FSA’17 – REGULATIONS

CRITERIA

Non-fiction films made after 1 January 2015 are eligible for entry for FSA 2017. Films that have been submitted to FSA in previous years, but have not been selected, may be submitted again. Entries will have to be on Southasian themes or subjects; however, the filmmakers need not necessarily be Southasian. Entries may cover any subject pertaining to Southasia: from people, culture, lifestyle and adventure to development, environment, politics, education and history. Some priority will be given to entries that have not been released publicly. Films may be in any Southasian language, so long as they are subtitled or dubbed in English.

CATEGORIES

The festival welcomes entries in two categories; Competitive and Non-Competitive. Filmmakers should clearly mark the category they are submitting their film for.

LENGTH

The duration of a film must be at least 10 minutes. Shorts as well as full-length productions are welcome.

FEES

Entry is free of cost.

ENTRY CONDITIONS

Entries without the duly filled-in entry forms will not be considered. All entries must be accompanied by captioned production stills for possible use in the festival catalogue and promotion.

DEADLINES

  • Submission deadline for entries: July 15, 2017
    Entries must be received by courier at the FSA Secretariat in Kathmandu by this submission deadline. The entry package should be labeled “Only for cultural purpose, no commercial value”.
  • Announcement of selections: September 15, 2017
    Directors/producers of the selected entries will be notified and asked to submit copies in professional video format for screening at the festival. A maximum of 45 films will be selected for screening at FSA ’17
  • Submission deadline of final print: September 30, 2017
    The professional video format for screening should reach the FSA Secretariat before 30th September, 2017

FORMAT

Submissions should be made in DVD format (2 copies). Filmmakers may choose to provide a password-protected online screener to expedite the selection process

  • If selected, films should be submitted in the format that Film Southasia requires (please note specs for final copy in the entry form). The technical team of FSA ’17 will be in touch with filmmakers whose works have been selected for final exhibition. After the announcement of selections, they are expected to work according to the specifications required by FSA ’17.

PROMOTIONAL MATERIAL

The festival reserves the right to use up to 10% of an entry’s running time for promotional use. Production stills, filmmakers’ bio-sketches and other information submitted in the entry form may also be used for promotional use on the web, on print, on television etc.

JURY AND AWARDS

Films submitted for the competitive category are judged by a three-member Southasian jury that is determined by FSA. The best film is awarded the ‘Ram Bahadur Trophy’ along with a citation and a cash prize of USD 2,000. The second best film is awarded a citation and cash prize of USD 1,000. The Best Debut Film is awarded a citation and cash prize of USD 1,000. The UNICEF Nepal Award goes to the film that best portrays issues related to children with sensitivity; the award carries a cash prize of  USD 1000 and a plaque. A Best Student Film Award (instituted in 2015) with a citation and cash prize of USD 500 will also be given for entries sent in through film schools. Selections made by the FSA jury will be final.

SELECTION

FSA ’17 will select a maximum of 45 films. Selected filmmakers will be offered local accommodation. However they will have to bear their own travel costs to and from Kathmandu.

RETURN OF SUBMISSIONS

The DVDs submitted for the festival will not be returned. The final prints in professional video format of the selected films meant for screening at FSA ’17 can be returned upon request after the festival.

THE FSA ARCHIVE

All submissions will be catalogued for the FSA Archive. These copies will be maintained in the archive as a record for FSA and can be made available in-house to researchers. Films in the FSA Archive will not be screened commercially.

COPYRIGHT

It is the sole responsibility of the filmmaker to ensure s/he owns full copyrights to the submitted film. The filmmaker is required to clear all contents of the submitted film from any and all actual or potential legal claims and issues and must have express permission from all parties involved in the production of the film. FSA reserves the right to disqualify any film with unauthorised inclusion of copyrighted/trademarked content or materials. In the event that any claim, dispute, action or proceeding is asserted by any person or entity that alleges that the film makes unauthorised or unlawful use of any copyrighted content or material, the filmmaker shall fully indemnify FSA from any liability in connection therewith and from any fees and expenses that may be incurred in light of such claims.

 

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  • ‘The Running Hawker’: Shot over a period of three years, the film follows the lives of running hawkers on the trains of South Bengal in India. These hawkers belong to that overwhelming majority of India’s working population (over 90%) who are frequently described as ‘informal’. This informality is constituted by a state of suspension in the zone between legality and illegality. The film attempts a presentation of the question of the hawkers’ livelihood at a time when the world of commodity trade is increasingly moving to bigger sites of supermarkets and malls in India. #fsa2017 #film #documentary #festival #southasia

    filmsouthasia: "‘The Running Hawker’: Shot over a period of three years, the film follows the lives of running hawkers on the trains of South Bengal in India. These hawkers belong to that overwhelming majority of India’s working population (over 90%) who are frequently described as ‘informal’. This informality is constituted by a state of suspension in the zone between legality and illegality. The film attempts a presentation of the question of the hawkers’ livelihood at a time when the world of commodity trade is increasingly moving to bigger sites of supermarkets and malls in India. #fsa2017 #film #documentary #festival #southasia"
    13
    0
  • The festival is getting closer! Film Southasia Director Mitu Varma was interviewed today on the upcoming event and the soon-to-be-released schedule. Stay tuned. #fsa2017

    filmsouthasia: "The festival is getting closer! Film Southasia Director Mitu Varma was interviewed today on the upcoming event and the soon-to-be-released schedule. Stay tuned. #fsa2017"
    8
    0
  • ‘The Colour of My Home’: No sting, no expose', no scoop on why/how/who engineered the pogrom…just an attempt to understand what it means to be uprooted and then "rehabilitated". What does it take to "move on" after a violent displacement? How do you explain a new home to your child? To live with the tag, "IDP" or "Internally Displaced Person", as described in official parlance? How do you reclaim citizenship in times such as these? #fsa2017 #festival #film #documentary #southasia

    filmsouthasia: "‘The Colour of My Home’: No sting, no expose', no scoop on why/how/who engineered the pogrom…just an attempt to understand what it means to be uprooted and then "rehabilitated". What does it take to "move on" after a violent displacement? How do you explain a new home to your child? To live with the tag, "IDP" or "Internally Displaced Person", as described in official parlance? How do you reclaim citizenship in times such as these? #fsa2017 #festival #film #documentary #southasia"
    3
    0
  • ‘The Cinema Travellers’: A Cannes prize-winning film, this is a journey with the traveling cinemas of India, which bring the wonder of the movies to faraway villages annually. Seven decades on, as their lorries and cinema projectors crumble and film reels become scarce, their audiences are lured by slick digital technology. Filmed over five years, The Cinema Travellers accompanies a shrewd exhibitor, a benevolent showman and a maverick projector mechanic who bear a beautiful burden – to keep the last traveling cinemas of the world running. The film has won ten national and international awards. #fsa2017 #film #festival #documentary #southasia #cannes

    filmsouthasia: "‘The Cinema Travellers’: A Cannes prize-winning film, this is a journey with the traveling cinemas of India, which bring the wonder of the movies to faraway villages annually. Seven decades on, as their lorries and cinema projectors crumble and film reels become scarce, their audiences are lured by slick digital technology. Filmed over five years, The Cinema Travellers accompanies a shrewd exhibitor, a benevolent showman and a maverick projector mechanic who bear a beautiful burden – to keep the last traveling cinemas of the world running. The film has won ten national and international awards. #fsa2017 #film #festival #documentary #southasia #cannes"
    18
    0
  • ‘The Books We Made’: Inspired by the work of Urvashi Butalia and Ritu Menon, who co-founded the first feminist publishing house in India: Kali for Women, the film is about the joy and pain of surviving in two non-lucrative professions: that of writing for small, discerning audiences, and that of publishing, translating and promoting work barely known outside its own linguistic region in India. It looks back on thirty years in publishing and focuses on the feminist politics and friendships that make this survival possible. #fsa2017 #film #documentary #southasia #festival

    filmsouthasia: "‘The Books We Made’: Inspired by the work of Urvashi Butalia and Ritu Menon, who co-founded the first feminist publishing house in India: Kali for Women, the film is about the joy and pain of surviving in two non-lucrative professions: that of writing for small, discerning audiences, and that of publishing, translating and promoting work barely known outside its own linguistic region in India. It looks back on thirty years in publishing and focuses on the feminist politics and friendships that make this survival possible. #fsa2017 #film #documentary #southasia #festival"
    12
    0
  • ‘Sri Lanka, ghosts of war (Sri Lanka, les fantômes de la guerre)’: Seven years after the end of the civil war in Sri Lanka, French journalist Vanessa Dougnac travels through the North of the country searching for testimonies and remains of the conflict. Thousands of civilians were estimated killed in the last months, when the Sri Lankan army launched its final offensive to crush the Tamil Tigers. The documentary tells about the mechanism of a so-called war on terror. It offers the victims the possibility to go against the official version of a perfectly-led military operation, and speak about their own dreadful experiences. #fsa2017 #film #documentary #festival #southasia

    filmsouthasia: "‘Sri Lanka, ghosts of war (Sri Lanka, les fantômes de la guerre)’: Seven years after the end of the civil war in Sri Lanka, French journalist Vanessa Dougnac travels through the North of the country searching for testimonies and remains of the conflict. Thousands of civilians were estimated killed in the last months, when the Sri Lankan army launched its final offensive to crush the Tamil Tigers. The documentary tells about the mechanism of a so-called war on terror. It offers the victims the possibility to go against the official version of a perfectly-led military operation, and speak about their own dreadful experiences. #fsa2017 #film #documentary #festival #southasia"
    5
    0
  • ‘Soz - A Ballad of Maladies’: Of folk, rock and hip-hop, this documentary captures the rhythm and blues of resistance in Kashmir valley. It is a portrait of those musicians and artists who have turned their art into weapons of resistance during periods of heightened state repression and violence in the region. #fsa2017 #festival #film #documentary #southasia

    filmsouthasia: "‘Soz - A Ballad of Maladies’: Of folk, rock and hip-hop, this documentary captures the rhythm and blues of resistance in Kashmir valley. It is a portrait of those musicians and artists who have turned their art into weapons of resistance during periods of heightened state repression and violence in the region. #fsa2017 #festival #film #documentary #southasia"
    14
    0
  • ‘Shepherdess of the Glaciers (La Bergere Des Glaces)’: Way up in Ladakh—at 16,500 feet, somewhere in the Gya-Miru Valley—lives a shepherdess with a flock of 250 sheep and pashmina goats on a huge deserted rock-strewn mountain. Over a year, Tsering shares with us her lonely life among animals in an extreme environment. In spite of these tough conditions, she shows an astonishingly strong spirit. She preserves a traditional ecological way of living. But for how long ? #fsa2017 #festival #documentary #southasia #film

    filmsouthasia: "‘Shepherdess of the Glaciers (La Bergere Des Glaces)’: Way up in Ladakh—at 16,500 feet, somewhere in the Gya-Miru Valley—lives a shepherdess with a flock of 250 sheep and pashmina goats on a huge deserted rock-strewn mountain. Over a year, Tsering shares with us her lonely life among animals in an extreme environment. In spite of these tough conditions, she shows an astonishingly strong spirit. She preserves a traditional ecological way of living. But for how long ? #fsa2017 #festival #documentary #southasia #film"
    8
    0
  • ‘Save Gangamaya’: Ms. Gangamaya Adhikari and Mr. Nanda Prasad Adhikari, a couple from Gorkha (Nepal) sat on a hunger protest in front of the Prime Minister’s residence, demanding justice for the 2004 murder of their teenage son Krishna Prasad Adhikari. They were forcefully admitted at Bir Hospital, however on September 22, 2014, Nanda Prasad breathed his last at his 333 days of hunger protest. On October 19, 2014, the Nepali government promised justice to Gangamaya and ended her 359 days of fast-unto-death. However, justice has not yet been served, and despite her very weak and deteriorating health Gangamaya once again begins her indefinite hunger protest. #fsa2017 #festival #film #documentary #southasia

    filmsouthasia: "‘Save Gangamaya’: Ms. Gangamaya Adhikari and Mr. Nanda Prasad Adhikari, a couple from Gorkha (Nepal) sat on a hunger protest in front of the Prime Minister’s residence, demanding justice for the 2004 murder of their teenage son Krishna Prasad Adhikari. They were forcefully admitted at Bir Hospital, however on September 22, 2014, Nanda Prasad breathed his last at his 333 days of hunger protest. On October 19, 2014, the Nepali government promised justice to Gangamaya and ended her 359 days of fast-unto-death. However, justice has not yet been served, and despite her very weak and deteriorating health Gangamaya once again begins her indefinite hunger protest. #fsa2017 #festival #film #documentary #southasia"
    14
    0
  • ‘Satisal In Inferno (Dadelo Bhitra ka Satisaal)’: A tribute to singers, who, against all odds, have been lending their voices to marginalized underdogs in Nepal for over 50 years. #fsa2017 #film #documentary #festival #southasia

    filmsouthasia: "‘Satisal In Inferno (Dadelo Bhitra ka Satisaal)’: A tribute to singers, who, against all odds, have been lending their voices to marginalized underdogs in Nepal for over 50 years. #fsa2017 #film #documentary #festival #southasia"
    14
    0