By Ray Pride Pride@moviecitynews.com

Announcing the 10th Annual BendFilm Film Festival in Bend, Oregon

FOR IMMEDIATE RELEASE

BendFilm Ramps Up for 10th Annual Festival In October
Announces Call for Entries for 2013

Bend, Oregon – February 11, 2013 –  Ten years is a long time in the life of a film festival. Like restaurants, many Festivals start with the best intentions only to fall by the wayside a few years later.

However, as it prepares for its 10th Annual Festival, BendFilm has proven to have growing and staying power bulwarked by great programming for the Festival and year-round, strong juries, terrific local support and sponsorship, and its prizes and awards. In ten years, BendFilm has grown to become a beloved regional happening that established the central Oregon town in the national festival firmament featuring more than eighty films over four days.  It was named one of Moviemaker Magazine’s “20 Film Festivals Worth the Entry Fee.”

The festival has just announced its call for entries for 2013.

“We’re confident in continuing our tradition of excellence for 2013,” says Festival Director Orit Schwartz. “We’ve been able to build a strong following among both our contributors, sponsors and most of all, our audience and are planning the best BendFilm ever for our 10th year.”

BendFilm is also unusual in the scope and generosity of its prizing.  This year they’ll again offer the Brooks Resources Corporation $5,000 cash prize (one of very few festivals that still does so) for Best of Show. Past winners include True Adolescents and This Way of Life. 2013 also marks the second consecutive year of the Best Narrative Feature juried award.  That award carries a $60,000 camera rental package from Panavision.

Romy Mortensen, VP Sales and Marketing for Brooks, BendFilm’s founding sponsor, said, “Brooks Resources is very proud to be celebrating BendFilm’s 10th annual festival with them.  [It’s] hard to believe that 10 years ago we all took a leap of faith in a creative, new arts and culture idea that has grown to be one of Bend’s best attractions, if not amenities.”

As the year progresses, BendFilm will announce its jury, additional sponsors and , in the fall, its 10th annual film slate.  Past jurors have included: Two-time Oscar® nominee, writer/director Gus Van Sant; two-time Oscar® nominee, animator Bill Plympton; filmmaker Ondi Timoner  (DIG! and WE LIVE IN PUBLIC); Christian Gaines, Festival Specialist at IMDb.com; Dana Harris, editor in chief and general manager of IndieWIRE.com; Jon Korn, Sundance shorts programmer; and Steve Wilson, VP of leading film public relations agency B|W|R.

About BendFilm:

BendFilm is a non-profit group inspired by the opportunity to open doors for artists and to cast Bend, Oregon as the cultural and economic beneficiary. The BendFilm Festival runs every October in downtown Bend, Oregon at the historic Tower Theatre; McMenamins; Regal Cinemas; The Oxford Hotel; the Cascades Theatrical Company and Tin Pan Theater. Plan now to attend October 10-13, 2013 for a long weekend of films, lectures and parties as filmmakers compete for cash awards in Bend’s charismatic setting of mountains, rivers and screaming blue skies. Follow us on Facebook.

BendFilm Info:

Address: 2748 NW Crossing Drive, Bend, OR 97701.

For questions or more information:  call 541.388.FEST, email info@bendfilm.org or visit www.bendfilm.org.

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“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire 

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