{"id":33,"date":"2021-08-10T15:02:25","date_gmt":"2021-08-10T15:02:25","guid":{"rendered":"http:\/\/archive.filmafest.org\/2023\/?page_id=33"},"modified":"2024-06-14T13:10:27","modified_gmt":"2024-06-14T10:10:27","slug":"about-en","status":"publish","type":"page","link":"https:\/\/archive.filmafest.org\/2023\/en\/about-en\/","title":{"rendered":"About"},"content":{"rendered":"
\"Black\n
\n

FILMA. FEMINIST FILM FESTIVAL<\/h1>\n
In the 1920s, a \u00abmotion picture\u00bb was called both \u00abfilm\u00bb and \u00abfilma\u00bb (in Ukrainian, the noun \u00abfilm\u00bb is masculine while the ending \u00aba\u00bb makes it feminine). There were even public debates about which form of the word was more correct. Gradually, the feminine \u00abfilma\u00bb dwindled out of use. One hundred years later, we have decided to name our festival Filma in an attempt to show that for us the question of what cinema is and what it can be remains open.<\/div>\n
We call ourselves Filma because cinema can be a co-creative process, with equal opportunities for all participants, instead of the strict top-down favored by privileged directors. We call ourselves Filma because cinema can be less pro-government and more politically aware, less predatory, and more sensitive to humans and non-humans. We call ourselves Filma because cinema can be less red carpet\/celebrity culture-oriented, and more inclusive and socially responsible. We call ourselves Filma because it is important for us to think about the possibilities and responsibilities of cinema in the long run, together.<\/div>\n
The\u00a0festival\u00a0<\/strong>was created by a feminist collective as a collaborative platform for films that meet the principles of intersectional feminism, anti-racism, anti-colonialism, inclusion, and a culture of consent. Conversations with the authors and protagonists of the films, as well as researchers and activists, are an integral part of the program.<\/div>\n
Non-hierarchical approach<\/strong>. The festival is non-competitive and open to films of all formats, runtimes, and genres: features, documentaries, animated and experimental films can be shown in thematic programs. All films, from debuts and experimental work to \u00abclassics\u00bb, we consider as equal. We try to pay more attention to feminist themes, and methods of creating feminist cinema, and to develop mutual support among like-minded people, regardless of the forms we work with.<\/div>\n
Accessibility<\/strong>. The festival will be a 100% online event. Access to films is available from the territory of Ukraine and is free of charge. The discussions are available worldwide. The films are shown in the original language with Ukrainian subtitles (SDH). Audio descriptions will be available for some films. The working languages of the discussions are English and Ukrainian, with two-way translation and a translation into Ukrainian sign language.<\/div>\n
Safety.<\/strong>\u00a0We aim to create a space free of misogyny, transphobia, racism, heterosexism, ableism, and other forms of oppression. A space where it is possible to find points of intersection between the needs of all vulnerable groups, mutual understanding, and support.<\/div>\n

Credits:<\/h2>\n
Names are listed in alphabetical order<\/i><\/div>\n
Filma collective:<\/strong> geo, Yulia Serdyukova, Svitlana Shymko, Ira Tantsiura\n
\nCoordinator of translation:<\/strong> Zhenia Perutska\n
\nSMM-manager:<\/strong> Lisa Severina\n
\nFinancial manager:<\/strong> Iryna Berezneva<\/div>\n
\nCo-curator of the United in Struggle program: <\/strong>Tonia (Ton) Melnyk and Masha Ravlyk\nCo-curator of the This is an Address program:<\/strong> Anastasia Bobrova\n<\/div>\n
\nIllustrations:<\/strong> Maryna Demkovych <\/a> \nLogo:<\/strong> EtchingRoom1<\/a>\nWebsite design:<\/strong> Nast\u2019ey Teo<\/a> \nWebsite programming:<\/strong> Svitlana Shymko\n<\/div>\n
\nTranslation:<\/strong> Yurii Botvinkin, Sofiia Chernachuk, Olesia Kamyshnykova, Liudmyla Krasivska, Anniris Oms, Anastasiia Perun, Zhenia Perutska, Mariana Savchenko, Indira Samaddar, Kateryna Tereshchenko, Nelia Vakhovska, Nadiia Vyshnevska\n\nSDH subtitles:<\/strong> Anastasiia Perun, Zhenia Perutska, Mariana Savchenko, Nadiia Vyshnevska, Oleksandra Zuryan\nProofreading (UKR):<\/strong> Oleksandr Podoliak, Katya Rudyk\nProofreading (ENG, curators texts):<\/strong> Anna Bowles<\/a>\n<\/div>\n
\nInterpretation during the discussions:<\/strong> nadiya chushak, Olesya Kamyshnykova, Viktoria Moroz\nInterpretation during the discussions into Ukrainian sign language:<\/strong> Nadiya Kotsovska, Natalia Moskovets\n<\/div>\n\n
\nAudio description for the film \u201cDear Mandela\u201d and texts for audiodescription for the films \u201cThe Women Strike Continues\u201d, \u201cThis is an Address\u201d and \u201cTell Me a Poem\u201d<\/strong>: Accessible Cinema agency (NGO Fight For Rights)\nAudiodesciption and characters voiced by:<\/strong> Kateryna Babych, geo, Kateryna Herasymchuk, Yana Prokopchuk, Ira Tantsiura, Iva Sharipova, Shonie\nSound director (except for \u201cDear Mandela\u201d):<\/strong> Kateryna Herasymchuk\n<\/div>\n\n
\nSpecial thanks to:<\/strong> Daria Badior, Anna Bowles, Pavlo Luhovyi, Brigid O\u2019Shea, Lisa Smith, Nelia Vakhovska and all our close ones and friends who support us on the way\n<\/div>\n
\nWe also thank:<\/strong> Kateryna Babych, Alla Kostovska, Denys Pohrebnyi, Mariia Pronina, Vira Protska, Sashko Protyah, Dmytro Stupnik, Oleksiy Yehorov\n<\/div>\n\n
In collaboration with Freefilmers<\/a>\n
\nWith financial support from: Rosa Luxemburg Stiftung in Ukraine<\/a>\nMedia partners: Commons<\/a>, Cinema.in.ua<\/a>\nOffline screenings partners: Artsvit Gallery (Dnipro)<\/a>, Bilkis (Kharkiv\/Lviv)<\/a>, FemSolution (Kyiv)<\/a>\n<\/div>\n<\/div>\n\n\n<\/div>","protected":false},"excerpt":{"rendered":"

FILMA. FEMINIST FILM FESTIVAL In the 1920s, a \u00abmotion picture\u00bb was called both \u00abfilm\u00bb and \u00abfilma\u00bb (in Ukrainian, the noun \u00abfilm\u00bb is masculine while the ending \u00aba\u00bb makes it feminine). There were even public debates about which form of the word was more correct. Gradually, the feminine \u00abfilma\u00bb dwindled out of use. One hundred years […]<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":2174,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_robots_primary_cat":"","footnotes":""},"class_list":["post-33","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/pages\/33","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/comments?post=33"}],"version-history":[{"count":80,"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/pages\/33\/revisions"}],"predecessor-version":[{"id":9720,"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/pages\/33\/revisions\/9720"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/media\/2174"}],"wp:attachment":[{"href":"https:\/\/archive.filmafest.org\/2023\/wp-json\/wp\/v2\/media?parent=33"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}