Geoffrey Gilmore joined Tribeca Enterprises in 2009 as Chief Creative Officer. He is responsible for Tribeca's global content strategy and leads creative development initiatives and expansion of the brand. Gilmore has also joined the Board of Directors of Tribeca Enterprises. He came to Tribeca from the Sundance Institute, where he served as the Director of the Sundance Film Festival. He was responsible for film selection and the overall direction of programming from 1990 through 2009. In addition, Gilmore was a consultant for the Sundance Channel and also served as consultant to the Sundance Cinemas. He directed the Sundance Institute's Annual Independent Producers Conference for 18 years and worked with the Institute on numerous international and national projects and symposia. For 14 years, he served as head of the UCLA Film & Television Archive's programming.
Frédéric Boyer joined Tribeca in 2012 as Artistic Director. He previously served as Artistic Director and Head of Programming for the Directors’ Fortnight since 2009. From 2004-2008, he was head of its Film Selection Committee. He is the Artistic Director for Les Arcs European Film Festival at Les Arcs ski resort in the Alps. Before joining the Directors’ Fortnight, he created and managed Videosphere, a renowned video store in Paris with a library of some 60,000 titles, including a wide range of arthouse films.
Movies are my favorite form of storytelling. Having the power to transport me to another place—whether I am ready for it or not—they range from a sweet escape to a sobering wake-up call. Before joining Tribeca, I worked for several years as a film acquisitions executive and watched movies at festivals around the world to determine what I believed audiences would want to see and what would thrive in the marketplace—an alchemic decision-making process that may never fully be mastered. Since festival programming allows for more range and diversity, and no less of a discerning eye, my own eclectic tastes can be entertained. Although my programming choices are made in an equally intellectual and intuitive way, it’s hard not to yield to my old sentiments—I like what works and moves me. However, in the end, the filmmakers are the true tastemakers, and I just try to sit back, enjoy the ride, and steer the good ones your way.
I’ve been with Tribeca since the Festival’s inception, and many thousands of short films later, I remain excited by this unique art form. I silently plead with each film to “tell me a story” because in the end, that’s what it’s about. Programming is gold-mining - sifting through the submissions to discover those brilliant nuggets with new filmmaking talent, unusual stories, and an invitation into a world that I haven’t seen before in exactly the same way. The solitary experience of watching the submissions leading to the communal experience of screening the programs with an audience is a journey that never ceases to amaze me. It fosters my belief in both the human connection and the power of film. I have worked in the film industry my entire life, starting at age 14 as an usher in my father’s movie theatre. So many years later, I still love being part of this creative universe, especially programming the Tribeca Film Festival.
My first job in film, like so many other eager but not-yet-qualified young film nerds, involved wearing a bowtie and tearing tickets at a 99-cent second-run movie theater in my hometown. Somehow, I made it from there to here, and it was an honor to serve on the Tribeca Film Festival programming team for my fourth year. I am in awe of the hundreds of talented filmmakers whose work I screened. These filmmakers have put their passion in the hands of the Festival, and it is the programmers' responsibility to be just as passionate, to advocate for those films that demand to be seen, and to work together to make sure audiences are getting access to the finest, freshest, most visionary voices representative of the breadth of works considered. The result of this collaboration is an exceptional program that I am honored to have had a part in shaping. A decade after my summer at the 99-cent theater and I'm still essentially in the same place, standing between the films and the audiences, hoping you enjoy the show.
I have programmed the experimental, independent, and avant-garde films and videos for Tribeca since 2003. These films are integrated into the various sections of the Festival, enabling such cutting-edge works to be appreciated by a general audience. A number of these films have won prizes at Tribeca. My varied career as a film archivist, distributor, and programmer extends back several decades. I formerly worked as a curator in The Museum of Modern Art, acquired avant-garde movies for the permanent collection of the Department of Film, and restored the films of Andy Warhol. Currently, my company, Gartenberg Media Enterprises, distributes experimental films on DVD and licenses clips from these films for documentaries. I advise cutting-edge filmmakers on the economics of experimental film distribution and exhibition, and I have recently published an article (“The Fragile Emotion”) about this in the book Swimming Upstream: A Lifesaving Guide to Short Film Distribution.
Whether 50 minutes or 150 minutes, from horror to satire, each film has something unique to offer to its audience. I want to thank all the filmmakers who submit to Tribeca each year for having the courage and tenacity to share those stories with us, and for opening our eyes to different perspectives, ideas, and worlds. I am a better person for watching your films, and I look forward to giving others that same opportunity.
Growing up in northern Michigan, I was fortunate to live in the one town with a cinema that showed movies outside of the mainstream—foreign and indie fare was the norm. Despite my geographic isolation, I was treated weekly to new perspectives from around the globe. Film, perhaps more than any other medium, has the ability to transport you to an entirely unfamiliar milieu and to let you see the world through another set of eyes. The Festival experience takes this transportive power and amplifies it, bringing together a staggering array of voices for an 11-day stretch. As programmers, we are charged with condensing a pool of thousands of submissions, each of which represent years of effort on the part of the filmmakers, into a select few-a truly humbling task. In my third year on the programming team, it's been an honor to help seek out fresh voices in film and take part in the impassioned debates that shaped this year's slate.
Growing up as a lad in the seedy London underworld I’ve always seen myself as a bit of an underdog, fighting my way up the ladder for recognition and respect. Ever since I watched my first sho3rt film for Tribeca back in 2003, I can’t help but see shorts in the same way. Although they seldom bring about the buzz of a hip new indie feature or the hype and glamour of a Hollywood blockbuster, the best ones are crammed with just as much talent and creativity, and despite being vertically challenged, can pack one hell of a punch. For many, shorts films are the springboards for filmmakers to develop and refine their craft while exploring and experimenting with new ideas. To me though they will always be the little guys, the underdogs, in the back alleys and behind the scenes fighting their way to the top, and that is the reason why I love watching them.