50+ movies update

The goal is to make and release a new movie every 1-2 months starting in March 2024. 1 feature every 1-2 months. 50+ features in 50-100+ months.

Made Rene movie available on YouTube for a limited time (while other distro options are made available) in early March. Watch the movie here. That’s the March - April 2024 movie.

The next new feature - 53 Cases (working title) will be released at some platform most likely in May. That will be the May - June 2024 movie. And that will be the movie #3 in this 50 Movies series. #1 was Slow Romance (released in 2022 but added to this series - same characters as in the rest of the movies), and #2 was Rene.

4 trailers - New Hong Sang-soo, Costa,Diaz + Cosmic Disco Detective Rene

June - Aug 2023 Indie Film Stuff

Indie Discovery LA Film Series screenings July & August at Laemmle Glendale

COSMIC DISCO DETECTIVE RENE World Premiere, week 1 in LA - July 7 - 13 at Laemmle Glendale, part of Indie Discovery LA Film Series

Only In Theaters doc related links at Arthouse Theaters Doc blog

Only In Theaters doc - about a hidden gem that America is in danger of losing - art house theaters

I went to film school - a long time ago - and that’s how I learned about art house films and art house film theaters. Most people don’t go to film school, and they never hear about or go to an art house film theater. This was not a major problem even as recent as 2019 - the times were good for art house theaters, attendance was up, the theaters were making money or surviving. Then came the pandemic of 2020, and the slow recovery, and many theaters of all types - including art house theaters - are closing.

There is a new documentary called Only In Theaters - about the Laemmle art house chain in Los Angeles area, and the family that owns and runs it. It is an excellent documentary, and a great introduction to the problems facing art house theaters at the moment. Here is the screening schedule for the doc - go see it at a movie theater if you can. It offers a great introduction to the community around art house theaters, and the major problems the sector is facing now.

Let’s move on to the bigger topic, and question, at hand. How can art house theaters survive in 2023 and beyond? The current failure of art house theaters, beyond the problems caused by the pandemic, has its roots in what made them a success - they were a European film alternative to Hollywood movies. Art house theaters had their boom time in America in the 1960s - around the time of the French New Wave and other non-Hollywood filmmaking movements. Then the theaters got another boost during the 1990s indie film wave in America. The 1960s audiences are now very old and they are not coming to the theaters like they used to. Indie movies were swallowed up by Hollywood and now most of them quickly go to VOD if they have any theatrical screenings at all. But, there is still a place for art house theaters in America. Here is how they can survive and thrive:

1 - Indie filmmaking is as popular as ever in America. Filmmakers spend hundreds of millions of $s each year making indie films, submitting to festivals, and ultimately releasing the films one way or another. Art house theaters should reach out to and work with indie filmmakers. Create new screening programs that bring in theater rentals (similar to what film festivals do), and help the filmmakers promote their movies using their (the theaters’) experience in showing and promoting indie/art house movies. So, indie filmmakers and self-distributed indie films can be a steady revenue stream for art house theaters. Any theatrical screenings can be used by filmmakers as a reason to create promotional material, seek and get press coverage that will be useful for their VOD releases down the road or for developing their careers. This year I am experimenting with such a program in LA through the Indie Discovery LA Film Series - where the programmer + filmmakers + the theater work together to make week long engagements of indie films previously not shown at theaters a success. I will have more on that screening series later in the year.

2 - Art house theaters, by and large, served a “white” customer base in the past. They can now add diverse programmers, have them find movies to show - movies that would bring in a diverse audience - specially movies by diverse filmmakers in the local area where the theaters are located. Several such local diverse filmmakers, several sold out shows a week, all year long, can = a new, significant revenue stream. Also add younger programmers and scouts to help find movies to show. Basically do a lot more of original programming that appeals to a lot of people living in areas near the theater. And work with many community organizations to bring in movies that would appeal to their members. There are many ways to expand the programming.

3 - Theaters should organize and demand long release windows before movies are released on VOD. They should favor/book only movies that can play at least several months in theaters before they have to go on VOD. All types of movie theaters - art house and mainstream - need a longer theatrical window in order to survive. So, a longer theatrical window for movies means audiences can’t wait just a week or two to catch a movie on VOD, so they will come see the movies at the theaters. Increased revenue.

4 - Generate their own media. Anyone can launch a website, a blog, a social media page - or a hundred, or a thousand now. Art house theaters are dependent on established media to send customers their way through press coverage and reviews. Art house theaters need to become much more active on the web, perhaps even in print (publish magazines, etc), and repeatedly tell the world that they exist and that they have an amazing product - great non-Hollywood movies from all over the world, from film festivals, from individual filmmakers. Also working with or sponsoring a diverse group of writers, bloggers, promoters can help sell art house movies and the art house moviegoing experience to a wider public.

5 - Find a way to lower prices for each trip to the theaters so that more people can go more often. Perhaps a membership program that significantly lowers prices.

Hollywood movies and mainstream TV and streaming shows are boring. Because they have to aim wide to capture a large number of viewers. So they rely on tired formulas. Indie, art house movies have a narrower focus, and they are more interesting. Also a lot of art house films are made by auteurs - individual artists - not a committee of business people who determine which boring films get made and released based on business factors. And art house theaters show amazing movies from all over the world. So, the product or service that art house theaters offers is great - great movies at a great environment. A million times better than watching movies on VOD at home by yourself while worrying about various strange noises the neighbors are making. Art house theaters can survive these difficult times if they are to make necessary changes and become more useful for more people. Art house theaters are a hidden gem of American life, and thus should be saved from going extinct.

20 point plan for a new type of indie film - the Indie Film EVA (Entertaining Video Art) projects

An image from COSMIC DISCO DETECTIVE RENE (2023) - an Indie Film EVA (Entertaining Video Art) project. Copyright 2023 Sujewa Ekanayake/NYC Fantastic.

1 out of 20 from a Twitter thread - - Indie film EVA (Entertaining Video Art) version:

- 90 mins or longer, fiction generally

- no or microbudget, from $0 to $1 million or under

- filmmaker can act if possible

- filmmaker to do as many things as possible on the project

- self-distribute, promote well

2 - theatrical screenings

- completely non-Hollywood or non-Indiewood as much as possible

- films can be entertaining - comedies, dramas, horror, etc

- or can be art/experimental (entertaining for some)

- diverse casts and crews when possible

3 - community oriented

- share info on projects, crowdfund, share info on projects of others

- filmmaker to create promo websites, pages, promote through social media, video

- finishing a film is success

- engaging in making this type of art work = contentment, happiness

4 - use of motion picture film is forbidden (unless it is super inexpensive to do so due to some deal or free), fine to make video look like film

- no Hollywood type worship of fame or wealth

- no Hollywood type worship of box office or festival recognition, awards

5 - to remain an active Indie Film EVA (Entertaining Video Art) practitioner/artist, the filmmaker/video maker must finish at least 1 feature a year. those who do not are retired.

6 - the proper way to write the name of the art form is (as of now :)) - Indie Film EVA (Entertaining Video Art)

- when possible use films/video art to help others, make positive improvements in the world

7 - experiment with, and use, innovative new ways of producing, distributing, marketing, selling, showing the works on every project

- don't settle for Hollywood norms

8.- overall main idea - from another tweet thread - Instead of regular film - a stressful chase of fame and wealth Hollywood style, microbudget indie film can be more like the some music scenes or other art and social pursuits - a fun and interesting community thing that also makes good money for the filmmakers.

9 - films can be funded through any possible means (as long as it does not take away near 100% control of the creative, business, distribution, promo sides of the project from the filmmaker/director/video artist) - from money from other work, from grants, from donations, etc.

10 - no studio funding for this type of art work. if you are making a studio funded movie or TV show or streaming show, you are not making Indie Film EVA (Entertaining Video Art) projects. wealthy individuals can give money to projects for credit, other rewards.

11 - the filmmakers should come up w/ a long term financial strategy. pay off any debt from projects over 5-10 years. perhaps making a profit from projects over 5-10 years, if possible. develop as many revenue streams as possible off of projects.

12 - if projects make a profit, share some of the additional money with team members who made the projects happen - including distribution and marketing team members, if any.

- it's fine for projects to not make any money or lose money. it's art and culture - positive work.

13 - filmmakers should advocate for positive changes in the global film/video making industries and arts practices overall: more inclusive casting, more inclusive film critics groups, more inclusive press coverage to the filmmakers/video makers/actors.

14 - filmmakers/video makers should come up with a 20 year plan to save $250K - $1 million, and make it happen on a daily basis.

15 - filmmakers/video makers should learn about investing in relatively safe ways, growing their money. keep some of the money in savings, invest some.

- capitalism is fine, as long as it does not limit your creativity or do evil things to other humans

16 - filmmakers/video makers are not politicians or political activists or elected representatives of a group of people (typically). however, our position as artists should be used to improve the world in as many ways as possible: re: climate change, stable economies, etc.

17 - as filmmakers/artists we are privileged individuals. we want to advocate for and support for a stable, well organized, corruption free world - in all nations - where individuals can pursue happiness as we are able to do so.

18 - primary goal in life is making and releasing super indie video entertainment art works in as non-Hollywood ways as possible.

- use of famous actors OK if they are your friends and are very cool, chill artists - work out the biz details

19 - no use of Hollywood unions talent on these small indie projects. some exceptions can be made for your cool Hollywood actor friends if they want to do a fi-core project (or come up w/ some other way of getting it done).

20 - support and work with female filmmakers and artists. an essential aspect of humanity. and historically a group of people who were not well supported when it comes to filmmaking.

On the low level of visible ethnic diversity among NYFCC membership

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1 out of 17 from a Twitter thread - As with American film during the first 100 years, not a lot of diversity at New York Film Critics Circle. This [possibly] affects the careers of minority filmmakers, foreign filmmakers. Film is a global art form. NYC is very diverse. Perhaps over next 100 years things will improve.

2 - not a lot of visible ethnic diversity. the absence of a significant number of Black critics is shocking for the 2020s. As Black and other minority audiences are the majority audience for cinema worldwide.

3 - the other problem with critics is they mostly write about Hollywood movies. Even though, after 2020, indie movies are available online, & most movies are now indie movies.

4 - personally speaking, as a NYC based minority filmmaker, as far as I know no one from NYFCC wrote anything positive about my last two movies @WerewolfComedy + @slowromcomedy - both watched by 100s of people (thousands :)) & w/ positive reviews from critics in other cities.

5 - so, two major problems w/ NYFCC - lack of ethnic diversity in a group that writes about a global art form and can have an effect on box office, careers, plus not enough coverage of non-Hollywood/real indie movies (100s made in NYC alone each year).

6 - obviously this is a very complex subject. but a good one to discuss at length and understand. cinema shapes how people are viewed by others. cinema has affected many serious political, life or death type moments for many people over the last 100+ years worldwide.

7 - about 5 people out of the NYFCC membership of around 40+ people appear to be visible minorities. I am sure every critic in the org is highly skilled. but, due to history of exclusion in the film world, and due to the influence NY critics can have over movies,...

8...it may be a good idea to have more minority film critics in the NYFCC. yes, it's not a simple process to change things. but, see if you can do better over the next 100 years :) - https://nyfcc.com/membership/

9 - looks like 43 members, and perhaps 6 who are visible minorities (non-"white" looking people). the absence of a large number of Black critics, for an industry that has historically suppressed Black talent, does not look good. same for Asian, Latin Am, and all other minority...

10...groups. It's film (a global art form) coverage in NYC (a very diverse city), read by people worldwide. increase the diversity, may be better for the art form and audiences - & def better for minority film criticism careers. here's my data/images from NYFCC site.

11 - see images of members from NYFCC site above

12 - also, if the NYFCC were to talk publicly about the issue of lack of diversity in film criticism - historically, in US-wide, the public may get a better understanding as to what's going on.

13 - a related topic of discussion may be 'can critics from whatever background seek out, champion minority and indie films?' - technically the answer of course is yes. but is it happening among the members of the NYFCC? def is being done by some. more info is needed.

14 - the reason I am interested in diversity in NYFCC is because small indie films such as No Bears, Goodbye to Language can do well with critical support. Would be better if NY critics were to discover and support more minority indie films from US, including NYC.

15 - would a more diverse critics membership = more attention to films by minority filmmakers and indie filmmakers, to offset the enormous amount of attention historically paid to non-diverse films from Hollywood? perhaps. we'll have to see when such diversity happens at NYFCC.

16 - film has been used historically to humanize some people - make them more relatable, and to de-humanize some people - make them less relatable. so, which films get positive attention has a real world effect on the lives of millions of people worldwide.

17 - thus, diversity in films is important. diversity in films, which films get positive attention, may be related to diversity among film critics and reviewers. thus this discussion.

15 sites & pages ideas for indie filmmakers for 2023

15 websites & social pages ideas for indie filmmakers (or other artists) for 2023, w/ examples.

(because Hollywood spends a lot of time and money promoting their work, a lot of people hear about them. similar can be done on a smaller scale with regular updates to websites and social sites, plus ads - by indie filmmakers or other artists)

Maintaining a web presence is useful for promoting films and for fundraising for projects, and also for dealing with media as movies come out. The pro or paid versions of some of the sites of course cost money - but those costs can be counted as promo expenses for various movies, a part of the budgets for various movies.

1 - website 1 - https://www.nycfantastic.com

2 - website 2 - personal - https://www.sujewa.com

3 - letterboxd hq - https://letterboxd.com/slowromancefilm/

4 - letterboxd pro - https://letterboxd.com/sujewa/

5 - imdb pro - https://www.imdb.com/name/nm1486477/

6 - Vimeo pro - https://vimeo.com/sujewa/vod_pages

7 - YouTube (good for worldwide reach, w/ ads on fb or elsewhere for the videos) - https://www.youtube.com/c/DIYfilmmakerSujewa

8 - YouTube community notes - https://www.youtube.com/@NYCIndieFilmmakerSujewa/community

9 - twitter 1 - https://twitter.com/sujewafantastic

10 - twitter 2 - film project 1 - https://twitter.com/slowromcomedy

11 - twitter 3 - film project 2 - https://twitter.com/CosmicReneMovie

12 - Post - https://post.news/sujewafantastic

13 - Facebook 1 (fb is good for ads worldwide) - https://www.facebook.com/sujewa.ekanayake/

14 - Faebook 2 - film project 1 - https://www.facebook.com/slowromancemovie/

15 - Facebook 3 - film project 2 - https://www.facebook.com/cosmicdiscodetectiverene