banned before its production was finished and some of the original footage was lost. Despite all of these obstacles and set-backs, the director (Kamran Shirdel) still went onto complete the film just after the 1979 Iranian revolution. Using the late Kaveh Golestan's photographs (an important Iranian photojournalist and artist) that were taken more than a decade after the original footage was shot.
Why it's essential?
An elegiac, yet disturbing insight into the treatment of prostitutes in an Iran that is so different to the one we know of today. Also it is a fine example of Iran's most prominent documentary filmmaker.

15. The Alaskan Eskimo (1953)

The Alaskan Eskimo is a beautifully crafted depiction of the Alaskan Inuit communities in 1953. Originally produced by none other than Walt Disney, as a way of educating young people about the various cultures and places around the world that many at the time, would have had no idea existed.

Have you ever seen Disney do documentary? If not, you will be surprised, they feel like a typical Disney production in the sense everything is fantasised and even the animals are given spirit personas/stories.
Why it's essential?
The film won an Oscar at the 26th Academy Awards in 1954 for Documentary Short Subject. Unfortunately the film is not currently available on DVD or Blu-Ray, so make sure you take full advantage of this often overlooked Disney masterpiece.

14. Les Mains Negatives (1978)

Directly translated as ''Negative hands', the whole film is from the perspective of a slow journey through Paris at 7 in the morning and wonderfully captures the city's desolate post-night life.

Directed in 1979 by the French writer and filmmaker Marguerite Duras and consists modestly of a sequence of images and a voiceover. The narration is read by Duras herself from a separate script she published prior. The images are actually out-takes from her previous film Le Navire night, and the script was written around the unused footage. In a sense, Duras created a monologue as an interpretation of the reedited footage, almost like the film version of a psychologist's ink blot test.
Why it's essential?
Everything Marguerite Duras made is essential, be it film or literate.

13. Night Mail (1936)

At the time, Night Mail was the most critically acclaimed British Documentary film, and was also one of the most commercially prosperous. The film was primarily made to promote the post office services during the war, but at the same time experimented with groundbreaking uses of sound, narrative and editing.

It accounts the procedures of the Royal Mail train delivery service, showing sequences that depict various operations and measures. But don't let this put you off; this documentary is a visual and audio feast, with some exhilarating, before its time techniques that makes it both interesting and entertaining.
Why it's essential?
One of the best known and influential films of the British Documentary movement and is even narrated by John Grierson, who many consider to be the father of British and Canadian documentary.

12. Momma Don't Allow (1956)

Typical of a Free Cinema film, Momma Don't Allow was shot on 16mm film, but untypical, was its warmer and more sympathetic tone to its working-class subjects. It captured the then rising 'teenage culture' and contrasted the 'Teddy Boys' (relaxed cool working class) with the more middle class/self-conscious 'Toffs'.

The 1950s British Jazz scene was caught beautifully, and the film almost integrates the scene's 'liberated' attitude into the filmmaking process itself.

The documentary was shot by British New Wave marvel Walter Lassally and you can see the early developing characteristics in his photography that would later make his name.
Why it's essential?
Not only a great short documentary, but it's fascinating seeing the soon to be legendary filmmakers Karel Reisz and Tony Richardson's launch pad film.

11. Journey on the Plain (1995)

Journey on the Plain is not the first Bela Tarr documentary, but could certainly been seen as his best. It is the epitome of a documentary poem, and is made up solely of Mihály Víg reciting the poetry whilst travelling round a plain (that looks suspiciously like the locations of Tarr's previous film 'Satantango' hmmm). Víg recites the poems of Sándor Petöfi, a nineteenth century Hungarian poet who was a key member of the 1848 Hungarian Revolution.
Why it's essential?
For fans of Bela Tarr this is a must see and even if you are not, this is an incredibly hypnotic and stylistically important documentary.

Unlike Tarr's work from 1990 up, the film is shot on digital and in colour, seeing his mesmerizing long takes and magnetic soundtrack in a format other than black and white, is worth the watch alone.

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20 Of The Best Documentary Shorts You Can Watch Online

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Great short documentaries are hard to come by, even more so than narratives, but why? To assemble everything great we find in feature documentaries, into a short duration, without having the level of control found in narratives, makes it an almost impossible achievement.

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Shortverse brings together the top filmmakers, industry professionals, and fans of short film in one place. Shortverse offers filmmakers the tools they need to find audiences, host a film page, manage screenings, connect with professionals, and find collaborators. It offers industry professionals th…

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What makes a documentary "important"? What makes it worth referencing, or remembering, or even watching in the first place? Why, at a moment when world events are often stranger than fiction, would we veer from the vaunted, glorious escapism of big feature films (No Time to Die, anyone?) and opt for something small and rooted in the real, instead?

Documentaries can be a hard sell, but it's one that's getting easier all the time. Once viewed as something stiff and obligatory, documentary film has, in recent years, risen to the top of the heap-thanks in no small part to some of the earth-shaking, needle-pushing, and ultimately world-changing films that are listed here, which find their focus in war, love, sex, death, art, and everything in between. And as for this list-its only qualifier is that these are the critically acclaimed, historically important, and pivotal films that a person who cares about film (and, in doing so, often cares about humanity in general) should really get to know.

Below, the 78 best documentaries of all time:

How to Watch: Stream on Hulu.

It would be inaccurate to say that this New York Times-produced documentary kicked off the #FreeBritney movement, given that the drumbeat of that campaign has been building for years. But it did ignite a certain focus on the issue, and arrived at a moment when the legal campaign to end the conservatorship that has controlled almost every aspect of the pop star's life was building significant momentum. What is most extraordinary about the documentary, however, is not the moment that it captures, but the way in which people within Spears's orbit seem such willing participants in telling the story of her burgeoning, overwhelming fame and all the torments that it entailed, even when they were so clearly the chief culprits.

How to Watch: Stream on Hulu.

Directed by Ahmir "Questlove" Thompson, Summer of Soul-a big winner at the Sundance Film Festival this year-takes as its subject the 1969 Harlem Cultural Festival, a six-week musical event staged in Marcus Garvey Park. Featuring performances by the likes of Stevie Wonder, Nina Simone, and Sly and the Family Stone, the film captures a joyous string of Sundays very nearly lost to time. "There's no lack of great concert movies, so how to account for the urgent thrill of this one?" asked Anthony Lane in his review for The New Yorker. "Because of all the unhappy days. Because the whole of the Harlem Cultural Festival was, as someone remarks of Nina Simone's imperious set, 'like a rose coming through cement.'"

How to Watch: Stream on Amazon.

Honeyland is a film that unfolds in an alternately expansive and claustrophobic register. On the one hand, there is the wild and craggy Macedonian landscape, a place untouched by modern development or convenience; on the other, there is the almost cave-like dwelling in which Hatidže, the bee keeper at the story's center, lives with her bedridden mother. Hatidže's orbit widens with the occasional trip to the country's capital, Skopje, where she sells her carefully collected honey and buys hair dye to keep up her appearance, but her life is largely limited-that is, until a brash and rough-and-tumble family arrives with intentions to move in on the precarious livelihood Hatidže is eking out from her bees. The filmmakers, who distilled 400-plus hours of footage into a taught film, could not have known that this drama would become a parable between old and new, tradition and modernity, but the film is all the more captivating for it.

How to Watch: Stream on Amazon.

"Kimberly Reed's documentary tackles a knotty legal subject: the history (and vital importance of) campaign finance reform, the repercussions of the 2010 Citizens United Supreme Court ruling, and who is pulling the strings when it comes to our elected officials" Vogue wrote in 2018. "It should probably be required viewing for American citizens."

How to Watch: Stream on Amazon.

Culled from archival clips from close to 200 sources, along with new interviews and original material, Ian Bonhôte and Peter Ettedgui's documentary is shaped around five of Alexander McQueen's intricately wrought, high-concept collections, conjuring his life as much personally as aesthetically. The film delivers a staggering visual feast in the footage of these runway shows, rarely seen by those outside the fashion world, and the emotional punch of witnessing an exuberant talent headed toward self-destruction.

How to Watch: Stream on HBO Max.

Marina Zenovich (whose prior directorial credits include documentaries about Richard Pryor and Roman Polanski) began working on a documentary about Robin Williams about a year after his death, and soon joined forces with Alex Gibney, who came on board as a co-producer. That collaboration yielded a sensitive, impressionistic look at Williams's meteoric rise to fame: Zenovich uses video footage of Williams's manic stage persona (including plenty of B-roll from his various TV and film projects) alongside found audio interviews that reveal the superstar comedian's quieter side. "A portrait coalesces of a man far more complex and less cuddly than those of us in the Mrs. Doubtfire generation may have imagined" Julia Felsenthal wrote in her review for Vogue.

How to Watch: Stream on Netflix.

Sandi Tan's Shirkers is one of those films that defies categorization: a coming-of-age story, a mystery, possibly the pieced-together remnants of a lost work of art. On a more basic level, the documentary tells the story of a teenage Sandi and her two friends, who set out to make "Singapore's first indie film" in the early '90s with an American film teacher, Georges, who would prove himself to be creepy for reasons beyond his eagerness to devote his free time to hanging around with a bunch of precocious and self-serious kids. The film doesn't devolve into the kind of icky tale you might suspect, however, instead becoming a complicated and entertaining meditation on originality, punctuated with footage from the film that the teenagers made. The story of the disappearance and recovery of that footage provides a whodunit tension to the film, while the footage itself-super-saturated in color, influenced by the offbeat indie films of the late '80s and early '90s-offers evidence of the originality behind the whole venture.

How to Watch: Stream on Netflix.

Ava DuVernay's unflinching dive into America's long history of racist mass incarceration is by no means an easy watch, but it should be required viewing nonetheless. The film interviews activists, academics, and politicians including Angela Davis, Michelle Alexander, and Jelani Cobb to get at the fundamental question of why the vast majority of incarcerated persons in the U.S. are Black; Rolling Stone's Peter Travers called the documentary one of the "most explosive" of 2016, and for good reason.

How to Watch: Stream on Amazon.

"Cameraperson is the work of a documentary cinematographer-Kirsten Johnson, who has collaborated with the likes of Laura Poitras and Michael Moore-but it's more a memoir than a straight-up documentary. Using footage from the various films she's shot for others, plus home videos of her mother mid-decline from Alzheimer's and of her twin toddlers, Johnson collages together an artful portrait of her life behind the camera. It's a deeply personal, moving film that asks provocative, important questions about the power and responsibility of documenting the lives of others," wrote Vogue 's Julia Felsenthal.

How to Watch: Stream on Amazon.

In his 2016 Oscar-nominated film I Am Not Your Negro, the Haitian director Raoul Peck used the late great James Baldwin's last book- Remember This House, a triple biography of the lives and untimely deaths of civil rights leaders Medgar Evers, Martin Luther King Jr., and Malcolm X-as armature for a wide-ranging exploration of Blackness in America. "I want these three lives to bang against each other, as in truth they did, and use their dreadful journey as a means of instructing the people they loved so much, who betrayed them, and for whom they gave their lives," Baldwin wrote in a letter describing a project he would die before even really beginning (of stomach cancer, in 1987, with only 30 pages of notes).

Peck brings his subject back to life in archival footage and in readings of his work and correspondence by the actor Samuel L. Jackson. "The idea was, how do I come up with the ultimate Baldwin?" the director told Vogue 's Julia Felsenthal in 2016. "How do I make sure that everybody goes back to his writing?" His film ought to do just that. It's a remarkable tribute to a very remarkable subject, and an urgent reminder that Baldwin's radical thinking about race in America is as relevant today as it was in his lifetime-and, barring massive structural change and deep national self-reflection, will remain so into the future. "The question you got to ask yourself, the white population of this country's got to ask itself is: Why it was necessary to have a nigger in the first place?" Baldwin asks in one chilling bit of footage. "Because I'm not a nigger. I'm a man. But if you think I'm a nigger, it means you need it, and you got to find out why. And the future of the country depends on that."

How to Watch: Stream on Amazon.

Much of Laura Poitras's Academy Award-winning film unfolds in a small, claustrophobia-inducing hotel room in Hong Kong. That's where Poitras and the journalist Glenn Greenwald met with the NSA contractor Edward Snowden, now occasionally referred to as the "most wanted man in the world." Poitras began filming mere minutes after meeting Snowden in person for the first time, and continued filming him as the impact of what he had leaked to her and her reporting partner, Greenwald, reverberated around the world. What follows is "riveting," Abby Aguirre wrote for Vogue, "in no small part because what we are witnessing is the human drama behind events we have already experienced as consumers of news." It's part documentary, part action thriller, part high-speed chase. It's also a look at how a few people came together to change the world as we know it-by revealing how it had really been the entire time.

How to Watch: Stream on Amazon.

The rare music documentary that's actually fun to watch, Morgan Neville's rousing, revelatory Academy Award-winning documentary explores the lives and careers of a handful of the music industry's most successful-if all too often unsung-players: backup singers. Relying on interviews and archival footage from the likes of Mick Jagger, Bruce Springsteen, Prince, David Bowie, Sting, David Byrne, and Phil Spector, the film proves a rollicking tribute and provides a new perspective on some of the most familiar music of the past century.

How to Watch: Stream on Amazon.

"If you were in a bathtub for 25 years, don't you think you'd get a little psychotic?" That's a question that comes up in Gabriela Cowperthwaite's investigative look at the gap between SeaWorld's public image and behind-the-scenes reality when it comes to its treatment of its orcas, as seen through the case around Tilikum, a bull orca implicated in the deaths of three people. Though a difficult watch, Blackfish is notable less for its direction or its camera work than for its calm, reasoned argument, and its real-world results: Attendance at SeaWorld has plummeted since the film's premiere; the company has ended its controversial orca-breeding program and begun phasing out its "Shamu" show in California.

How to Watch: Stream on Amazon.

Spike Lee's four-part elegy for New Orleans during Hurricane Katrina employs a powerful chorus of witnesses and talking heads that cuts across racial and class lines in a style that Slate called "jazz" and "as American as gumbo or Gershwin." Lee combines images of the city before and after the flood: "streetcars, spray-painted alerts of corpses, stock-footage segregationists, Mardi Gras krewes, water rising so high that it threatens to submerge a green sign marking Humanity Street, survivors at the Superdome, tape of the lazy Mississippi." As Stephen Holden wrote in The New York Times, the film "has no major new revelations about the outrageously tardy response of the Bush administration to the crisis, as if any were needed. The failures speak for themselves."

How to Watch: Stream on Amazon.

"Accountants held no one to account, governments abandoned their regulatory f

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These Are the 78 Best Documentaries of All Time

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From films by Errol Morris to Orson Welles, Laura Poitras to Les Blank, the Maysles to Wim Wenders and Werner Herzog, here are the best documentaries ever made.

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Once your production details are confirmed, you can apply for a film permit.

You can apply for a permit to film in Auckland public places such as footpaths, roads, parks, beaches and other public facilities. Before you apply for a film permit, please familiarise yourself with the Auckland Film Protocol, ensure you have read the terms and conditions and have all the required application details and supporting documents ready to include in your application:

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You can apply for a permit to film in Auckland public places such as footpaths, roads, parks, beaches and other public facilities.

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At Doc Edge, alongside the Rei Foundation, we identified the need to get social impact stories out to students that may not have the abilities to see the many amazing documentaries from around the world. We developed a Video-On-Demand platform with films that have a social impact, and focus on youth subjects and perspectives.

This platform allows us to distribute documentaries, for viewing in the classroom, across NZ and Pacific Island classrooms. We include downloadable learning resources to accompany each film, giving context and discussion points for further learning.

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At Doc Edge, alongside the Rei Foundation, we identified the need to get social impact stories out to students that may not have the abilities to see the many amazing documentaries from around the world. We developed a Video-On-Demand platform with films that have a social impact, and focus on youth subjects and perspectives.

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Exhausted your Netflix library? We have LOADS of premium festival films on-demand to help you through current covid restrictions. Available now until Sunday 30 August.

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Grab your phone and start filming a one-minute creative masterpiece for the Mobile Film Festival! This year's theme is Women's Empowerment, and, as always, you can only use one phone, and the film must be one minute, including credits. You have until October 20, 2020 to submit your work!
Click here for more information

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Mobile Film Festival: one film, one mobile, one minute

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Grab your phone and start filming a one-minute creative masterpiece for the Mobile Film Festival! This year's theme is Women's Empowerment, and, as always, you can only use one phone, and the film must be one minute, including credits. You have until October 20, 2020 to submit your work!

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New Zealand's premiere short film festival

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Tangerine director Sean Baker says he will never shoot a film on a digital camera. Except that Tangerine was shot on an iPhone. That's because he sees smartphone filmmaking as a medium separate to other forms of digital shooting.

He could be onto something, as there are more and more film festivals dedicated to films shot on smartphones. Meanwhile (as far as I know), there aren't too many festivals specifically for DSLR-shot films, for example. In the last 10 years, a whole community has grown up around this genre of filmmaking.

Getting your film shown on a cinema screen isn't easy for any new filmmaker. But smartphone filmmaking festivals are here to make that happen for those with the least resources as filmmakers. They also encourage, support and help new filmmakers get exposure and make the first steps towards becoming a professional filmmaker.

One thing to bear in mind: pretty much all smartphone film festivals are run by passionate volunteers who have resources on a similar level to the filmmakers. Like you the filmmakers, most of us are doing this for the love of it, with minimal industry or financial support.

Each festival has slightly different qualifying rules, so make sure to check exactly what is allowed for submission.

So, if you've been making short (or long form) films on your iPhone or smartphone, you will probably be interested in knowing which festivals are looking for your work. Here I will list all the smartphone film festivals I can find. But I will highlight some of the bigger ones.

Mobile Motion Film Festival

If you write a list of smartphone film festivals, you're allowed to put your own festival at the top. Thems are the rules! So our number one recommended smartphone film festival is us - the Mobile Motion Film Festival (or MoMo).

Set up in 2015 using Kickstarter we are based in Zürich, Switzerland and we're now taking submissions for our 6th festival.

MoMo ranks as one of the Top 100 Best Reviewed Festivals on FilmFreeway and BBC World News called it "One of the most interesting and exciting events from around the world."

The festival provides a level playing field for filmmakers where talent, creativity and hard work counts more than budget and industry connections. Believing that anybody with a thought-provoking concept or a touching story can make a great film, the festival will showcase new talent using a tool so simple and readily available that it's often overlooked: the mobile phone.

In the past we've had prizes from Moondog Labs, Sennheiser, Samsung, Beastgrip and more.

Awards are given for 9 categories:

Grand Jury Prize

Audience Choice

Young Talent

Best Swiss Film

Best Documentary / MoJo

Best Fiction

Best Music Video

Best Travel Video

Best Screenplay

We accept films of all durations. Screenplays must be no longer than 10 pages ( correctly formatted).

Standard submission fees start at $5 and go up to $16 for the last deadline submissions. Note: all PATREON MEMBERS get to submit any number of films for FREE.

Cinephone

One of the founding fathers of the smartphone-shot film movement, the Cinephone International Short Film Festival is located in Spain but has an international reach. Now in their 8th year, they say they're "betting on a democratization of film, giving support to the use of smartphones as an alternative way of getting quality ideas and scripts onto the big screen."

Now in it's 8th year, Cinephone run a great, well organised festival. The winner of the first prize gets direct access as a finalist of the 2020 edition of the Festival Internacional de Cine Independiente de Elche (FICIE) in its category smartphone film category.

Films must not exceed 15 minutes, credits included.

Apart from the main award of 1st and 2nd overall winner, they also give prizes to 4 categories:

Best Script

Best Photography

Best Soundtrack

Best Interpretation

They also run a 48-Hour Film Challenge (this year to be held on June 20-22).

Cinephone has 3 submission deadlines, costing $5 - $10 - $15. This year's final submission date is
www.cinephone.es
Toronto Smartphone Film Festival (TSFF)

The largest smartphone film festival in Canada, TSFF has also been running for 8 years. They are a well organised and popular festival who communicate well with filmmakers.

TSFF say they are "the fastest growing innovative mobile film festival in North America encouraging filmmakers to share their stories shot on smartphones and tablets."

Films must not exceed 10 minutes in length (with credits).

Awards are given to these categories:

There are 4 submission deadlines. The first deadline is free. After that submission costs $10 - $15 - $20. This year final submission was on April 7, 2019.
www.smartphonefilm.ca
Mobile Film Festival (MFF)

One of the biggest festivals dedicated to smartphone films, MFF have been going for 14 years. The festival focuses on distributing filmmakers work via YouTube. Based in France, MFF are possibly unique in having strong financial support and big prizes for winners.

Their website is not too informative when it comes to dates and method of submission. But by Googling we found a last year's submission page to give you some idea of how their festival works. Submission (at least in previous years) is via their official website only. They are on filmfreeway, but only to redirect you to submit via their website.

Last year, they had two €20,000 prizes as a grant to produce a film for YouTube Creators for Change. There was also a €20,000 prize as a filmmaker grant from the EU. Other prizes included two €3,000 grants for screenwriting.

Films must not exceed 1 minute in length (with credits).

As far as we know, submission was and still is free. Last years final date of submission was October 11, 2018. Last year's award ceremony was in Paris in December.
www.mobilefilmfestival.com
Smartphone Flick Fest (SF3)

The Smartphone Flick Fest (SF3) is based in Australia and screen winning films at their well-attended Gala Night. SF3 say they provide "a platform for budding, emerging and professional filmmakers to bring their ideas to life and have their films seen by a global audience, without the need for lots of fancy equipment or a big budget."

Another well supported festival, this year SF3 have over $40,000 worth of prizes to share with their winners. Last year, their awards took place at the world famous Sydney Opera House. They even roll out their red carpet for the event.

SF3 has 5 categories:

SF3 has 3 deadlines, with submission fees ranging from (standard) $15-$20. This year's final submission is on August 1, 2019.
www.sf3.com.au
Mobile Innovation Network and Association (MINA)

In its 9th edition MINA, the Mobile Innovation Network and Association, will present a public screening of smartphone, mobile and pocket films in China, New Zealand and Australia (Venue TBC in the end of April 2019).

Founded by Max Schleser, the festival is supported by Goethe-Institut New Zealand and say they create "connections between filmmakers, communities and the creative industries."

"Collaborative and co-creative film-making practices empower communities around the world to express themselves." MINA

Films must not exceed 8 minutes in length (with credits).

The festival has 5 categories:

The first 4 categories have a standard submission fee starting at $15, going up to $25 for the last deadline. The 5th category is free to submit to.

International Mobile Film Festival

This San Diego, USA based festival was founded by Susan Botello. The IMFF has now been running for over 10 years, launching in the spring of 2009. In that time the festival has become one of the best smartphone film festivals, with Susan working constantly to improve the event, year upon year. The event is loved by filmmakers and film watchers alike.

IMFF say that the festival "showcases mobile films on big screens and has an awards ceremony with a red carpet "walk" with the filmmakers and actors. Participants also enjoy networking with industry professionals and other filmmakers."

The festival contains much more, with a regular podcast and mobile film workshops too.

There are 2 categories for submission: Short and Feature.

Short films must not exceed 5 minutes in length (with credits), while features must be between 40-90 minutes.

Standard submission fees are $15 for shorts and $40 for features.

The final submission date is October 19, 2019 for features and November 19, 2019 for shorts.

The 9th annual International Mobil Film Festival in San Diego takes place the last weekend of April 25 & April 26, 2020.
International Mobile Film Festival
Dhaka International Mobile Film Festival

Dhaka International Mobile Film Festival (DIMFF) launched in 2015, and was then known as Cinemascope Mobile Film Competition (CMFC). Based in Dhaka, Bangladesh, DIMFF say the "festival upholds and promotes the motto 'New Generation, New Tools, New Communication'."

The is one of the few remaining festivals to to have free submission. There is a fee of $5 or $10 for late submissions, depending on the category.

The festival has 3 categories for submission:

The screening category is free for all smartphone filmmakers, while the Competition category is for current students of any university at undergraduate or graduate level. DIMFF say the "One Minute Film category is restricted to Grade 1 - 12 students".

The final submission date is October 31, 2019. The event will be held on February 28-29, 2020.
www.dimff.net
Dublin Smartphone Film Festival

Based in Dublin, Ireland, DUBSMARTFF are relatively new but have already shown themselves to be one of the best festivals for films shot on smartphones. A festival created and run by smartphone filmmakers, this year they will also be running a "Live Short Challenge".

Now in their 3rd year, DUBSMARTFF say "the festival was created with the goal of encouraging these filmmakers to share the stories they have captured on mobile devices. We also aim to provide a platform to exhibit these stories to a wider audience. It is also a chance to reward storytellers, who are using these devices to push the boundaries of narrative and style."

Films must not exceed 15 minutes in length (with credits).

DUBSMARTFF has 7 categories:

The festival takes place in January, with the final submission deadline being December 1, 2019. Standard submission fee for all films is $12.
www.dublinsmartphonefilmfestival.com
African Smartphone International Film Festival (ASIFF)

Relatively new, ASIFF are not shy about staking their claim to be "the most prestigious smartphone festival in Africa". They've only been going 3 years but are already popular with smartphone filmmakers.

The festival was founded by Nigerian filmmaker, Michael Osheku. ASIFF say they provide "an international platform to showcase ideas, talents and creativity irrespective of the budget. Encouraging professionals, amateurs and aspiring filmmakers to share their stories shot on a smartphones, tablets, and webcams to be screen on the big screen."

ASIFF has a long list of award categories:

Best Nigerian film

Best African film

Best International film

Best Documentary

Best music video

Best Animation

Best screenplay

Best Photo

Best cinematographer

Best director

Best sound

Best use of soundtrack

Best Production Design

Best Female leading role

Best Male leading role

Submissions run from January to the final deadline of September 25, 2019. Fees start at $5 and go up to $10 for the final deadline.
africansmartphonefestival.com
Super 9 Mobile Film Fest

The Super 9 Mobile Film Fest has been running for 5 years and is based in Portugal. They say the festival is "dedicated exclusively to the works filmed on smartphones with open competition for the entire international community."

Films must not exceed 15 minutes in length (with credits).

They award prizes in the following categories:

Best Fiction

Best Documentary

Best Animation

Best Music Video

Best Experimental

Best Portuguese Film

Audience Award

Entries are currently closed and there is no available information on future festivals, submission fees or dates.
super9mobile.com
iPhone Film Festival

Although the iPhone film festival was set up to accept only iPhone-shot films, their filmfreeway page says they now accept films from all models of smartphone. The festival has been running for many years (filmfreeway says 8) and was set up by filmmaker Ruben Kazantsev. The iPhone FF say their "mission is to showcase your film to the world. Awards & Prizes maybe offered from our sponsors but we have no control over that."

Although based in California, USA, their filmfreeway page lists their venue as in the Netherlands.

The iPhone FF has 5 categories:

The deadline for submission to iPhone FF is July 31, 2019. Fees for standard submission are $29.95. The festival organisers are open about having virtually no communication with filmmakers, saying they will not contact you even if you are one of the main winners. Their stated only reason for contacting filmmakers of selected films is to get their address to send prizes (if there are any).
www.iPhoneff.com
See also www.mozimotion.com

Last Frame Smartphone Fest

A new festival based in London, UK. The event was set up by the team behind Cheap Cuts Documentary Film Festival. They say the festival is "to showcase smartphone filmmaking and the innovative ways filmmakers are using accessible equipment to tell stories".

There are 6 submission categories:

Films can be submitted at varying lengths, depending on the category. Standard submission fees are only $3 going up to $5 for last submission dates. London based filmmakers can submit for a token $1 going up to $3.

The final submission date is September 1, 2019.
www.lastframeclub.com
The SmartPhilm Festival

This new festival started in 2017. The festival says their goal is to "provide a platform to the global artistic and film-loving community to document and produce their own stories in the most accessible way. The festival is open to aspiring and professional filmmakers of all ages. Selected films will be screened at during a one day program at the third annual SmartPhilm Festival on June 2, 2019 at Maker Faire NoVa in Fairfax, VA. We will also have satellite screenings in New Orleans and Addis Ababa."

The festival awards prizes for the following categories:

Grand Jury "Hall of Phame" Prize

Smart Mobilewood Prize

Smart Documentary Award

Smart Fiction Award

Smart Music Video Award

Smart Emerging Talent Award

Smart Experimental Award

Smart Horror Award

Films must not exceed 15 minutes in length (with credits).

Currently the festival is listed as closed for submissions. In their first year, submissions started on Sept 1. So maybe one to keep an eye on.
www.smartphilm.com
MoJo Italia

Another new festival, this one dedicated to the art of mobile journalism. MoJo Italia say they "welcome everyone who wants to know more about mobile journalism, who wants to understand how to use in a professional way such an ubiquitous device as a smartphone."

Prizes are from their sponsors, which have previously included Joby, Manfrotto, Dreamgrip, instamic, OnePlus, ShoulderPod, iOgrapher and others.

They have 4 categories:

NEWS LONG - press report lasting up to 15 minutes

NEWS SHORT - press report lasting up to 5 minutes

VIDEO STORYTELLING LONG - journalistic stories lasting up to 15 minutes

VIDEO STORYTELLING SHORT - journalistic stories lasting up to 5 minutes

The fee for an submission is just under $8. Submissions open on June 16 and end on September 3, 2019.
www.mojoitalia.it
Milan Mobile Film Festival

In their 2nd year, MiMo say their "first edition of the MiMo Milano Mobile Film Festival was attended by 1472 authors from 105 countries from around the world". They accept videos and photos made exclusively with mobile devices: smartphones, tablets, action cameras and drones.

They have no strict length limit for films, although they ask for them to be "preferably below 10 min". Last year they charged no submission fee for entry.

Check their filmfreeway page for more information.
www.mimofilmfestival.it
New York Mobile Film Festival

In their 2nd year, NYMFF "has been created to showcase, nurture, and support the emerging creative filmmaker that uses the latest technology available from a mobile device (Smartphone or iPad) to create stories in a cinematic way."

They say they "want to show to the world that now more than ever, filmmakers are in control of their own stories and the new mobile technology catapults the filmmaker from concept to completion without waiting for a major investor or a network to approve their work."

Films must not exceed 10 minutes in length (with credits).

They accept submission in the following categories:

Standard submission fees start at $45 and go up to $55 for late deadline submissions. The 2nd NY Mobile FF will take place on July 11, 2019.
newyorkmobilefilmfestival.com
Big D Mobile Phone Fest

The Dallas Mobile Phone Film Festival has been running for 5 years. They say their goal is to "provide a forum to the artistic community to write, shoot, edit and screen their own stories. The festival is open to students, amateur and professional filmmakers of all ages."

Films must not exceed 7 minutes in length (with credits).

They only have one submission category, which covers all films. They say the short can be in any genre with no thematic restrictions.

The final submission deadline is on November 17th, 2019. Standard submission fees start at $7 for early submissions and go up to $15 for late submissions.

The next Big D Mobile Phone Fest will be held on February 8-10, 2020.
filmfreeway.com/BigDMobilePhoneFest
Mobile Filmmaker's International Fest

This is a new festival based in Moscow, Russia who have recently had their first event (I was honoured to be in the jury). They say that smartphone filmmaking "is not just about replacing a large industrial cinema standard camera with a small mobile phone one. The main purpose of existence of mobile film and other types of mobile content is the ability to research a new modern visual language, new stories, personalities, events, which are simply impossible to capture with large cameras. Therefore, we will highly value works that fit into and develop this very approach to mobile film."

Films must not exceed 60 minutes in length (with credits).

They give awards in 3 categories:

Best Mobile Filmmaker - Movie

Best Mobile Filmmaker - MoJo & Blog

Best Mobile Filmmaker - Promo

Entries are currently closed and there is no available information on future festivals, submission fees or dates.
www.mobilefilmmaker.org
Those not included

I haven't included festivals yet to have an event. I also haven't included festivals which accept smartphone films along with other films (basically any festival which accepts digital shot films). I also haven't included festivals which have added a "shot on smartphone" category as one of many categories - simply because there are many and they're not so easy to find.

If you know of any other smartphone film festivals not included, please let us know in the comments below. Likewise, if any festivals listed become inactive, drop a comment below.

Eager to learn more?
Join our weekly newsletter featuring inspiring stories, no-budget filmmaking tips and comprehensive equipment reviews to help you turn your film projects into reality!

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The World's Best Smartphone Film Festivals - Mobile Motion

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Tangerine director Sean Baker says he will never shoot a film on a digital camera. Except that Tangerine was shot on an iPhone. That's because he sees smartphone filmmaking as a medium separate to other forms of digital shooting. He could be onto something, as there are more and more film festivals dedicated to films shot on smartphones.

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Our video-on-demand service which lets you watch great New Zealand films online.

NZ Film On Demand

NZ Film On Demand is the Film Commission's video-on-demand service which enables you to watch great New Zealand films online. Films range from recent cinema releases to newly digitised classics. There are currently over 100 short and feature films avaliable, and the collection continues to grow as new titles are added. The NZ Film On Demand platform regularly features curated showcases to coincide with film festivals and events around the world.

You can watch films one at a time rather than having to pay a monthly subscription fee. All you need to do is register for an account and you can start streaming or downloading films . At the moment NZ Film On Demand is available in New Zealand, with selected titles available in Australia and the United Kingdom.

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Our video-on-demand service which lets you watch great New Zealand films online. NZ Film On Demand is the Film Commission's video-on-demand service which enables you to watch great New Zealand films online. Films range from recent cinema releases to newly digitised classics.

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Independent filmmaker Shirley Horrocks is producing short documentaries aligned with the activities of the Prime Minister's Chief Science Advisor. Watch the films below or visit the 'Science &' YouTube channel

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Independent filmmaker Shirley Horrocks is producing short documentaries aligned with the activities of the Prime Minister's Chief Science Advisor. Watch the films below or visit the 'Science &' YouTube channel

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Kiriata pāho

Watch unlimited movies for free on Beamafilm when you log in with Auckland Council Libraries. Enjoy a wide range of local and international movies, documentaries and TV series.

You need your Auckland Council Libraries barcode number to access Beamafilm. If you're not a member, join online for free!

Discover Beamafilm

Beamafilm is an Australasian streaming service showcasing quality local and international movies. Find out how to get started with our helpful guide, or go straight to Beamafilm to browse the collection.

Auckland Council Libraries on YouTube

Watch our documentary series on the Auckland Council Libraries heritage collections, hear from local creators, and catch up on recordings of talks and concerts.

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Watch films and documentaries for free using your Auckland Council Libraries membership.

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CINEPHONE 2020 9th Edition

**Feature films are allowed. The rules are the same as for short films**

1. Cinephone is for filmmakers who make productions exclusively with Smartphone.

2. The festival is free theme organized in 4 categories -FICTION-DOCUMENTARY-MUSICAL VIDEO-ANIMATION.

3. There is no limitation on the number of films submitted by the same participant.

4. The submitted short films must be shot with smartphone and it's very important indicate smartphone brand and model.

5. It's allowed the use of mobile devices (drones, action cameras, etc) in a maximum of 10% of the total length of the short film.

6. It's allowed during the filming the use of external elements (microphones, lighting, dolls, etc.) and in the post-production the use of any software for editing or treatment of images.

7. Allowed formats: mov, wmv, avi, mp4 (h264), mkv. The short films must have a quality no lower than 1080p.

8. All persons or private spaces that appear in the short films must do so under their consent. We don't accept short films that containing discriminatory material and/or violate the dignity of persons.

9. The short films must be owned of the author or authors and unpublished earlier in this festival.

10. The participant must have the rights to use the music or soundtrack of the short film presented.

11. The Short Films must not exceed 15 minutes, credits included.
The Feature Films duration should be 40 to 90 minutes, credits included.

12. The short films must submitted through the online platform FilmFreeway at following link: https://filmfreeway.com/festival/cinephone.

13. All non-English foreign-language films must be subtitled in English (and if possible in Spanish) The foreign-language films that are selected as finalists must be MANDATORY subtitled in Spanish.

14. The period for submission of short films is from February 1 to June 30, 2021. The films submitted after this date will not enter at current edition of the festival.

15. Participants agree Reproduction and dissemination of their short films with informative or promotional purposes related to the festival. Never ask for the rights of the short film, which at all times will be from the same participant.

16. To participate there is no age limit, but if the filmmakers are under the age of 18 it is mandatory to send an authorization signed by their parents or legal guardians to our email info@cinephone.es

17. The organization will not be responsible for the issues not covered in these rules.

*The Cinephone International Smartphone Film Festival requests a small contribution to all participants to cover the costs of managing the festival*

HOW TO
The organization will pre-select a maximum of 20 finalists short films over all the short films presented and 3 finalists Feature Films over all the Feature Films presented.

JURY AWARDS
A jury formed by professionals (outer to the festival organization) values the technical, narrative and originality and they decide:

- 1st Cinephone Grand Jury Prize

- Best Spanish Short Film
- Best Fiction Short Film
- Best Documentary Short Film
- Best Animated Short Film
- Best Music Video
- Best FEATURE Film

*The winner of the first prize will get direct access as a finalist of the 2022 edition of the Festival Internacional de Cine Independiente de Elche (FICIE) in its category MOBILE FILM MAKER http://www.festivalcineelx.es/

AWARDS AND SHORT FILM SCREENING
September 2021, exact date and place to be specified.

The Jury and/or the organization reserves the right to modify the rules or declare the contest void if it thinks fit

Taking part in the festival implies acceptance of these rules

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Cinephone - International Smartphone Film Festival

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CINEPHONE 2020 9th Edition **Feature films are allowed. The rules are the same as for short films** 1. Cinephone is for filmmakers who make productions exclusively with Smartphone. 2. The festival is free theme organized in 4 categories -FICTION-DOCUMENTARY-MUSICAL VIDEO-ANIMATION. 3. There is no limitation on the number of films submitted by the same participant.

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Ministers' release: 13 June 2017

Arts, Culture and Heritage Minister Maggie Barry has congratulated the New Zealand Film Commission for its video-on-demand platform, NZ Film On Demand, which has just passed a milestone 100 titles.

"NZ Film On Demand offers New Zealanders a unique portal to view our film history and has a broad range of films, from recent cinema releases to newly digitised classics, short films and documentaries," Ms Barry says.

NZ Film On Demand was launched in 2014 and is currently available in New Zealand, Australia and the UK.

"There is no subscription fee for users who can choose to watch one film or all of them. Viewers can rent or buy any of the movies from the online viewing platform and watch them wherever and whenever they want to - even on their mobile phone or tablet."

"Film is one of the ways we share our culture with others, and by making this platform available to viewers outside New Zealand, we open a window so they can see and understand what makes New Zealand unique."

Included in the online selection are:

* Feature films - Goodbye Pork Pie, Once Were Warriors and Boy.

* Documentaries - The Ground We Won (War), Antarctica.

* Short Drama - Coffee and Allah, Cold Snap.

To sign up for NZ Film On Demand, visit https://ondemand.nzfilm.co.nz

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Ministers' release: 13 June 2017 Arts, Culture and Heritage Minister Maggie Barry has congratulated the New Zealand Film Commission for its video-on-demand platform, NZ Film On Demand, which has just passed a milestone 100 titles.

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NOTICE: Our sympathies to everyone affected by the COVID-19 situation around the world. Best wishes for health and safety to all.

ALL FILMS SHOT WITH MOBILE PHONES!

Officially launched in 2009

The Red Carpet Is In Your Pocket™

10th Annual International Mobile Film Festival

presented by S. Botello Productions™
San Diego, California #MFF2021SANDIEGO INFO
Theme for 2021: YOUR STORY

International Mobile Film Festival is an qualifying Film Festival

ACCESS IMFF 2021 PAGE Support us on Patreon. Benefits and discounts for Patrons

Become a Patron!

Promoting Art, Technology & Education

S. Botello Productions™ is forming a mobile film resource center for the world to access. A strong emphasis is on connecting the world of filmmaking to mobile filmmakers around the globe via new technological advances with mobile phone cameras.

Our Mission

The purpose of our mobile film festival is not only to create interest and spark creativity in people of all ages with limited income or resources but to actually inspire creative filmmakers to live to their potential and realize the opportunity to fulfill their dream. The International Mobil Film Festival™ is for everyone around the world! All ages welcome. Our mission is our passion and we are sharing mobile filmmaking internationally with our collaborators, sponsors and partners.

Imagine that you are on the red carpet in our film festival with a famous director like Steven Spielberg who shot a film with a mobile phone as well. We provide a venue for all humans to make a mobile film regardless of experience. This is an equal arena for all filmmakers all around the world, famous and not so famous alike. The competition is on! This is your time to shine on the red carpet! All things being equal...
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Contact Us to sponsor the International Mobile Film Festival in 2021 and support mobile smartphone filmmakers of all ages!

Actors Jed Brophy and Mark Hadlow best known as Nori and Dori from The Hobbit trilogy films are principal actors of Blue Moon, feature mobile film shot in New Zealand with iPhone.

"We empower the storyteller inside you through filmmaking with your smartphone." - S. Botello Productions™

S. Botello Productions™ | International Mobile Film Festival Video | Mobile Film Stories

Film Daily News: The International Mobile Film Festival: Embracing smartphone creators by Frankie Stein | Jan 23, 2020
NEWS UPDATES! Read all about them.

FilmConvert has been a sponsor of IMFF since 2017.

Engraving Pros has been providing Trophies for our festival since the innaugural event.

"I had a wonderful experience dealing with Susy and the IMFF. From start to finish the communication was excellent. I felt like my film was in good hands, and the support was amazing. This year's festival was forced to be online, but I have no doubt the hospitality and networking would have been top-notch had I been able to attend in person in San Diego. Highly recommend joining this family of mobile filmmakers."

Ian Leer, UK | IMFF 2020 Virtual

"A great festival to be a part of! The team is great at communicating and providing opportunities for the filmmakers to share and discuss their film, especially shooting on mobile devices. The line up this year was fantastic, and though we were not able to attend a live event (because of the pandemic) we look forward to meeting everyone in person in future years. If you're a filmmaker who made your movie with a mobile device, this festival is a must!"

Ryan McDonald, Ohio | IMFF 2020 Virtual

"I absolutely loved this festival! Susy Botello does an incredible job hosting and making the festival much more than a film showing. It was inspiring to meet the other filmmakers, presenters, and sponsors and to share in our love for making mobile films."
Alexandra Guillossou, Attended IMFF 2019 from Montana, U.S.A.

More testimonials
Support Mobile Filmmaking on Patreon!
NEW: Mobile Film Stories
Streaming mobile film & video distribution service and community platform

Launch of the first-ever streaming platform for Mobile Films

SBP Podcast Mobile Filmmaking is The Voice Of Mobile Film™ now playing on Apple Podcasts, Spotify and many more podcast platforms and apps.
www.SBPpodcast.studio

© 2006-2021 All rights reserved. S. Botello Productions™

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NOTICE: Our sympathies to everyone affected by the COVID-19 situation around the world. Best wishes for health and safety to all. Officially launched in 2009 The Red Carpet Is In Your Pocket™ 10th Annual International Mobile Film Festival presented by S.

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Director, Corinna Hunziker
Corinna Hunziker (Ngāpuhi, Ngāti Kahu) is a driven and gifted indigenous storyteller deeply committed to empowering minorities to have their voices heard. Her work is proof that storytelling plays a vital role in sharing knowledge across borders, communities and generations. Corinna has been directing for five years, most notably on THREE's cultural diversity series, Both Worlds, providing a platform for minority youth to share their lives and experiences, and has recently held the trainee director position on the upcoming TVOne drama feature film Runaway Millionaires shadowing experienced director Danny Mulheron.
Producer, Mia Henry-Teirney
Mia Henry-Teirney (Ngāti Kahu ki Whangaroa, Te Rārawa, Ngāti Kuri) is a Māori producer that has produced short film My Brother Mitchell, series one of Baby Mama's Club, and was the intern producer on Mahana. Mia is passionate about sharing indigenous stories with global audiences, and has worked as a production manager and coordinator on various local and international productions.

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Director, Corinna Hunziker Corinna Hunziker (Ngāpuhi, Ngāti Kahu) is a driven and gifted indigenous storyteller deeply committed to empowering minorities to have their voices heard. Her work is proof that storytelling plays a vital role in sharing knowledge across borders, communities and generations.

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Festival description (Edition: 3)

Festival start: 30 January 2021 Festival end: 30 January 2021

The Dublin Smartphone Film Festival (DSFFEST) is a brand new international festival dedicated to celebrating work shot on Smartphone and Tablets.
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No longer is expensive technology a barrier to creativity. The mobile phone has expanded the scope and freedom for filmmakers. Now aspiring artists have the ability to write, shoot and edit, their films at the touch of a button. Smartphones are reshaping the way we approach filmmaking creating limitless possibilities in the palm of your hand.

The festival was created with the goal of encouraging these filmmakers to share the stories they have captured on mobile devices. We also aim to provide a platform to exhibit these stories to a wider audience. It is a chance to reward storytellers, who are using these devices to push the boundaries of narrative and style.

The festival takes place in the month of January and submissions are open to anyone with a Smartphone/Tablet and compelling story to tell. Throughout the year their will be events designed to challenge filmmakers and revolutionize the way we approach filmmaking.

Prizes and qualifications

The inaugural edition of the DSFF will present Awards for:

Grand Jury Prize
Audience Award
Best Irish Film
Best Animation
Best Fiction
Best Music Video​
Best Documentary

1. All Films must be shot exclusively on a Smartphone or Tablet device- (DLSR, GoPro, Camcorders, not excepted). Additional production equipment, lights, Tripod, Boom, sound equipment are permitted.

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2. Additional editing software can be used for post-production, audio and Visual effects.

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3. The use of filter Apps (Prisma) is allowed and encouraged but auto editing apps will not be accepted.
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4. All Entries submitted must be an original production. It must not infringe on the copyright, trademark or other rights of any individual.
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5. Entries must not exceed 15min in duration.
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6. We welcome submissions in any language but we ask that all entries (not in English) be subtitled in English.
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7. The Dublin Smartphone film festival charges a small entry of $10 dollars to cover administration costs for running the festival
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8. Submissions must have full clearance for all content before submitting. Any issues that may arise due to infringement of copyrights is the Applicant's sole responsibility. The Dublin Smartphone Film Festival and its members are not responsible for any infringement of copyrights.
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9. By Submitting to the Dublin smartphone film festival participants agree to the reproduction and dissemination of their films for the display and promotion of the festival (Media, film festivals and TV).

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The Dublin Smartphone Film Festival (DSFFEST) is a brand new international festival dedicated to celebrating work shot on Smartphone and Tablets. ​ No...

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Brigid Gallagher travels NZ to visit a different heritage site each week. Along with her team, Brigid gets the exhibition organised, creating new exhibits and uncovering fascinating stories.

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Mobile Film Festival - Women's Empowerment

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50 films x 1 minute - 40 000€ in production grants to win