I recently stumbled upon the Instagram page of the True Colors Film Festival (https://www.instagram.com/truecolors2020/) and felt inclined to give them a shout-out here so that cinephiles, filmmakers, and the organizers behind the film festival itself could benefit from this interview and thus climb aboard the ‘True Colors Train!’
TCFF is a free and online film festival that threw its doors open on December 3rd and ends on 12 December 2020. However, their short films and dialogues program has been extended to December 31 2020 by popular demand.
The executive producer at TCFF, Audrey Perera, was gracious enough to answer a few questions I had regarding the festival, which is unique in the way it champions the message of ‘One World, One Family’ by bringing people from diverse backgrounds (filmmakers, screenwriters, the general public alike) under one roof through the impactful art of cinema.
First and foremost, I’d like to know why you went with the name ‘True Colors’ for the festival? Does it hold a special significance?
AP: True Colors Film Festival (TCFF) is an event of the True Colors Festival (TCF), a long-running series of events presented by The Nippon Foundation, which has been working toward a more inclusive and diverse global society for more than 50 years.
The name ‘True Colors’ does indeed hold a special significance. While researching titles and artists for the first festival in 2018, I came across two artists with disabilities from two completely different parts of the world. Each had articulated the same thought: that they did not feel welcome at the table, so to speak, because they did not fit the concepts of what’s acceptable/cool/etc. that social media was driving. This made them, they said, hide their true colors as individuals. It was uncanny that both artists used the same phrase, and that I came across them at the same time.
I knew instinctively that this would be the name of the festival. The theme of TCF is “One World, One Family,” and we’re championing this message using the power of the arts, in all its forms.
Where, when and how did the idea for this festival arise?
A scene from “Listen” (Bando à Parte, 2020).
AP: When COVID-19 hit, all the TCF events scheduled for this year had to be cancelled or postponed. But we didn’t want to just go silent on everyone who was following us (artists and audiences), so we embarked on a series of online activities. Our first priority at that point in March of this year was to send a message of hope and positivity to the global community of people living with disabilities.
They were particularly hard-hit by the pandemic because of issues like access to timely healthcare information in the forms they could access, disruption of services like daily caregiving and nursing, therapy and food supply, and often being de-prioritized in the face of a crippling pandemic. We reached out to 46 singers, dancers, and musicians from 15 countries/regions and created a music video. (https://truecolors2020.jp/en/program/stand-by-me-music-video-true-colors-digital-2020)
Then we took a strand from the music video, which had featured several hip-hop musicians, rappers, and dancers, and organized an online panel discussion about the unifying power of hip-hop as a genre that has no boundaries. That was “This is Hip-Hop!” (www.youtube.com/watch?v=kmW7pMmcIRc&t=733s).
We realized that our next event needed to have mainstream appeal—and who can say no to a good film! It had to be done the True Colors way, curated around films that were about One World, One Family. Our curatorial team looked for films that could add to our understanding of what an inclusive and diverse could be like; and focused on the experiences that humans everywhere experience: connection, diversity, hope, dreams, and transformation.
Were there any hurdles along the way when you initially began the festival or has it been a smooth run?
AP: One practical challenge we faced was to strike a balance between our desire to offer free and unlimited screenings of films to online audiences, and not negatively affecting the earnings of film rights owners. Like other online film festival organizers, we believe that digital screenings should be limited to certain countries/territories to protect the rights and earning potential of films.
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Through our streaming partner, The Projector Plus (theprojector.sg/tcff), we utilized geo-blocking technology that restricts the availability of TCFF’s program of feature films in some countries and territories, while allowing access in others, based on the preferences of rights owners. (This issue did not arise with the rights owners of the short films, and all 18 of them are being streamed in Vimeo and can be accessed anywhere in the world, except where Vimeo is not accepted). We had a good response and we’ve decided to extend the short film program until December 31, 2020.
Another hurdle was the subject matter. Themes such as disability, mental illness, et cetera, are not ‘sexy’ and not associated with the idea of entertainment. So, the challenge was to hone in on the human experience element of the story-telling. The mix of full features and short films helped as it gave people options for the time commitments they needed to make. With online film festivals popping up every day, we had our work cut out for us!
How is this festival different from all the other festivals out there?
A scene from the film “37 Seconds” (Knockonwood, 2019).
AP: With a theme like ‘One World, One Family,’ this festival is different in its objectives that go beyond offering quality films for free. It’s about films that can deepen our understanding of what an inclusive world could be like, and equip us with the vocabulary and sensitivity to discuss issues such as disability, mental illness, racism, and discrimination. At the same time, it’s about high-quality entertaining and uplifting films!
Who does this festival cater to or who all can participate in it?
AP: TCFF, with its 28 films and 4 dialogues, offers something for everyone, because of its universal theme. The 10 feature films were available to viewers in the Asia-Pacific region until December 12th. And our short film program, available via Vimeo, all the way up to December 31, 2020. .
Do elaborate on the kinds of movies that are screened at the festival?
AP: The full feature program—which can be streamed within most of Asia and the Pacific—ends on December 12th, so let’s focus on the the 18 short films and documentaries from 10 countries, and four dialogues. This short film program has been extended to December 31 by popular demand from viewers from around the world—from Serbia, South Africa, and the Netherlands to Indochina, India, and Bhutan.
Among the 18 shorts are the following:
“Elsewhere” (2015; Italy), a heart-warming road trip movie starring Simone, a young man with Down syndrome.
“Dahdi” (Singapore; 2014), inspired by a 2012 event in which 40 Burmese Rohingya asylum seekers arrived in Singapore. An elderly widow faces an unexpected guest—and a moral dilemma.
“Stand by Me” Music Video (2020; Singapore), 46 artistes from 15 countries/regions perform a classic hit at the height of the pandemic.
“Poop on Poverty” (2013; India), a challenge faced by two billion people every day; and a stylish dig at wealthy tourists.
“Lovely Bones” (Myanmar; 2015), a love story about Pauk Gyi and his wife who share a bond that transcends all obstacles.
“Many Notes, One Melody” (2018; India), voices joined in harmony across caste, class and ability.
Apart from movie screenings, what else can the public look forward to seeing/experiencing during ‘True Colors’?
AP: The festival also offers the following series of recorded dialogues with filmmakers and producers:
“Four dialogues” (the first two reference films in the short film program):
“Ethical Story Telling”, a chat between Head of Our Better World, Rebecca Lim, and actor Gerald Chew.
“Cause Champions, Stories That Must be Told,” a sharing of stories between film makers Jasmina Mustafic (“A Long Journey for the First Steps”), Mauro Melgrati (“Elsewhere”) and Vijay S Jodha (“Insight Within” and “Poop on Poverty”), We Care Film Festival founder Satish Kapoor, and TCFF curator Tan Bee Thiam.
“Separation, Injustice, Family…where does innocence lie?” A chat between Ana Rocha de Sousa, director of Listen, with TCFF Curator, Tan Bee Thiam
“37 Seconds Post-screening Dialogue” with director HIKARI and cast members of this revealing and courageous film about the aspirations and secret dreams of a young woman with cerebral palsy, and disability representation in film and entertainment. (It can be watched on Netflix too!)
Has the pandemic presented any changes or difficulties in the manner in which the festival is run? If so, how have you and your team coped with them?
AP: Most international film festivals have gone online. However, not all films, especially newer titles, are ready to go online yet as they are still waiting for theatrical distribution. We thought at first that that might have narrowed our choices but that obstacle made us look deeper and harder for films and through that process, we discovered filmic gems like “Moral” (1982; Philippines) and “The Chess Game of the Wind” (1976; Iran), two iconic films from decades ago which have been restored and remastered.
We do mean to continue on this True Colors Festival journey, reaching across the world and sharing the message of ‘One World, One Family.’ Now, more than ever, this message is vital.” audrey perera
We also discovered two very new gems, “Listen” (2020; Portugal/UK) and “The Fight” (2020; USA). The first—about a Portuguese migrant family in the U.K. caught in a social services nightmare—is Portugal’s Oscar nomination for ‘Best International Film,’ and the second—about ACLU lawyers bringing four civil and human rights cases against the Trump Administration—is perfectly relevant for this time in U.S. and world history. Both have not yet been screened/streamed at many festivals before TCFF.
What are some of the events at this festival which you would highly recommend to festival goers
AP: Please watch the short films, which will be available to stream on Vimeo until December 31 at (https://vimeo.com/showcase/truecolorsfilmfestival). You will enjoy the creativity and talent which enables film makers to tell compelling stories within anything from four to 24 minutes!
Going forward, what are your future plans for the festival?
The online festival continues until December 31.
AP: It’s early yet to make any announcement about TCFF, but we can say that True Colors Festival online and live events will continue over the coming months, featuring a music movie, performing arts events, a digital inclusive fashion show, and dialogues. These will culminate with a global concert in August 2021. We do mean to continue on this True Colors Festival journey, reaching across the world and sharing the message of ‘One World, One Family.’ Now, more than ever, this message is vital.
STREAMING INFORMATION
- For more information about True Colors Festival, visit https://truecolors2020.jp/en/
- Short films and dialogues are free to stream via Vimeo, wherever the platform is available in the world, link: https://vimeo.com/showcase/truecolorsfilmfestival
- Exclusions apply, visit: truecolors2020.jp/en/program/true-colors-film-festival-2020/exclusions.
- For more information about TCFF, visit https://truecolors2020.jp/en/program/true-colors-film-festival-2020/.
- Find out more about the Nippon Foundation here: http://www.nippon-foundation.or.jp/en/.
