2019 MASTER CLASSES

Screenwriting Master Class

A four-day intensive writing course with a goal of inspiring and strengthening each writer artistically and technically.

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Directing Master Class

Intensive Master Class on Directing with director, screenwriter, producer and author, Dan Mirvish.

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Film Editing Master Class

One Day Film Editing Master Class with esteemed documentary film director and editor Susanne Rostock.

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Behind
the Lens

Women in Film panel with filmmakers Lone Scherfig, Nia DaCosta, Nijla Mu’min and Vashti Anderson.

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Behind the Lens

Women in Film Discussion

Class Date: Sunday, January 13
Time: 10:30 AM – 12 PM
Cost: BBD$20
Location: Limegrove

This Behind the Lens Women in Film panel discussion will feature filmmakers Lone Scherfig (AN EDUCATION, THEIR FINEST); Nia DaCosta (LITTLE WOODS); Nijla Mu’min (JINN, QUEEN SUGAR); and Vashti Anderson (MOKO JUMBIE).

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LONE SCHERFIG is an award-winning Danish film director and screenwriter. She has written and/or directed six television series and ten feature films, including “Italian for Beginners”, “An Education” and “One Day.”  Her most recent film “Their Finest” was screened at BIFF in 2017, where Lone received the festival’s lifetime achievement award.

Lone Scherfig

Four Day Screenwriting Master Class

Class Dates: January 14 through 17, 2019
Time: 10 AM – 4 PM
Cost (lunch included): BBD$500
Location: TBD
Maximum of 16 writers.

A four-day intensive writing course with a goal of inspiring and strengthening each writer artistically and technically. The course is aimed at screenwriters, playwrights, directors and actor-writers. It consists primarily of a series of exercises enabling participants to either work with own projects in mind or to try out something completely new. The main focus is to refine everyone’s screenwriting craft and productivity and increase the joy of writing.

Admission is selective.  Please send an email to info@barbadosfilmfest.org and provide the following information: NAME, EMAIL ADDRESS, PHONE NUMBER AND PROFESSION. Additionally, please include ½ page outlining your motivation in taking the course and two pages of samples of your writing.

Registration deadline is December 15, 2018.

We hope to welcome everyone interested who is able to commit to all four work days. A week after the registration deadline you will receive an email informing you whether you have been admitted to the course, maximum 16 writers.

Dan Mirvish

Intensive Master Class on Directing

Class Date: Saturday, January 12
Time: 11 AM – 1 PM
Cost: BBD$25
Location: TBD
Tickets are BBD$20 and available on Ticketpal.

Dan Mirvish is a director, screenwriter, producer and author. Dan was mentored by Robert Altman on his first film, OMAHA (THE MOVIE), which led him to co-found the upstart Slamdance Film Festival.  Dan’s award-winning feature BETWEEN US played in 23 festivals and sold to 144 countries. His film OPEN HOUSE led the Academy Awards to controversially rewrite their rules on the Best Original Musical category. His latest film is BERNARD AND HUEY, written by Oscar/Pulitzer-winner Jules Feiffer.  Mirvish wrote the non-fiction book “The Cheerful Subversive’s Guide to Independent Filmmaking”.

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Susanne Rostock

One Day Film Editing Master Class

Class Date: Saturday, January 12
Time: 11 AM – 1 PM
Cost: BBD$25
Location: TBD
Tickets are BBD$20 and available on Ticketpal.

Join in an exploration of the astronomical ways in which images and sound can be combined in a motion picture to create a compelling, engaging and imaginative viewing experience.

What do film editors do to bring a story to life? Esteemed documentary film director/editor Susanne Rostock will share storytelling secrets as she reviews favorite scenes from her vast body of work. Her collaborations have been with such illustrious cultural icons as Robert Redford, David Bowie, Harry Belafonte, the organizers of The Women’s March On Washington.  Each of Susanne’s films is completely unique, comprising a wide range of subject matter heavily invested in human rights and the power of art to effect change. Each story calls for such a different approach to editing. “I’ve learned over the years that to truly succeed as an editor your work should be invisible. The viewer should be so engaged in the story as to not be aware of the editor’s art, the editor’s magic.”

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