DCIFF DEMOGRAPHICS / VISION / MISSION / HISTORY
(under construction)
To showcase the best of independent film of all formats and styles, utilizing both traditional and cutting-edge technology.
DEMOGRAPHICS
- Region: District of Columbia, Maryland, Virginia, West Virginia, Delaware, North Carolina
- Attendance (Festival and related events)………………......…….............6,500
- Median Household Income……………………………………......….....$173,866
- Number of Colleges & Universities in area .…………..........................…..…41
- Professional/managerial, and have at least one college degree..…....… 82%
- Travel internationally at least once a year……………………...….........… 64%
- Dine out at least once a week………………………................……........… 82%
- Attendees represent the film industry………………………........….......…. 15%
- Median Age…………………….………….…………....................….......26 years
MISSION
The mission of the DCIFF is to effectuate change for independent filmmakers by providing a venue to showcase their films before they find distribution and to have their voices be heard on Capitol Hill. DCIFF also seeks 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, 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.
DCIFF has partnered with the Washington, DC Independent Film Market (www.dcifmn) to provide an online film market for filmmakers to showcase their films to distributors from around the world.
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 Washington, 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 supportive volunteers.
Milestones:
- In 1999: Birth of the festival, beginning with "DC Screenings" - where buyers could come to screen and purchase films. Held at Atlantic Video, this showcase presented the most innovative films in a state of the art facility designed to help "sell" them to international buyers.
- In 2000: 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 including the premiere of Barry Levinson's ("Diner", "Rain Man") documentary "Original Diner Guys", with the real Diner Guys in attendence. Since then, DCIFF has established itself as a launch for the the most innovative independent films that have gone on to win awards at the Oscars, Sundance, Cannes, Berlin. 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 been "picked" up at Sundance and won the "Independent Spirit Award".
- In 2001: The organizers changed the festival’s name from "DCDANCE" to the "Washington DC Independent Film Festival" to make it uniquely theirs. 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 Stephen Hunter of 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."
- In 2002: Washington, D.C. was beginning to take notice. Stephen Hunter of the Washington Post to declare the event "insanely ambitious" and a "must see." Audiences and critics alike enjoyed world premieres of the most innovative, award winning films, such as 2002’s Academy Award-nominated "Copy Shop" and winner "The Accountant". In 2002 the Kennedy Center for the Performing Arts recognized DCIFF’s important role in Washington, D.C. film culture when it singled out DCIFF to present he best in the D.C. area arts.
- In 2003: 2003 marked an important year for DCIFF as its role in the filmmaking community grew and began to promote independent filmmakers throughout the year. Again, the Kennedy Center for the Performing Arts singled out and 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. 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.
- In 2004: 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 Award 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.
- In 2005: The DCIFF expanded from its original three days to a substantial 11 days offering an exciting wealth of activities for the independent filmgoer. DCIFF’s partnership with the City Museum of Washington, DC
- In 2006:
- In 2007:
- In 2008: Birth of Independent Film Summit on the Hill (formerly known as Advocacy Day)
- In 2009:
Looking Towards the Future
DCIFF will continue to seek to be a platform for the independent filmmaker. A place where they can showcase their film (festival), find distribution (DCIFM.COM - an online market), learn more about the creative and business side of film (seminars), network with other filmmakers and professionals (receptions), collaborate with up and coming artists (music festival) and let their voices be heard (Independent Film Summit on the Hill).
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.
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