Buster Keaton is not expected to be in attendance at the AIFF
Buster Keaton is not expected to be in attendance at the AIFF

MediaMay 19, 2018

Mysteries of the ‘Auckland International Film Festival’: the sequel

Buster Keaton is not expected to be in attendance at the AIFF
Buster Keaton is not expected to be in attendance at the AIFF

David Farrier has slowly been going crazy trying to get an answer about who’s actually behind the odd film festival that might not even play your stupid film anyway.

Sometimes when you write something saying something is possibly a little bit bad, people get in touch saying you are bad.

“Well, y’know, once it’s published you have to stand by it, right?” someone wrote to me about my piece on the Auckland International Film Festival.

“I can respect that. They’re not tricking anyone though. And you didn’t prove they have or did. You clickbaited your article”. The fan ended with, “But I guess what really irks me … is the smug elitist attitude you have in debasing it while it’s finding its feet and doing no harm and demeaning the organiser, who is a genuine nice guy. Bad form.”

Told off, I wondered if I had gone wrong, somewhere.

What if this was just a little itty-bitty baby film festival that was trying to get off the ground, and I’d come along and taken a giant steaming dump on it?

Then I started hearing from some filmmakers, beginning with an American chap.

“I was just ‘accepted’ to the festival, but it’s not screening my film because ‘only the award winners screen’,” he wrote.

“From what I can tell in order for people to be accepted and tweet out laurels in an attempt for more people to pay them next year. I was trying to get in to a smaller NZ festival because we have friends there, but this was not what I had in mind!”

I got him to forward me the email he got from the festival, and as you can see, despite his film being “selected”, it may not even play.

“Please note only winning films will be screened”.

For a film festival, this is very, very strange.

I mean, what is the point of accepting a film into a film festival if the film might not even play? If you’re selected, say, to play in a sport team, it would be a bit odd to then be told that didn’t mean you’d, well, play.

I also noted that the email encouraged him to submit to other categories, which all had to be paid for, of course.

Then I started hearing from a number of New Zealand filmmakers who reported the same experience. Some of them had the added frustration of learning they’d submitted their films to the wrong festival, thinking they were entering the New Zealand International Film Festival.

“Read your AIFF article on the Spinoff the other day and realised I was duped!” one filmmaker wrote to me.

“I swear I had submitted my short film into NZIFF but I checked again, I actually submitted to AIFF. (lol I’m so dumb). But anyways, I got an “acceptance” email from them (which seemed so unprofessional)”.

I noted that all these emails were signed off “The AIFF Team”. Whoever was emailing was not including a name.

To me, it just seemed to indicate a lack of transparency – along with a long list of other examples, like not revealing who was on the judging panel to pick these “winning” films.

But most of all … it just made me curious. Mainly … who was behind this thing?

In part 1 I’d learnt that the AIFF seemed to share a template and copy from the Chandler International Film Festival, something New Zealand organiser Anand couldn’t, or wouldn’t, explain.

After digging a bit deeper into the site though, I saw that the AIFF website appeared to be so lazily copied they hadn’t taken out contact details for the Chandler festival:

Example 1:

Example 2:

Ok, I thought to myself: so either these are both run by the same person, or the AIFF is cribbing content from this other festival.

I’d need to talk to someone behind the Chandler festival.

According to the site, it’s these people:

Clearly I needed to talk to founder and festival director, Mitesh Patel.

I’d already tried emailing the festival a few weeks ago, and there was no direct contact for Mitesh – or anyone – on the site. So I found him on Facebook and sent him a friend request and a private message:

A week or so later, he replied with a thumbs up. Look, we’ve all done it. Accidentally hit that thumbs up button. But maybe he meant to send it, as he went on to compliment my article:

OK, so Mitesh told me the AIFF is not under his control, which I took to mean he was saying he had nothing to do with it:

“I didn’t say it’s not me”.

Okay, so Mitesh does have something to do with the AIFF.

I’d asked for his email… but he wouldn’t give it his address.

He then told me off for talking to him on Facebook, which was “not the right way”… before not giving me his email address, and blocking me on Facebook.

Look, none of this really advanced anything for this story, besides making me infinitely more suspicious about it. I didn’t even know what I was suspicious about!

So I sent another email to the generic Chandler Film Festival (and a possible email for Mitesh a friend had sniffed out online):

… and included a bunch more questions.

I got a pretty quick reply stating that the Chandler Festival is not associated in any way with the Auckland festival.

This was very confusing, because Mitesh had told me earlier “I didn’t say it’s not me”.  I also noted that just like the AIFF, this festival also signed up with a generic “CIFF Team”.

So… I replied with those screenshots I’d taken of the AIFF website, which clearly linked them to Chandler. And whoever was writing to me changed their tune.

OK, so Mitesh was now an adviser to the AIFF.

Thing is, on a page deeper down on the AIFF page, I now noticed that Mitesh was openly listed as an organiser. Along with three mentions of the NZ dude I’d spoken to a few weeks ago, Anand:

What does this mean? It means that the Auckland International Film Festival (and other festivals organised by Mitesh Patel) really need to up their game, and start explaining the way they run things.

Right now, you have a festival that can’t give a clear answer to who is behind it, to the point where they seem to be actively misleading in their correspondence.

This is a festival that offers scant transparency about not only who’s running it, but who judges the films, and who’s even replying to emails.

For your entry fee, you might be lucky enough to be accepted – and be emailed some laurels to spread around on social media, about a festival that may not even play the film it just accepted.

As these laurels spread, they almost act as an advert for other people to enter. The more people who enter, the more legit it seems.

Then of course there’s the naming issue, as some clearly think they’re submitting to the NZIFF, only to find they’ve submitted to a confusing festival that has an almost identical name.

And you know what? I might go. It’s on at TAPAC on June 2nd and 3rd.

What films will play? Will people that got into the festival go, only to find their film won’t be playing? What did get accepted? I think I saw a music video for Devilskin made it in.

Fair enough.

I hope my “smug elitist attitude” hasn’t come across to strongly in this piece.

This is going to be the weirdest film festival ever.


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Keep going!
WORLD founder Denise L’Estrange-Corbet. Photo: Garth Badger
WORLD founder Denise L’Estrange-Corbet. Photo: Garth Badger

MediaMay 13, 2018

The best of The Spinoff this week

WORLD founder Denise L’Estrange-Corbet. Photo: Garth Badger
WORLD founder Denise L’Estrange-Corbet. Photo: Garth Badger

Bringing you the best weekly reading from your friendly local website.

Emily Writes: An open letter to Mike Hosking

“Now, any parent who actually parents will know that early childhood education is no walk in the park and the question is absurd. And “painting pictures with a three-year-old” is not only not easy, but also it’s nowhere near all that a teacher does.

But men talking about things they don’t understand isn’t exactly new so why bother writing this column? Well, dear reader: It’s because I sincerely want to show Mike what kindy teachers do.

So I have an invitation to make to him: please Mike, jump in your penis extension car and come on down to my son’s kindy. You and I can spend the day together and you can attempt to do what my son’s early childhood teachers do ALL DAY.

You’ll be welcomed, despite how you talk about women who teach – because I know the teachers at my child’s kindy really want adults like yourself to understand how important it is that we have quality early childhood education in New Zealand.”

Madeleine Chapman: Those WORLD T-shirts: Dame Denise L’Estrange-Corbet responds

“L’Estrange-Corbet also emailed to clarify a point made in her earlier response regarding the cardboard tags and whether or not they could mislead customers. ‘The SWING TAG is made in New Zealand, the garments clearly state the country of origin in all our garments,’ she said.

‘The swing tag is not misleading, it is a tag that the prices are put onto, and yes, the tag is made in NZ!’

She also upbraided The Spinoff, saying, ‘Your support of a 99% New Zealand brand is remarkable.’ She added: ‘The Tall Poppy syndrome I see is alive and well and still raging in NZ. Please remind me again why I should keep my production here??'”

Composite image: Madeleine Chapman

Madeleine Chapman: T-Shirts from Bangladesh. Sequin patches from China. Sold by WORLD as ‘Made in New Zealand’

“As of today, the WORLD store in downtown Auckland stocks their latest collection in full, including t-shirts with various sequin appliqués, sweatshirts ($199), and sweatpants ($199) with sequins down the legs. The WORLD tag on every item of clothing proclaims “FABRIQUE EN NOUVELLE-ZELANDE”. Translation: Made in New Zealand.

Find the care instruction label on the inside seam, however, and you’ll discover the t-shirts are sourced from AS Colour and made in Bangladesh. The sweatshirts  and sweatpants are also purchased from AS Colour and made in China.

The appliqué sequin patches can be found on AliExpress, sold by TongLiang Boutique, a Chinese online store.”

Duncan Greive: The great Waiheke Island ferry rort

“The cost of an adult return fare to Waiheke is $38, and there is no discount for HOP card users or seniors who don’t hold a Supergold card. The upshot is that the 100 most frequent users of the service are using over 10% of the total budget for ferry travel to Waiheke.

To use the ferry that frequently you’re not taking day trips, or even holidaying there: you’re commuting. It’s the equivalent of over 100 one way trips a year – a usage rate which would be near impossible to achieve unless you were working on the mainland and living on the island.

There’s a reason that lifestyle – living and playing on an island paradise, working in the city – is a subset of the archetypal Kiwi dream. It’s because most of us can’t think of many better ways to live. And, as a result, it’s very costly.”

Group Think: Dancing with the Stars NZ Power Rankings: The kiss of death for the first celeb

“Look, if Gilda’s insta story from last Sunday night is anything to go by, her elimination is a tremendous loss to this competition. Think of the huge marble floors! Think of the endless champagne! Think of Marama Fox singing ‘Titanium’ with some guy on the ukulele! Dancing a samba tonight to what her kids call “the bum bum song,” she looked like a beautiful baby giraffe queen, but it was not enough to keep her on the show.

Julz said he wanted to see her break a sweat, but you know Gilda would walk off this show anyway before she PERSPIRED like a PEASANT on the TELEVISION. See you for RHOAKL two though please, please, please.”

Anthonie Tonnon: How to get to Auckland Airport for $4.80

“After seven years spent in Auckland, I realised only last year that you can take public transport to the airport, at nearly a tenth the price of the $45 flat fare Discount Taxi I used to take, or less than a third of the $18 bus fare with Skybus.

My recent reconfigure of my performance rig means I can now take public transport on tour – even changing trains and buses without too much effort, so I decided to use this method when heading from some band practices in Auckland, to Dunedin to develop a future show.

Here’s what you do.”

Catherine Delahunty: The Ministry of Pākehā Affairs – the time has come

“The new government needs to face facts: Pākehā need help to assimilate into Aotearoa. We have had more than 160 years but some of us are still struggling to cope. Reluctant as I am to throw more money at Pākehā, the failures are obvious. Pākehā have in some instances failed to fulfil our potential and become useful contributors to a Te Tiriti based nation. A number of Pākehā show a lack of knowledge of how to behave in a culturally appropriate manner and often retreat to unhelpful myths. There is a stubborn monolingualism and a persistent problem with the Pākehā belief that we are “normal” and that our culture does not even exist.”

Hillary Clinton poses with Te Kapa Haka o Whangara Mai Tawhiti ahead of An Evening with Hillary Rodham Clinton at Spark Arena. Photo by James D. Morgan/Getty Images

Charlotte Graham-McLay: But where was the roar? Watching the Hillary Clinton show in Auckland

“What was missing, mostly, was the roar. Clinton spoke from a podium before fielding fairly softball questions from former New Zealand Prime Minister Jenny Shipley. No questions from the floor were permitted, though the occasional furious rustling from RNZ broadcasters Kim Hill and Susie Ferguson, who were sitting next to me, suggested they were thinking about vaulting 10 rows of seats and giving it a go.

Shipley was the weakest link of the whole affair, though it’s not fair to blame her entirely because you’d better believe that every aspect of the night was stage managed by the Clinton juggernaut. If she’d wanted to be interviewed by a journalist, Clinton would have been.”