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|The Narrative Feature category is for films that are longer than 40 minutes in length and are fictional. Fictional animated and experimental feature films qualify for this category.
|The Documentary Feature category is for non-fiction films that are longer than 40 minutes in length. Non-fiction animated and experimental films qualify for this category.
|The Narrative Short category is for fictional films 39 minutes and 59 seconds and under.
|The Documentary Short category is for non-fiction films with running times of 39 minutes and 59 seconds or less.
|The Animated Short category are for films that are 39 minutes and 59 seconds or shorter and feature primarily animated content.
Films that feature live-action puppetry should be submitted under the puppetry category.
|The Experimental Short category is for experimental films that have a running time of 39 minutes and 59 seconds or less.
|ATLFF is accepting a range of music videos and music films from musicians and filmmakers from around the world that will meet ATLFF's mission to lead the community in creative and cultural discovery through the moving image. Videos may be narratives, experimental or animation and can be long (max 20 minutes) or short form.
Songs must be the ORIGINAL composition of the bands featured in the videos. Covers will not be considered.
|The Puppetry Short category is for films that are 39 minutes and 59 seconds or shorter and feature primarily, but not exclusively, live-action puppetry.
Stop-Animation films should be submitted under the animation category.
MISSION & OBJECTIVE
The mission of the Atlanta Film Festival is to lead the community in creative and cultural discovery through the moving image. It works to develop the independent film lovers of the future through the festival, events, and social networking.
ABOUT THE FESTIVAL
Since 1976, the Atlanta Film Festival has offered audiences the opportunity to experience the best in international and independent cinema, from works by emerging regional media makers to masterpieces from the world's celebrated artists. The Atlanta Film Festival is one of the most respected and longest-running festivals in the United States.
The Atlanta Film Festival strives to introduce new talent to audiences and has been among the first places to show work by then new filmmakers such as Spike Lee, Victor Nunez and Joel Coen. The Atlanta Film Festival is also a qualifying film festival for the Academy Awards for the Live Action and the Animated Short Film categories, and in 2002 "The Accountant" by director Ray McKinnon won the Oscar in that category after qualifying at the 2001 Atlanta Film Festival.
The festival screens over 200 films (70 to 80 features – 120 to 130 shorts and music videos) representing over 30 countries from across the globe across10 days. Rounding out ATLFF are Happy Hours, Parties, Special Events and the CINformation seminar series.
Grand Jury Award Winners for 2013 were I USED TO BE DARKER (Narrative Feature), A RIVER CHANGES COURSE (Documentary Feature), GOD LOVES UGANDA (Pink Peach LGBT Feature), GUN (Narrative Short), GUIDESTONES (Documentary Short), OH WILLY... (Animated Short), KISS ME (Pink Peach LGBT Short), and ROCKERS (Music Video).
Grand Jury Award Winners for 2012 were WELCOME TO PINEHILL (Narrative Feature), CODE 2600 (Documentary Feature), CLOUDBURST (Pink Peach LGBT Feature), ZOLTAN: THE HUNGARIAN GANGSTER OF LOVE (Narrative Short), MISSISSIPPI: I AM (Pink Peach - LGBT Short), IK BEN ECHT NIET BANG (Documentary Short), THANK YOU (Animation Short) and BOXCAR FAIR (Music Video).
Grand Jury Award Winners for 2011 were: PRAIRIE LOVE (Narrative Feature), AN AFRICAN ELECTION (Documentary Feature), BEAR NATION (Pink Peach- Best LGBT Feature), THE STRANGE ONES (Narrative Short), THREE WALLS (Documentary Short), LOVE IS ALL YOU NEED? (Pink Peach- Best LGBT Short), THE RENTER (Animated Short),
Members of the jury in recent years have included Jamie Babbit (Itty Bitty Titty Committee), Karey Dornetto (Portlandia), Jim Farmer (Out On Film), Casper Kelly (Adult Swim), Jay Wade Edwards
(Adult Swim), Dr. Nate Kohn (Roger Ebert's Overlooked Film Festival, Somebodies), George Lefont (Lefont Theaters), Richard Steiner (Turner Classic Movies), Dan Brown (CNN), Tammy Hurt (Placement Music), Matt Goldberg (Collider.com), Abe Mohammodione (Campus MovieFest), Eddie Von Meuhler (Emory University), Matt Maloney (Savannah College of Art and Design), Keith Crofford (Adult Swim).
Aaron Hillis (GreenCine Daily), Erik Jambor (Indie Memphis Film Festival), producer Scott Mosier (Chasing Amy), Basil Tsiokos (Sundance Film Festival), Tina Mabry (Mississippi Damned), Tim Kirkman (Loggerheads), Angela Tucker (Big Mouth Films), Mark Bell (Film Threat), Jeff Krulik (Heavy Metal Parking Lot), Mitchell Rose, Molly Mayeux (Loss of a Teardrop Diamond), critic Godfrey Cheshire (Moving Midway), Ray Barry (AFI Silver Theatre), Matt Dentler (Cinetic Rights Management), producer Alison Dickey (Piggie), producer Cevin Cathell (Eve's Bayou), Peter Gilbert (At the Death House Door), writer/director Hadjii (Somebodies), Molly Haskell (film critic/author), director Karin Hayes (Missing Peace), Peter Knegt (indieWIRE), Kurt Kuenne (Dear Zachary), Lanre Olabisi (August the First), director Paul Rachman (American Hardcore), Michael Sragow (Baltimore Sun), Heidi Van Lier (Chi Girl), and writer/director Craig Zobel (Great World of Sound).
Christina Humphrey (Shorts Programmer)
; Christopher Escobar (Executive Director)
; Christopher Holland (Audience)
; Donnell Corelle (Filmmaker Services)
; Donnell Corelle (Filmmaker Services)
; Kristy Brenemen (Features Programmer)
; Tom Davia (Programmer & Industry Advisor)
; Wendy Yang (Festival Registrar)
1. Please make sure to read all of the festival rules as well as the terms and conditions. Any further questions, please visit our FAQ page: http://www.atlantafilmfestival.com/submission-faq/
2. Entries must arrive by the deadline date in which a film was submitted.
3. All works must be submitted as WAB Secure Online Screener or on DVD (region 1 or 0) for pre-screening. Please do not send film reels or original material. Vimeo links will also be accepted with DVD submissions.
4. Screeners will not be returned. Please do not send self-addressed stamped envelopes.
5. Eligible works must have been completed after January 2012. Feature Films must be Atlanta area theatrical premieres. There is no premiere requirement for shorts.
6. Works in progress WILL be accepted for submission. Please include information as to what still needs to be completed (color correction, score, etc.) with the submitted DVD.
7. If you want to replace your original submission with an upgraded version, you must submit a new DVD clearly labeled with the entry number and "Replacement Copy". Any judging that was done with the original submission will not be discarded. Any future judging will be done with the new copy.
8. The Atlanta Film Festival does not present sponsored works (such as training films or commercials produced for a client). Only independently produced films and videos are appropriate for this competition. Artists must have final creative control over their work to be eligible.
9. The Atlanta Film Festival does not pay screening fees.
10. All works selected must be available by February 24, 2014 for inclusion in the festival.
11. You will not receive style points for fancy packaging. It is wasteful and costly to send DVDs in hard plastic covers. We encourage you to ship everything in paper sleeves.
TERMS AND CONDITIONS
By entering your film for consideration for the 2014 Atlanta Film Festival, you authorize that your work is cleared for festival exhibition and accept full legal responsibility for the intellectual property therein.
Entry into the festival constitutes permission to exhibit your work at the 2014 Atlanta Film Festival.
The Atlanta Film Festival is also hereby granted the right to utilize an excerpt from any film submitted and accepted for exhibition at the Festival for promotional purposes.
The undersigned shall indemnify and hold harmless the Atlanta Film Festival from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to attorney's fees, and costs of the court) which may be incurred by reason of any claim involving copyright, trademark, credits, publicity, screening, and loss of or damage to the screening videos entered.