N E W S
THE GLOBAL IMMERSION SERIES
Founded in 2014, Minerva Schools is designed around a new vision of higher education that combines a reinvented curriculum, rigorous academic standards, innovative technology, and an immersive global experience. Students study in seven different cities over the course of four years, where they engage with local civic partners to apply classroom knowledge to practical, real-world problems. The above film is part of a series directed by LA based Andrew Hida in collaboration with Minerva’s Creative Director Ayo Seligman. As part of CONTENTED, Nils Clauss and Mini Kim had the pleasure to work with Andrew and Ayo together on the Seoul instalment of this global video series.
“Global Immersion: Seoul” is a short film, which highlights how classroom curriculum extends into the urban fabric and shapes their personal, professional and academic growth. As part of a broader marketing campaign a series of 60-second cuts were also produced for social media engagement.
The target audiences of this series are prospective students and the parents of these students who are seeking to better understand the Minerva global experience. Andrew and Ayo describe how they wanted the viewer to understand the full spectrum of daily life, from the demanding academics, to the immersive social and co-curricular activities. The goal was to make a film which quickly convinces the viewer why they belong at Minerva by telling the story of how the Minerva experience stands apart from that of the traditional university through personal stories of challenge and growth.
CHALLENGES AND RESULT
Over the course of two years, Andrew and Ayo have directed the first four short films in the Global Immersion series. Andrew says that each subsequent episode pushes deeper into stories of personal and professional development as they come into their own. Instead of replicating the same mold for each episode, the storyline instead evolves in parallel to student growth and an evolving world view. This distinct approach enabled Andrew together with Minerva to build on existing story and expand on emotional impact.
In order to achieve the authentic, cinematic documentary style that defines the Minerva brand, Minerva and Andrew say that they assembled a team of cinematographers with a strong background in visual journalism. They further note that weeks of creative design and pre-production proved essential to manage the complex timing and logistics of multiple shooters and photographers, navigating large, foreign cities.
For us at CONTENTED, it was great to take part in this great and meaningful project and we are glad that we were able to offer our services with Nils Clauss as the Director of Photography and Mini Kim as the local producer for the above film. We would like to thank Ayo, Andrew and everyone at Minerva for all their great support.
PLASTIC GIRLS has been selected as part of the 28th edition of CINEQUEST FILM & VR FESTIVAL among 1750 entries from more than 120 countries. The film will screen in the Short Film Competition at the following dates and venues:
* Sat, Mar 3, 12:25 PM at 3 Below Theaters & Lounge (formerly Camera 3 Cinemas) – 288 S 2nd St, San Jose, CA 95113
* Mon, Mar 5 8:15 PM at Century 20 Redwood City (Screen 10) – 1627, 825 Middlefield Rd, Redwood City, CA 94063
* Sat, Mar 10 10:00 AM at 3 Below Theaters & Lounge (formerly Camera 3 Cinemas) – 288 S 2nd St, San Jose, CA 95113
* Sun, Mar 11 10:45 AM at Century 20 Redwood City (Screen 11) – 1627, 825 Middlefield Rd, Redwood City, CA 94063
CINEQUEST FILM & VR FESTIVAL has been voted as “Best Film Festival (of the nation)” in a 2015 poll by the readers of USA TODAY and the HUFFINGTON POST includes CINEQUEST in a list of the “10 Best Film Festivals you’ve never heard of“.
Sedicicorto International Film Festival, born in 2004, is a short film festival held every year in the month of October in Forlì close to Bologna, Italy. It boasts submissions from all over the world by filmmakers mainly dealing with short films. The event aims at drawing the attention not only of the filmgoers, but also of the audience interested in the audiovisual world, within an occasion promoting the exchange of ideas.
BIKINI WORDS plays out of competition in the Experia section of the 14th Sedicicorto International Film Festival, which contains a selection of experimental short films. Together with Werner Biedermann’s JAMAIS VU, Tim Weimann’s UNITED INTEREST, Eileen Byrne’s IRIDESCENE and Benjamin Bardou’s GLORIA VICTIS, BIKINI WORDS will play at Biblioteca Aurelio Saffi (Corso della Repubblica 72 – Forlì) on Wednesday Oct. 11th at 5pm.
BIKINI WORDS focuses on new vocabulary, which evolved amongst factory workers during the rapid industrialisation of South Korea throughout the 1970s and 1980s in order to put names to the radically new aspects of their urbanised lives.
About the One Club
One Screen is the original film festival for the creative community by the creative community. It’s the premiere festival that unites the film and advertising world on One Screen. The One Club for Creativity, producer of the prestigious One Show, ADC Annual Awards and Creative Week, is the world’s foremost non-profit organization recognizing creative excellence in advertising and design. The ADC Annual Awards honors the best work in terms of craft, design and innovation across all disciplines, including Advertising, Digital, Design and Motion. Creative Week takes place in New York City every May and is the preeminent festival celebrating the intersection of advertising and the arts.
The One Club and ADC announced their merger last fall to form The One Club for Creativity, which serves as the umbrella organization for The One Show, ADC Awards, Young Guns, Young Ones, Creative Week, One Screen, Hall of Fame and a wide range of global education and diversity programs. The new entity celebrates the legacy of creative advertising and design, and uses that legacy to inspire future generations.
The awards shows each have their distinct focus: the ADC Annual Awards maintains its historical concentration as the champion for craft, design and innovation, while The One Show continues its focus on creativity of ideas and quality of execution.
The Line Up
I am honoured that LAST LETTERS is part of this year’s strong documentary section line up by competing with exciting films like Anderson Wright’s NZINGHA, Joris Debij’s PERFECTLY NORMAL, Henry Busby’s THE UNBELIEVERS: BURNELL COTLON, Keith Rivers’s THE QUIET MAN, FCB Chicago’s THE UNFORGOTTEN, Wild Breed Productions NEPAL: A FRAGILE STATE, Supply & Demand’s PICKLE and Jon Bunning’s THE TABLE.
The Event and Tickets
Winners will be recognized at the awards ceremony on October 17 at Sunshine Cinema (143 East Houston Street), a Landmark Theatre in New York City’s Lower East Side. You can now secure your tickets if you tickets. Doors will open at 6:30 pm and the screening starts at 7:00 pm. After the event there will be a networking reception from 9:00 pm onwards. Ticket prices are $US 15 for members and $US 20 for non-members. Drinks and hors d’oeuvres will be served following the screening.
On the 16th of April 2014 a ferry en route from Incheon to Jeju Island in Korea capsized. 304 out of 476 passengers and crew members died in this tragic accident. LAST LETTERS follows eight families that lost loved ones that day, and explores the physical and emotional spaces that the tragedy left behind. The film juxtaposes documentary and fictional elements. It shines a light on this still unsolved tragedy and shows the isolation the families feel while they pose for an incomplete family portrait.
After the short documentaries CHOA and BIKINI WORDS now also LAST LETTERS has been featured as an Editor’s Pick by The Atlantic. Thanks to Nadine Ajaka for showcasing the video! LAST LETTERS is a journey through loss, space and memory. The film commemorates the victims of the tragic Sewol ferry accident, in which 304 out of 476 passengers and crew members died in 2014.
LAST LETTERS has been selected as a SHORT OF THE WEEK ! Each day the prestigious online platform Short of the Week features one handpicked film, which they consider to be among “the greatest and most innovative stories from around the world”. This way Short of the Week has been serving up epic, bite-sized films to millions around the world since 2007. Please follow this link to watch LAST LETTERS on Short of the Week and have a look at Jason Sondhi’s much appreciated review (right below the film).
On the 16th of April 2014 a ferry en route from Incheon to Jeju Island in Korea capsized. 304 out of 476 passengers and crew members died in this tragic accident. This short film follows eight families that lost loved ones that day, and explores the physical and emotional spaces that the tragedy left behind. The film juxtaposes documentary and fictional elements. It shines a light on this still unsolved tragedy and shows the isolation the families feels while they pose for an incomplete family portrait.
More than 2 1/2 years have passed since the Sewol ferry tragedy, which took place on the 16th of April 2014. This day has marked a black day on the Korean calendar ever since for many people. Korea has not been the same again.
Many of the remaining family members of the victims have become engaged in activism due to dissatisfaction with the Korean government and how they handled the tragedy. Nine of the victim’s bodies have never been recovered while the government failed to retrieve the shipwreck to carry out a full investigation. Many people in Korea, not just those affected directly by the tragedy, have many questions about the circumstances of the accident and who should be held responsible for the loss of so many innocent lives. Several Korean filmmakers have tackled the Sewol disaster to examine how this could have happened. And since these documentaries are investigative, I felt I would rather like to create something from a different point of view.
As most of my work is inspired by space and architecture, the living spaces of the remaining family members became the focus of this film. I also wanted to make a documentary film with fictional elements and more of a poetic approach, which hopefully speaks to the families instead of stirring up their anger with hard facts. I hope that this is a film which could bring them some measure of peace in relation to their lost loved ones.
I really hope that this film speaks to the families, but also makes a bigger international audience aware of this dark day in Korean history. This is something the families, who have been abandoned by the Korean government in their search for the truth, are really hoping for.