A Family Affair

By Michael Jacobsohn

Many of us are intimately familiar with the annual Tribeca Festival and the New York Film Festival, juggernaut events that have become mainstays of the cinematic calendar, highly sought-after by film buffs and filmmakers alike. Yet, New York City’s true identity as a film capital is not found solely in these massive institutions. Our city hosts more than 20 major film celebrations annually. However, when one includes smaller, genre-specific, and niche events, the total number swells into the dozens, with screenings taking place across the five boroughs nearly every weekend of the year.

This year, I was delighted to discover two standout organizations in Lower Manhattan that operate on a more intimate, human scale. These are not corporate-backed monoliths but “family affairs” in the truest sense. At the Video Art & Experimental Film Festival (VAEFF), father and son Dan and Jonathan Fine curate a bold selection of avant-garde works at Cinema Village. Nearby, mother and daughter Sonia and Ingrid Jean-Baptiste lead the Chelsea Film Festival (CFF), showcasing a diverse array of global cinema at the Regal Union Square.

The Fine Tradition: VAEFF
The Video and Experimental Film Festival prides itself on a rigorous curatorial process, selecting the finest works from approximately 600 global submissions. By attending the festival, I was rewarded with a selection of short films projected under optimum theatrical conditions. There is something profoundly different about seeing experimental work on a large screen rather than a smart phone – it demands a different kind of attention. What makes experimental cinema so consistently fascinating is its liberation. These films are rarely bound by the rigid structures of traditional narrative or the academic weight of standard documentaries. They push the envelope of the visual experience, asking the viewer to feel the rhythm of the edit or the texture of the light rather than simply follow a plot.

Dan Fine, the festival’s patriarch, is a veteran of the 1990s video art world who successfully navigated the transition to digital media. He explains that the festival’s name is a deliberate “throwback,” designed to bridge the gap between two often-separated niche genres. By merging video art with experimental film, VAEFF avoids the trap of “lo-fi” nostalgia. Instead, it highlights high-production, high-level underground works, including avant-garde fashion films and music-driven media. Dan is grateful for the curatorial team and longtime friend and collaborator Mark Alpert who keep the festival rolling.

His son, Jonathan, serves as both a creative force and producer. Having grown up watching the evolution of digital media from “stamp-sized” QuickTime files to high-definition spectacles, Jonathan brings a digital-native’s eye to the curation process. He seeks out boundary-pushing works that challenge mainstream conventions. One of the most rewarding aspects of VAEFF is the VAEFF Extended: BTS Workshop, where Jonathan invites participating directors to share their craft with each other. Watching these artists engage in a live, genuine exchange on stage remains a highlight of my recent festival visit.

A Mission of Resilience: The Chelsea Film Festival
A few blocks away, Sonia and Ingrid Jean-Baptiste have championed the Chelsea Film Festival since 2013. Ingrid shared that the festival was born out of a horrific car accident she sustained in New York City. During her recovery, she felt a profound calling to create a sustainable venue for artists, a place where creative voices could find the support they needed to thrive. The mother-daughter duo, who hail from Paris, have built CFF into an important venue of diversity. Sonia oversees the programming, which last year showcased an impressive 150 films culled from over 2,000 submissions worldwide. Ingrid, acting as the artistic director, manages the balance of branding, talent scouting, and securing sponsors who align with the festival’s mission.

What sets CFF apart is its focus on the “business of the art.” Last year, the festival hosted two days of engaging workshops, called Reel Magic Hour, and it’s been running for 10 years alongside the festival. These panels functioned as masterclasses for independent creators covering vital topics like “AI – The New Creative Partner?,” “Building Communities Through Podcasts,” and “Funding the Future.” For those who missed the live events, most of these sessions are available on YouTube, serving as a free resource for filmmakers navigating the technical and financial hurdles of the industry.

Furthermore, CFF prioritizes a supportive ecosystem for underrepresented voices. Their specialized incubator program is designed to assist BIPOC filmmakers in securing funding and professional development. By matching diverse programming with global brands, the festival provides independent artists with the financial logic and industry connections necessary to sustain a career in today’s challenging economy.

The Vital Lifeblood of New York
In a city often defined by its cinematic juggernauts, Video Art & Experimental Film Festival and the Chelsea Film Festival stand out as beacons of independent resilience. These organizations thrive on personal dedication and generational collaboration. Whether it is the Fines maintaining the sanctity of the theatrical experience for experimental works or the Jean-Baptistes building an incubator for the next generation of global storytellers, both prove that family-run passion remains the vital lifeblood of our film ecosystem. I look forward to their 2026 renditions this coming fall. In the meantime, I encourage you to explore their works online:

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Video Art & Experimental Film Festival: videoart.net

Chelsea Film Festival: chelseafilm.org

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Michael Jacobsohn is an independent New York City filmmaker. He recently completed Cornelia Street Cafe In Exile, a full-length documentary on the venerated institution. The film will be screening on Sunday, February 22, at noon at New Plaza Cinema. In addition, he curates and hosts a bi-monthly screening of short films by New York Metropolitan filmmakers at New Plaza Cinema.