Latest news with #filmmaking
CBC
25 minutes ago
- Entertainment
- CBC
How her job as a community counsellor taught this filmmaker to be a better storyteller
For Jules Arita Koostachin, filmmaking is a way for her to bring together all aspects of who she is: as a writer, a community worker, and an InNiNew IsKwew (Cree woman). That mix of identities, as well as a career shaped by years of listening, teaching, and healing, comes together in her new film, Angela's Shadow. Born in Moose Factory, Ont., and raised between the Cree-speaking Northern Ontario community of Moosonee and Ottawa, Koostachin grew up surrounded by stories — ones passed down by her Cree grandparents and her mother, a residential school survivor. A member of Attawapiskat First Nation, on the ancestral lands of the MoshKeKo, Koostachin carries those histories forward, not just for her community, but through film, sharing them with the nation and the world. That grounding in lived experience and cultural legacy pulses through every frame of Angela's Shadow. " Angela's Shadow is a deeply personal film rooted in Cree matriarchal strength, and to have audiences respond so powerfully was both humbling and affirming," Koostachin says. "It told me that people are ready — and hungry — for stories that honour Indigenous experience through our own lens, with all the beauty, grief, and spiritual complexity that comes with it." Angela's Shadow — which premiered at the 2024 Vancouver International Film Festival — revolves around a young couple, Angela and Henry, who travel north from Ottawa to visit Angela's nanny, Mary. When Angela becomes haunted by a menacing shadow figure, Mary turns to banned Cree ceremonies to protect her and her unborn child. As Angela unearths long-buried truths about her ancestry and the spirit's identity, she's drawn deeper into her own spiritual traditions, confronting her husband's increasingly rigid, purity-obsessed worldview. Angela's Shadow is set primarily in the mid-1930s, a time when Indigenous ceremonies were outlawed in Canada and the residential school system was in full force. The story moves between Ottawa and the remote Cree community of KiiWeeTin, along James Bay. "I chose this setting because it's a pivotal era in our herstory — one where Indigenous families were being torn apart, but women like Angela's nanny Mary found ways to preserve knowledge, medicine, and kinship through quiet resistance," Koostachin says. Before turning to filmmaking, Koostachin worked as a counsellor in social services and taught at colleges and universities in Toronto, Sudbury, and Vancouver. Those roles, she says, helped lay the foundation for her storytelling. Koostachin's work in the social service sector and educational system has deeply shaped the way she approaches filmmaking, particularly with a story like Angela's Shadow. "I've sat with people in their most vulnerable moments, and that's taught me to listen with care, to honour silence, and to understand trauma not just as an individual experience, but as something carried through generations, she says." While teaching, Koostachin witnessed how storytelling could bridge worlds: urban and rural, Indigenous and non-Indigenous. These experiences not only expanded her understanding of how stories move across spaces but also deepened her connection to her own community's histories, languages, and ways of knowing. Koostachin's path into filmmaking was shaped early through her studies in documentary media. In 2010, she completed a master's degree at Toronto Metropolitan University (then called Ryerson University), earning both the Award of Distinction for her thesis and the prestigious Ryerson Gold Medal for highest academic achievement. That academic grounding helped launch a career rooted in storytelling as a form of cultural reclamation. She has since learned to translate lived experience into powerful visual narratives. While in graduate school, she directed her first feature documentary, Remembering Inninimowin — a personal journey of reconnecting with the Cree language. She was later selected as one of six participants for the Creative Women Workshops Association's prestigious Women in the Director's Chair program, where she directed a scene from her award-winning feature script Broken Angel. "Film is visceral," she says. "It lets me layer visuals, sound, silence, and spirit in ways that echo our orality while reaching wide audiences. I'm drawn to its power to hold space for our truths. It's where I can reclaim narrative sovereignty and offer stories that reflect the complexity and beauty of our lived experience." Koostachin deepened her filmmaking practice through doctoral research that centred Indigenous storytelling on its own terms. She earned a PhD in Gender, Race, Sexuality and Social Justice from the University of British Columbia, where her dissertation, MooNaHaTihKaaSiWew: Unearthing Spirit, explored how Indigenous knowledge systems can live within cinematic form — ideas that shape both the structure and spirit of Angela's Shadow. "With Angela's Shadow, I brought all of that — the therapeutic, the academic, the cinematic — into a story that is grounded in an InNiNeWak (Cree) worldview, but universally resonant. She says. "Every frame is informed by lived experience, cultural protocol, and a deep respect for our matriarchs. It's where I can reclaim narrative sovereignty and offer stories that reflect the complexity and beauty of our lived experience," she describes. Koostachin's work has garnered numerous awards over the years, with her most recent honour — the Panorama Audience Award at the 2024 Vancouver International Film Festival for Angela's Shadow — marking a particularly meaningful milestone. For her, the recognition extends far beyond individual acclaim; it's a celebration of the cast, crew, and Cree community who shaped the film, and a tribute to the matriarchs, languages, and generations carried forward through its story. Koostachin invites audiences to watch Angela's Shadow as a vital act of truth-telling, healing, and cultural reclamation. "As a cultural contribution, it challenges dominant narratives and brings forward a Cree worldview that is rarely seen on screen — one that is matriarchal, spiritual, and profoundly relational. It's not just a film; it's a continuation of storywork — a cinematic offering to those still seeking their way home."
Forbes
8 hours ago
- Entertainment
- Forbes
Taking Back Creative Control In The Age Of Generative AI
Ira Belsky, Artlist cofounder and Co-CEO. getty When AI first came into our lives, it did so with a bang, not a whisper. In every creative field—from design to filmmaking to music—we were told AI could do what we do, only faster, cheaper and, often, alarmingly well. The result? A quiet panic. The kind creatives rarely talk about openly. But the real gut punch isn't just that AI can create. It's that suddenly, anyone can call themselves a creator. The tools promise instant expertise, and the market rarely questions it. Creative work is starting to feel like a race, and everyone else seems to have a head start. If you're a creator who has spent years honing your craft, developing your eye and building your instincts, then you understand the feeling of losing control—not just of your tools, but of your profession, your identity, your value. Here's what I've learned: Creativity has never been about speed. It's about vision and turning an idea in your mind into something tangible and meaningful. That's where current AI tools, despite all their promise, still fall short. The technology is impressive. But the control—the ability to direct, shape and fully own the output—is where it's still playing catch-up. Creativity Is A Translation, Not A Shortcut At its core, creativity is the act of control. Whether you're writing a song, directing a film, designing a landing page or editing a reel, it starts in your head, with a deeply personal vision. The work of a creator is the work of translation: from intangible to tangible, from idea to artifact. So far, AI has largely skipped this crucial middle step. It spits out results based on prompts and patterns—often incredible, sometimes uncanny, but rarely fully aligned with what you had in mind. Your role as the creator shifts. You go from making to tweaking, selecting, settling. That's not control, that's compromise. AI breakthroughs are real. But the tools built on them haven't kept pace. Most have been designed to dazzle, not to collaborate. Take video production, where this disconnect is especially clear. Traditionally, shooting a video meant managing tight budgets, complex logistics and precise timelines. Scripts mapped every moment. Storyboards visualized every shot. Shot lists defined camera angles, lighting and movement. Control wasn't optional—it was essential. A single day of shooting could cost thousands, so reshoots could derail entire projects. Creative control became a discipline. Now, AI video tools promise to eliminate those constraints. No crews. No costs. No timelines. Just prompt and generate. But in removing logistical friction, they've introduced creative friction. They've stripped away the very craft that made great video possible. This is where AI disrupts the deeply human process of translating vision into output. The technology can generate stunning visuals, but it still struggles to honor the creative decisions that give meaning. It's not enough to just generate. We need tools that let us direct. Learning From The Old To Build The New This isn't the first time creators have faced constraints and fought to preserve creative authority. The history of every medium is one of working within limits, without compromising vision. Early digital artists developed iconic styles using limited machines. Indie filmmakers made magic on tiny budgets. Game developers turned low memory into immersive worlds. Constraints didn't stifle creativity; they shaped it. The pattern is clear: Embrace limitations, but never surrender control. Consider desktop publishing. When software like Illustrator and Photoshop became widely available, many designers feared their craft would be devalued. Some worried that mass access would lead to amateur work or a drop in quality. But over time, these tools proved empowering, offering professionals greater flexibility, precision and creative freedom. Desktop publishing was the creative tech revolution of its time, and it's a strong analogy for how we can view AI today—not as a threat, but as a tool to evolve the craft. Today, creative technology companies such as Adobe are following a similar trajectory with AI. Features like Generative Fill don't overwrite your process—they extend it. You can define where AI acts, refine results and remain the author of the work. This approach treats AI as a collaborator that enhances creative workflows rather than replacing the creator. This is the blueprint for the future of creative AI. Now is the time to build a 'controllability layer.' AI shouldn't be a black box delivering finished products. It should respect and mirror how creators think and work, opening new possibilities while preserving creative authorship. Now Is The Time To Shape The Future Building that controllability layer is just the start. The choices we make now will determine whether AI becomes a blunt instrument or a precision tool in the creative process. For creators, the path forward is about clarity. Don't get distracted by viral AI content that prioritizes novelty over nuance. Focus on tools that amplify your voice, not replace it. Look for applications that preserve your creative decision-making while handling the technical heavy lifting. Experiment with intention. Stay grounded in your principles. For those building the tools, this is your moment. The foundation exists, but the next phase requires creative partnership. Study how creative professionals work. Understand the micro-decisions that happen throughout the process. Design interfaces that honor those workflows and extend creative reach. The Road Ahead We're at a turning point—a chance to move from fear to fluency, from reacting to leading the charge. AI tools don't just help you create—they collaborate. They enhance creativity and return agency to where it belongs: in the hands of the creator. Every creative revolution has been powered not by tools that replaced artists, but by those that empowered them. AI is no different. The future belongs to those who take back creative control and use these tools to amplify their unique vision. Forbes Technology Council is an invitation-only community for world-class CIOs, CTOs and technology executives. Do I qualify?
Globe and Mail
15 hours ago
- Entertainment
- Globe and Mail
Kosmos Post and Faith and Family Filmmakers Association Announce Feature Film Trailer Grant to Empower Christian Filmmakers
The grant will provide recipients with access to world-class post-production and trailer editing services, positioning their films for greater visibility in a competitive market. It is open to filmmakers with completed or nearly completed projects in need of professional trailer editing. Kosmos Post, a leader in high-impact post-production, in partnership with Faith and Family Filmmakers Association (FAFF), an organization dedicated to supporting, connecting, and empowering filmmakers who produce content rooted in faith, family values, and inspirational themes, is proud to announce the launch of the Kosmos Post Feature Film Trailer Grant. This grant initiative is designed to empower independent filmmakers by providing high-end trailer editing services to select film projects that exemplify powerful storytelling and creative vision. 'We're thrilled to partner with FAFF Association to support Christian voices in the film community,' said Kristen Goshorn, Founder and Lead Editor of Kosmos Post. 'We understand the importance of a great film trailer in building audience anticipation and capturing market share. We want to ensure our independent filmmakers have access to the tools they need to launch their films into the world.' Selection Process Faith and Family Filmmakers Association, known for its commitment to nurturing and promoting excellence in faith-based and faith friendly filmmaking, will partner with Kosmos Post in the selection process. Projects will be evaluated based on narrative strength, artistic merit, and alignment with FAFF's mission to amplify faith and family-friendly values. 'Film trailers are an essential part of securing distribution, but quality film trailers are often financially out of reach for independent creators,' said Jaclyn Whitt, Co-Director of FAFF Association. 'This grant will not only elevate the marketability of these films but also elevate important themes Christian filmmakers have to share with the world.' Application Deadline Applications for the Kosmos Post Feature Film Trailer Grant will be accepted until August 23, 2025 via FAFF's website. Selected recipients will be announced later this summer, with trailer editing sessions to be completed at Kosmos Post facilities in Bloomington, Illinois. For more information about the Feature Film Trailer Grant from Kosmos Post and Faith and Family Filmmakers Association, visit About Kosmos Post Kosmos Post is a premier post-production studio specializing in cinematic trailers, visual effects, immersive sound design, and standout social content. Founder Kristen Goshorn partners with directors, producers, influencers, and brands to craft compelling, high-quality films. From features to branded content, Kosmos Post delivers excellence, creativity, and impact. About Faith and Family Filmmakers Association Faith and Family Filmmakers Association offers multiple programs and opportunities for Christian Filmmakers. Through education, networking opportunities, and their Faith and Family Filmmakers Podcast, Founders Geoffrey Whitt and Jaclyn Whitt pursue their passion and vision to support and empower the Christian filmmaking community to thrive in their God-given gifts, talents and callings. Media Contact Company Name: Faith and Family Filmmakers Association Contact Person: Geoffrey Whitt Email: Send Email Country: United States Website:
Yahoo
19 hours ago
- Business
- Yahoo
Project Odyssey Season 3 Premieres August 29 - 3,000+ Creators, 100+ Countries & a Las Vegas Gala Finale
San Francisco, CA , July 21, 2025 (GLOBE NEWSWIRE) -- Project Odyssey, the world's largest AI filmmaking competition opens submissions August 29, 2025 for Season 3. This season is projected to feature over 10,000 AI‑generated films from more than 3,000 creators across 100+ countries, before culminating in a hybrid red‑carpet gala and livestream in mid‑November."Project Odyssey Season 3" with an astronaut walking on Mars. 'AI video has moved from niche experiment to mainstream creative force,' said Cale Frombach, Executive Director. 'Project Odyssey is more than a contest - it's a global showcase of how AI is rewriting the rules of storytelling and a huge opportunity for brands to tap into genuine creativity at scale." Building on Season 2's success - 4,593 film submissions from 2,043 teams in 87 countries - Season 3 aims to double participation, generate 300+ hours of original video, and surpass 2 million global impressions. Season 3 Key Dates (Tentative) Submissions Open: August 29, 2025 Submissions Close: October 3, 2025 Final Gala & Winners Announced: Mid‑November 2025 (Las Vegas, NV; hybrid event) Sponsor Opportunities & Benefits Sponsors are invited to directly connect their brands to an innovative global audience of creators and enthusiasts through highly visible partnership tiers, including opportunities to have naming rights to the awards gala, have their models/services/apps promoted to thousands of AI filmmakers, provide creative briefs for AI-generated promotional content, and much more. Why Sponsor Season 3? Global Creator Reach: Engage 3,000+ filmmakers across 100+ countries, embedding your product in their creative process. Thought Leadership: Position your brand at the forefront of AI‑driven storytelling and creativity. Authentic UGC: Leverage 'Ad Lab' briefs to generate genuine, passion‑driven micro‑films that outperform polished ads. Talent Scouting: Scout, connect, and recruit emerging filmmakers for internships, freelance gigs, or long‑term partnerships. Expert Insights: Speak on gala panels, join weekly livestreams, and collaborate with Cale Frombach and industry experts. Press & Media Engagement Embargoed Press Kits & Trailers: Available upon request ahead of August 29 launch for media planning. Exclusive Interviews: With Executive Director Cale Frombach and Season 2 winners. Behind‑the‑Scenes Access: Join our press list for continuous updates, insider insights, and gala coverage. About Project Odyssey Founded in 2024, Project Odyssey is the world's premier AI filmmaking competition. Seasons 1 & 2 attracted over 6,000 films and 2,000+ teams from 87 countries. Season 3 scales up with a target of 10,000+ film submissions, a global livestream, and an in‑person gala in Las Vegas. Media Contact Cale Frombach - Executive Director, Project Odysseycale@ Press Page Sponsors Page A video accompanying this announcement is available at
Yahoo
a day ago
- Entertainment
- Yahoo
James Cameron & Billie Eilish Are Working Together on a ‘Special' 3D Project
Billie Eilish surprised fans during her concert in Manchester by sharing that she is working on a mysterious project with James Cameron. While she kept most details under wraps, Eilish confirmed that the collaboration is being filmed across her four-night run at Co-op Live. With Cameron in the audience and speculation swirling online, fans are eager to know more about the project. Billie Eilish shares she is collaborating with director James Cameron on a project Billie Eilish has revealed that she's working on a new 3D project in collaboration with filmmaker James Cameron. The announcement came during her first concert at Manchester's Co-op Live arena. She informed the audience that the performances over four consecutive nights are being filmed as part of this special project. Addressing the crowd, Eilish said, 'So you may have noticed that there are more cameras than usual in here. Basically, I can't say much about it, but what I can say is that I'm working on something very, very special with somebody named James Cameron, and it's going to be in 3D.' The singer also added, 'So, take that as you will, and these four shows here in Manchester, you and me are part of a thing that I am making with him. He's in this audience somewhere, just saying. So don't mind that, and also I'll probably be wearing this exact outfit for like four days in a row.' Though Eilish held back from sharing full details, her comments sparked widespread speculation online. Fans have floated theories ranging from a concert film or documentary to a music video. For now, the exact nature of the project remains unknown, Currently, Eilish is touring in support of her third album, Hit Me Hard and Soft, which dropped in 2024. Her global tour launched in September 2024. After her run in Manchester, she'll head to Japan and then back to the United States, where the tour will wrap on November 23. As for Cameron, he is finishing up Avatar: Fire and Ash, the next installment in the sci-fi franchise. That film is scheduled for release on December 19, 2025. The post James Cameron & Billie Eilish Are Working Together on a 'Special' 3D Project appeared first on - Movie Trailers, TV & Streaming News, and More. Solve the daily Crossword
