DCIFF VISION
To showcase the best of independent film of all formats and styles, utilizing both traditional and cutting-edge technology.
MISSION
The mission of the DCIFF is to provide a yearly event where industry professionals and the general public come to see the latest, most exciting films - features, shorts, animation and documentary - from the United States and abroad.
For 11 days in March, the DCIFF provides an opportunity for independent filmmakers to showcase their work at Washington, D.C.'s , most exciting festival, attend informative seminars, access a unique film market and participate in a trade show.
The trade show provides an exclusive opportunity for leading production companies to showcase their production services and latest technological advances in our nation's capital; and network in the country, third most important production communities.
HISTORY
The Birth of a Film Festival
Like most great inventions, the D.C. Independent Film Festival (DCIFF) came about because a void needed to be filled. For years, filmmakers, distributors and film enthusiasts alike wondered why Washington, D.C., the third largest production hub in the United States, lacked local support and opportunities for independent filmmakers. One fateful day in 1999, a group of organizers gathered around a kitchen table and fashioned plans for Washington D.C’s first independent film festival. With founder Carol Bidault at the helm, the first festival immediately won support from corporate sponsors and trusty volunteers.
This first festival, launched in March 2000, was entitled "DCDANCE," paying homage to the great independent film festival known as "Sundance." Just three days long, this festival showcased more than 30 films from around the Washington, D.C. metropolitan area. In this year Barry Levinson, of "Homicide: Life on the Street" and "Oz" fame, premiered his documentary Original Diner Guys.
Trading Films
In April 1999, the DC Independent Film Market and Trade Show was founded and opened up an altogether new opportunity for local, national, and international independent filmmakers to exhibit and sell their films. Over 100 films were presented while a variety of sponsors from across the DC metropolitan area participated. Since then, DCIFM has become independent from the festival, but still coincides with it to provide a yearly venue for buyers to view films seeking distribution, both nationally and internationally. In addition, the market hosts a trade show, which provides an exclusive opportunity for leading production companies to showcase their production services and the latest technological advances in our nation’s capital.
Seasons of Growth and Recognition
Having already established itself as a reputable setting for local independent film, organizers added two additional days to its film festival of March 2001. The organizers changed the festival’s name from "DCDANCE" to the "Washington DC Independent Film Festival" to make it uniquely theirs. Held at the former Visions Cinema & Bistro, DCIFF 2001 commanded sold-out audiences, as well as the attention of the local news media. Dan Cohen’s Diamond Men, DCIFF 2001’s closing night film, went on to be declared by the Washington Post as "one of the best films of the year." Critic Roger Ebert later included the film in his "2002 Overlooked Film Festival."
Clearly hitting its mark over time with top-notch films pouring in and ever-growing support, it was DCIFF 2002 that prompted Stephen Hunter of the Washington Post to declare the event "insanely ambitious" and a "must see." Audiences and critics alike enjoyed in this and subsequent years, world premieres of the most innovative, award winning films, such as 2002’s Academy Award-nominated Copy Shop and The Accountant, fresh from renowned festivals, such as Cannes and Sundance.
Y tú Festival, También
As the demand for innovative programming and independent film grew, DCIFF expanded its activities throughout the year. In both 2002 and 2003 the Kennedy Center for the Performing Arts recognized DCIFF’s important role in Washington, D.C. film culture when it featured DCIFF in its Prelude Festival, which presents the best in the D.C. area arts. Washington, D.C. was beginning to take notice of the DCIFF when in 2003 the festival launched a state of the art Web site(www.dciff.org), powered by Brainbox which received more than 152,000 hits during the festival alone.
Seeking to forge new ground in promoting local filmmakers, organizers of the 2003 Washington, D.C. Independent Film Festival created the Mid-Atlantic Regional Showcase (M.A.R.S.), a new monthly showcase of the mid-Atlantic region’s best filmmaking presented in collaboration with the AFI and Montgomery College at the American Film Institute in Silver Spring. In this same year DCIFF also premiered "Cine Latino," a bilingual monthly film lecture series showcasing Latino filmmakers and their films. The "Cine Latino" lecture series serves to increase awareness of the Latin American culture in the general public and help underprivileged youths to reconnect with their heritage through the medium of film, allowing a year-long celebration of independent international film. The award-winning short film Timeless by Gabriel Garcia was the first film featured in "Cine Latino" in October 2003.
Advocacy in the City
The year 2004 marked the Washington DC Independent Film Festival’s five-year milestone year in the recognition and exhibition of independent and international film. To commemorate this occasion, DCIFF expanded once again to include the first annual "Industry Advocacy Forum," which was free and open to the public. The Industry Advocacy Forum was formed to bring together industry professionals and policy makers to discuss pressing issues facing the film and video industry.
Marking a new high in submissions, the 2004 DCIFF also reached a new high in awards that were given to featured filmmakers. The 2004 DCIFF was where Aaron Schneider premiered his Academy AwardÒ winning short Two Soldiers. Also in 2004 What the Bleep Do We Know?! won the Grand Jury Documentary award, and the first tie of the festival occurred between The Barbeque People and Moving Malcolm for the Grand Jury Feature Award.
Looking Towards the Future
Now in its sixth year, the 2005 Washington, D.C. Independent Film Festival seems more adventurous than ever before. The DCIFF has expanded from its original three days to a substantial 11 days. With a new festival theme and new venue to call home, this year’s DCIFF offers an exciting wealth of activities for the independent filmgoer. With Chinatown only blocks away, DCIFF’s partnership with the City Museum of Washington, DC helps to cement the 2005 "World Cinema" focus celebrating Asian culture. Although officially closed, the City Museum of Washington, D.C. is specially reopening its doors for the festival’s 11 days in March.
Washington D.C. Independent Film Seminars
Since its inception 1999, the DCIFS has developed a reputation in the Mid-Atlantic Region for presenting the most informative panels with leading industry experts focusing on the Business of Film. Participants are given an opportunity to meet and ask questions straight to the panelists, which have included top executives from AOL, Discovery Communications, National Geographic, PBS, law firms such as Williams & Connally, government representatives, unions, National Endowment of the Arts, National Endowment of the Humanities, on topics such "Negotiating your rights", "Financing your films" with Grants to private investors, to industry sources, presentations on "High Definition Television", the latest editing softwares, etc. Seminars participants also enjoy meeting the filmmakers, such as "An Evening with Ed Sanchez" director of the Blair Witch Project who in March 2000 had just won the "Independent Spirit Award" and reeling from his success, Diamond Men director Dan Cohen, as well as local and national award winning and first time filmmakers.