Well it finally happened. After reviewing over 400 hours of video, fourteen months and three countries (New Zealand, America and Costa Rica), Real N' Raw is in the final stages.

Matthew Wilson, has been an amazing artist to work with over the past year. Here is a write up that Tim Lynch, a world class radio broadcaster wrote about Matthew Wilson........

Matty was diagnosed with Ulcerative Colitis at age 5 after being ill for two years.

At age 12 he was told if he did not have his bowel removed and replaced with a colostomy bag he would have cancer by age 19 and not live to see 30. Today he is 35 and is a picture of health. This is his story.

By eating raw foods which includes grass and virtually every thing like weeds that we find growing in our back lawn, such as clover, kikuyu, puha, plantains, dock, dandelion etc he was able to cure his disability.

What Matt also found is that the wider the spectrum of leafy greens we eat, the greater the protection from being burnt by the sun. And that humanity maybe being affected by sunburn, because of excessive intake of mass produced, heated, powdered, packaged and tinned foods etc when nature outside gives us phyto-foods to sustain us and enable us to remain protected from the suns ultra violet light among 'many other things.'

Matt who is also a top NZ animation artist, working with Warner Brothers and trained by one of Disney's top animators is a co-founder of Animator Inc, his own animation company, and has recently completed and directed an independent film called " Real N Raw" about reclaiming your health using simple and easy to access solutions.

Listen to how other peoples globally have actively lived to very old ages, by eating raw foods, close to the land, on their own doorstep.

So you want to know a secret? If you go over to the realnraw web site and sign up to be able to watch the film for free. You'll love it!

By KIRK SEMPLE BEIJING

OVER the course of six years Zhao Dayong, an independent filmmaker from Guangzhou, China, spent many months living among the residents of Zhiziluo, an impoverished and forgotten village in the rugged mountains near the Myanmar border, and filming their lives.

Using his own money and simple digital filmmaking equipment he made “Ghost Town,” a quiet, hypnotizing, three-hour documentary that provides an extraordinary and intimate portrait of Chinese life.

Like independent filmmakers everywhere, Mr. Zhao worked with no guarantee of an audience, or even a place to show his work. By his estimates only a few thousand people have seen “Ghost Town” in China since he finished it last year. Several hundred more are scheduled to see it Sunday afternoon when the film has its international premiere at the New York Film Festival.

But what makes Mr. Zhao’s commitment particularly noteworthy is that his project was apparently illegal.

The Chinese government has decreed that all films must be approved by government censors before being distributed and screened, including in overseas film festivals.

Mr. Zhao, 39, said getting the approval of the censors was never a consideration. “It’s like asking to be raped,” he said this month in an interview here. “The government certainly has its own agenda. They want us to stop. But at the same time we know we’re doing something meaningful.”

This mixture of defiance and principle defines China’s nascent yet highly dynamic crop of independent filmmakers who pursue their art in apparent violation of the law.

For decades the Chinese government had nearly full control over all aspects of the film industry, from celluloid filmmaking technology to financing to distribution and screening. An underground filmmaking subculture emerged in China in the late 1980s, but it began to flourish only about a decade ago with the advent of inexpensive digital cameras and postproduction computer programs that helped put filmmaking further out of reach of the government authorities.

Many of this latest generation of Chinese filmmakers have no formal film training and shoot on minimal budgets, often with small crews, or alone. Ying Liang, whose films have won numerous prizes on the international circuit, shot his widely celebrated debut film, “Taking Father Home,” using a borrowed camera. Relatives and friends were his cast and crew.

“Unlike in previous generations, the stars of this generation are not only Beijing Film Academy graduates,” said Karin Chien, a film producer in New York and president of dGenerate Films, a company she founded last year to distribute this new crop of independent Chinese films outside China. “They’re journalists, they work at television stations, they’re painters, they’re people who just picked up a camera and made a film for $1,000.”

Output is still small. Several leading filmmakers put the annual production of unsanctioned, independent films at fewer than 200. But this work has provided unusual ground-level views of China that possess an unvarnished authenticity often missing from mainstream, government-sanctioned films.

“There’s been an extraordinary explosion of young filmmakers — quite a few of them are quite talented — who are dedicated to record and tell the real story of what’s going on in China,” said Richard Peña, program director for the Film Society of Lincoln Center, which produces the New York Film Festival. “That story is really more fascinating than the story that the regime wanted to be told.”

These achievements have come at a price.

About 20 filmmakers have been banned from making films for two to five years, according to Zhang Xianmin, an independent film producer and a professor at the Beijing Film Academy. Others have received intimidating phone calls, had tapes confiscated or been detained and interrogated.

But according to several filmmakers and film scholars both here and abroad, the government recently appears to have adopted a somewhat hands-off, though highly watchful, posture toward this film vanguard, leaving it to operate in an undefined gray area.

It seems that as long as certain incendiary topics are not broached — among them the Tiananmen Square massacre, Tibet, the Cultural Revolution, the outlawed religious group Falun Gong — then independent filmmakers are allowed to work.

Yet no one is absolutely sure where the boundaries are, or whether the government will start to clamp down more fiercely.

“You don’t know where that limit is,” said Zhang Yaxuan, a critic and documentary filmmaker who is organizing an independent film archive for the Iberia Center for Contemporary Art in Beijing. “You have to try to touch it. In the process of trying, you know.”

Huang Wenhai, a documentary filmmaker in Beijing, said that the process of filmmaking here “is the process of conquering your fear.”

Despite this pressure and uncertainty, there are now at least four major independent film festivals around the country and at least two theaters, both small, dedicated to showing Chinese independent films.

Meanwhile Chinese audiences largely remain out of reach. With cinemas and television off limits to their unsanctioned films, independent moviemakers are mostly restricted to screenings in front of small audiences in art galleries, bars, universities and homes.

As a result the most accomplished filmmakers have found their largest audiences overseas, especially at international film festivals.

“I feel very frustrated,” Mr. Zhao said. “I’m a Chinese filmmaker, and of course my audience should be the Chinese people, especially since my films are about ordinary working Chinese people.” He added, “That would be more valuable than winning an international film festival.”

Mr. Zhao began his career in the fine arts. He studied oil painting at an art academy before dropping out and working as a professional artist and advertising director in Beijing and Guangzhou. He eventually founded his own advertising firm as well as a journal for contemporary arts, and he opened a gallery in Shanghai.

His first documentary was “Street Life,” a portrait of recyclers on the streets of Shanghai, which had its premiere at the Viennale in Austria in 2006. “Ghost Town,” his second film, is a series of vignettes and scenes that explore the economic struggles, religious beliefs and relationships of the residents of Zhiziluo, which had once been a local county seat for the Communist Party but was largely abandoned by the government.

Mr. Peña said he had heard about the film for some time but finally viewed it in the 11th hour of the festival’s film-selection process. “It’s one of those films that, when we saw it, there was little question in our minds that it should be included,” he said. “Ghost Town” is the first documentary from China’s new generation of digital independent filmmakers to be included in the New York festival.

Mr. Zhao, who continues to support himself by shooting television advertisements, said he had no illusions that his films would ever make him much money.

“For me, making films is a way of life, not the means to it,” he said. “And I really enjoy this life.”

Zhang Jing contributed research.

As the BFI celebrates 20 years since the release of Spike Lee's seminal film with The Independent Interview and a season of movies on the Southbank, the director talks to Kaleem Aftab about race and retrospectives

Spike Lee arrives at the BFI Southbank on Monday as part of a celebration of Do The Right Thing, his third film, which premiered at the Cannes film festival in 1989. In the two decades since then, the film has been recognised by the American Film Institute as one of the greatest 100 American movies in film history and was highly listed in a Sight and Sound Poll of the best films of the past 25 years. It was also, as Barack Obama coyly admitted last year, the movie that the President of the United States of America took Michelle to see on their first date. All in all, a far cry from the divisions and debate that the race drama provoked on its release.

It was the most controversial and discussed film of that summer. You couldn't pick up a magazine or newspaper without someone having an opinion on the Brooklyn tale or the director. Critics David Denby in New York Magazine and Richard Corliss in Time argued that Do The Right Thing was of no value except as agitprop to incite the black community to riot. In the opposite corner was Roger Ebert who wrote that "it comes closer to reflecting the current state of race relations in America than any other movie of our time".

It's not to belittle Lee's other films, including Malcolm X or Inside Man, or his two great documentaries 4 Little Girls about the 1963 church bombing in Birmingham, Alabama and the Katrina documentary When the Levees Broke, to state that Do The Right Thing remains the key work in his oeuvre. The director would never admit that it's his best film. "My films are like my children", he says. "I don't have a favourite." Yet in all the literature that Lee approves, from the children's book he wrote with his lawyer-turned-writer wife Tonya, Please, Baby, Please to the blurbs on the back of DVDs, it's always Do The Right Thing that is given the status of first among equals.