FESTIVAL ROUNDUP
San Francisco International Lesbian and Gay Film Festival by Charles Lofton & amp; OutFest '96 by Michelle Meyers/David Geffner
San Francisco International Lesbian and Gay Film Festival
San Francisco International Lesbian and Gay Film Festival The 20th anniversary of the San Francisco International Lesbian and Gay Film Festival found Frameline, the event's sponsor, recovering after an unusually rough year. Although billed as "the largest lesbian and gay cultural event in the world," the festival faced an uncertain future. Discontinued NEA funding, with rising expenses from an expanding festival, led Frameline to a serious financial crisis in 1994. The organization was shaken by the suicide of festival director Mark Finch, who jumped from the Golden Gate Bridge in 1995 after recurring depression. Last year's closing-night premiere of Todd Verow's Frisk caused a mass walkout; an angry audience, expecting a feel-good movie on Gay Pride Day, demanded an explanation for Frisk's violence and technical flaws.
Former director Michael Lumpkin, who ran the festival from 1980 to 1991, returned this year as director. (Lumpkin had left the festival to co-produce The Celluloid Closet.) Jennifer Morris continued as festival co-director. According to Lumpkin, "I came back knowing that I would be here for an extended period of time, because I think Frameline's biggest problem of the past few years was an annual turnover of directors and staff. There's been no stability at the top of the organization." With corporate sponsorship doubled from last year's level, the organization appears to be taking steps to ensure the festival's ongoing financial health.
Although many of this year's 40-plus features had already screened at Sundance, Toronto, Berlin, or Rotterdam, San Francisco provides exposure to a lesbian and gay audience whose critical reaction is a strong indicator of how films might play elsewhere. Attended by more than 275 filmmakers and industry professionals, the festival remains a vital place to make connections. According to J¸rgen Br¸ning, producer of festival favorite Hustler White, "Distribution deals were already done at other festivals, but San Francisco is a place to meet producers and curators, make little deals, and have a sold-out screening at the 1,500 seat Castro Theatre."
Former director Finch's plans to run a lesbian and gay film market concurrently with the festival will not be pursued. Says Lumpkin, "I see their functions and purposes overlapping too much for us to create something that would be happening at the same time. But I would like to have the festival itself accommodate the needs of buyers and sellers." The addition of a new Festival Pavilion, a centralized meeting place adjacent to the Castro Theatre, was a first step in realizing this goal.
Of the record 17 lesbian features, it is certainly significant that "lethal lesbians" (as named by B. Ruby Rich) were found in a film directed by men. The capacity audience for Larry and Andy Wachowski's Bound gasped and hissed at the sight of full-frontal face punches, bloody severed fingers, and point-blank slayings. A woman in the audience exclaimed loudly, "This is not a lesbian movie; it's a shoot 'em up movie." Her comment echoed a question frequently asked at the festival in light of proliferating lesbian images on-screen: "What exactly is a "lesbian' film?" Still, the predictable ending resulted in thunderous applause.
Sex for money emerged as a theme in at least ten features. Among the strongest were three documentaries. Body Without Soul is Wiktor Grodecki's disturbing look at Pavel, a child pornographer and police coroner in Prague. Intense and threatening, Pavel forces young hustlers to perform unsafe sex acts while he films them; he also performs an autopsy and narrates the procedure with odd, chilling enthusiasm. Cross-cutting between teenage bodies and dismembered bodies proved to be an incredibly unsettling metaphor. John Greyson's After the Bath uncovers a child porn panic induced by the police and media in a small Canadian city. Susana Aikin's and Carlos Aparicio's The Transformation, an affecting sequel to The Salt Mines (1990), follows Ricardo, an HIV-positive former transsexual prostitute who becomes a born-again Christian and marries a heterosexual woman. Disappointing was Skin & Bone, a heavy-handed allegory by Everett Lewis, director of The Natural History of Parking Lots (1990). Impressive cinematography and editing could not redeem an overblown narrative about L.A. hustlers, as actors, fulfilling elaborate fantasies.
Cheryl Dunye's Berlin Gay Teddy Award winner, The Watermelon Woman, was an opening night audience hit. This witty, well-written genre-blending feature presented a continuum of lesbian personalities, from stone-butch Cheryl Clarke to hyper-femme Go Fish-star Guin Turner. Dunye reported a positive experience at the festival: "The San Francisco Bay Area audience has the greatest respect for the work, and we got really good press." The screening was preceded by a recent C-Span clip of Congressional debates over the NEA grant Dunye received to fund the project.
Addressing black women's history and black lesbian identity, Dunye's feature does not exist in a vacuum. Of the more than 200 features, short films, and videos seen here, at least 12 were by or about black lesbians, including several outstanding works receiving wide exposure. Shari Frilot's Black Nations/Queer Nations? is on the film festival circuit; Sonja de Vries' Gay Cuba is one of five films in the festival being distributed by Frameline; and Yvonne Welbon's Remembering Wei Yi-Fang, Remembering Myself aired on public television's P.O.V.
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| Ryosuke Hasiguchi's Grains Of Sand |
Rosa von Praunheim and Barbara Hammer have each shown more films here than any other makers in the festival's history. Von Praunheim premiered Transexual Menace and screened the autobiographical Neurosia: 50 Years of Perversity. His latest works and Hammer's Tender Fictions seem to have been obscured by attention to less experienced and less overtly political filmmakers whose debut features are often ready-made for mainstream consumption. Von Praunheim, whose first films appeared in the late '60s, noted the shift in audience taste toward more commercial films: "The more emancipated we become, the more superficial we get. But the main thing is that gay and lesbian films get shown; and there's such a variety of them at this festival, so that's good."
The veritable explosion of queer Asian film production throughout the world is some of the biggest news in recent years, yet only a handful of Asian features, like Jo-Fei Chen's Where Is My Love and Wu Feng's Darkness Before Dawn, made the cut. Non-narrative cutting edge work was also surprisingly absent from a festival with a history of championing experimental work. These are the kind of films that might die from lack of exposure by the oldest and biggest lesbian and gay festival, but audiences of over 50,000 bring demands for crowd-pleasing images and community affirmation. Constantly evolving relationships with key international festivals and Hollywood indicate that this festival has more responsibilities and more roles to fulfill than ever before.
OutFest '96
Outfest '96 kicked off its 11 day run at the DGA with a packed, three theater opening night screening of Stonewall. The film is based on Martin Duberman's tome about the historic drag queen led riots outside of New York's Stonewall Inn Bar in June of '69. Directed by the late Nigel Finch (The Lost Language of Cranes), the film's quirky musical numbers and witty dialogue diffused its pedantic potential, earning writer Rikki Beadle Blair the Outfest Grand Jury Award for OUTstanding Screenwriting. Post-screening, a retrofestively themed Stonewarholesque party grooved into the night, where guests imbibed at a simulated Stonewall Bar, complete with arresting men in uniform - go-go boots and bouffants - who ironically served Coors.
One of the sidebar attractions at Outfest '96 was a soon-to-be-launched website called Planet Out, which seems an apt subheading for the entire festival itself, fast becoming one of the country's premiere showcases for queer filmmakers. With works ranging from a frothy German sex romp about a heterosexual woman and her search for Mr. Right, (she has a gay brother) to a young black lesbian's immersion in Taiwanese culture, this year's program made conscious leaps forward to represent queer artists and their individual concerns the world over. Without the strident tones of years past, where gay and lesbian cinema seemed to cower in the overwhelming shadow of AIDS message movies or coming- out scenarios, some of which were better off left in the closet, the films of Outfest '96 displayed a growing maturity, reflective of queer cinema as a whole.
While the fiction features, with crowd-pleasers like Bruce LaBruce's Hustler White, Cheryl Dunye's Watermelon Woman, and Chris Newby's Madagascar Skin, drew the largest audiences, the real gems were the documentaries and personal expression films, awaiting discovery and much-needed exposure.
Sonali Fernando's richly atmospheric The Body of A Poet, (awarded Outfest '96's Audience Award in Outstanding Short Video Fiction) increased the stakes for experimental cinema by wrapping a riveting theme of cultural and sexual identity around a fluid and mostly narrative-driven camera.
On the documentary front - Debra Chasnoff and Helen Cohen's It's Elementary follows a group of elementary school teachers as they confront the subject of homosexuality in pre-teen classrooms. Wearing its bias like a loud suit, It's Elementary would have been well-served by a few opposing viewpoints, namely the right-wing voting bloc of parents who so dearly want the topic of gay sex banned from schools.
With such an eclectic menu, ranging from the earnest but technically lacking Comrade, the first gay documentary from mainland China, to Gay Cuba, an articulate and clear-eyed view of queer life in Castro's communist Cuba, did this year's festival satiate the average viewer on the street? At nine bucks a pop for features or shorts programs, the festival drew a mostly well-heeled gang from nearby West Hollywood; and the more sexually risqué offerings, a staple at gay film festivals the world over, drew more blanks than cheers this year. Maria Beatty's hard-core lesbian sex flick, The Black Glove, resulted in walkouts from the predominantly gay-male audience; and as one festivalgoer commented, "Some of the sex stuff seemed to border on lame porn."
Outfest '96's overall Grand Jury Prize for Outstanding Narrative Feature was awarded to Fina Torres, for her highly entertaining, Celestial Clockwork. And Susan Streifeld's Female Perversions was the buzz of the festival. An unsettling portrait of two sisters and their various obsessions, erotic and otherwise, Perversions features the powerhouse acting duo of Tilda Swinton and Amy Madigan.
Other crowd favorites were Sharon Pollack's ensemble comedy Everything's Relative, which gave new life to the tired old genre of college reunion flicks. From the producers of The Crying Game, Nik Powell and Stephen Woolley, came the well-received Hollow Reed. A fascinating and starkly realistic portrait of a gay father's attempt to gain legal custody of his son, the Angela Pope directed feature leads a wave of new queer-themed U.K. films rooted in the realities of daily urban life.
Bad girls Jennifer Tilly and Gina Gershon caused quite a stir in the über sexy mob thriller Bound. Written and directed by the Wachowski brothers, the film received an honorable mention by the Grand Jury and is scheduled to be released by Gramercy this October. Japanese "drag kings," women who impersonate men in Tokyo's Club Marilyn, were the subject of the fascinating documentary, Shinjuku Boys. Directed by Kim Longiotto and Jano Williams, the film nabbed the Grand Jury Award for OUTstanding Documentary Feature.
High school, the hotbed of raging hormones, was the backdrop for lesbian features like Rachel Reichman's interracial love story Work, sneak preview fave All Over Me, and closing night comedy Late Bloomers. Directed by Alex Sichel (her directorial debut) and produced by Dolly Hall (Incredibly True Adventures of Two Girls in Love), All Over Me focuses on a New York teen's coming out. Featuring strong acting debuts and an eclectic, punky girl band score, this film, made for under $1 million, is scheduled for a March '97 release by Fine Line.
"Freedom to marry" was the timely theme of the festival's closing night awards reception. Set in a wedding wonderland, the reception was hosted by t.v. writer Bruce Vilanch, sans Elvis garb. While many filmmakers were unavailable to accept awards, director Susan Streitfeld was on hand for an acceptance speech. Pleasantly surprised at 42 to receive the Award for Emerging New Talent, she sent out an inspirational note to all her homies - "Have faith in your vision."
In previous years, the tendency to unintentionally pander to the audience reflected a desire to celebrate the festival's mere existence. Programs were often filled with old Hollywood films which traded on subliminal (or overt) gay-themed content simply because there were not enough queer films coming to market. But with the maturation of the industry as a whole comes a more sophisticated and open-minded audience. Due in big part to dynamic programmer John Cooper, this year's festival was comprised of internationally queer filmmakers grappling with all kinds of personal and social issues, and these films clearly struck chords with many in the audience.
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