FESTIVAL ROUNDUP



 
 

Fort Lauderdale International Film Festival

The opening bid for Oliver North was $20. For Pat Buchanan, $15. And for General Norman Schwartzkopf? $35. Yes, bidding for autographed 8x10's of these Republican gods along with shots of Connie Chung, Willard Scott and Brian Boitano was just part of the charm of The 12th Fort Lauderdale International Film Festival's opening night festivities. There were also a band, a disco singer, dancing, a bride, catering by dozens of the top local restaurants, white chocolate swans, plus more eccentrics than John Berendt's Savannah could ever hope to populate its streets with.

Once again Fort Lauderdale has easily earned its title as the "fun fest." With its ability to mix screenings of over 120 films from around the world with the need to wear sun screen -- plus galas at the estates of multimillionaires -- how can other festivals compete?

Well, maybe Cannes, Sundance and Venice needn't worry.

But besides the merrymaking and the free trip to Florida, permitting many directors and non-SAG-members to visit their retired relatives at no cost, why should filmmakers attend Ft. Lauderdale?

"Well, this year we were able to attract more distributors than ever before, and we think we sold at least three products out of it," notes the energetic Gregory von Hausch, the fest's omnipresent President and Director.

Which films?

"They're in negotiations right now. American Perfekt and The Island on Bird Street for sure. Those two look like they're going to score from here. Then there's individual offers on other products such as You Are Here which may or may not get distribution, but I think its director Tom Rooney is going to get further work because of it. Up on the Roof, too.

"So we're developing that aspect," von Hausch continues. "We're also a comforting festival that tries to do its best. I get out there and talk up the films and try to get the audience behind them. We give the filmmakers that pat on the back after they've had so many trepidations getting their films made. The directors need a little encouragement sometimes, and I think we're sort of the nurturing festival if you will. We do what we can for them. They're not lost in the crowd."

Kelley Sane, director of Franchesca Page, a polite John-Waterish epic about a white drag queen mother trying to make her black untalented daughter a star on Broadway (Sammy Davis, Jr. supplied the sperm), agrees: "It wasn't our first film festival so we understood the chaos that can happen. It was great. Actually they bent over backwards.

"Fort Lauderdale is unique, like all the other festivals. I had a great time at Cannes. I had a wonderful time at Sundance, Montreal, L. A., Outfest in San Francisco. They're all unique in their own way."

Did you get a tan?

"Not this time around. As for the Festival helping my film with its distribution, it might be a little early to tell that right now since it ended not so long ago. But at least it opened up a few more doors. A few more people saw it than maybe would have if the Festival weren't there."

Andrew Chang concurs. His company, Attitude Films, is distributing Alex Van Warmerdam's The Dress. "It was good publicity for the film. Also, the local film reviews and press we received will help in the future campaigns. There were also a couple of films I saw that I became interested in and will follow. Yes, I recommend the Festival to other film distributors."

Do you have anything nasty or witty to say about the Festival?

"No," Mr. Chang answers. Then after a moment of silence, he adds, "The beaches are beautiful, the weather nice."

The buoyant Tim Chey was, however, more guarded with his praise. His Fakin' Da Funk, one of those features often labeled an "urban comedy," is about the problems occurring after an orphanage mistakenly ships a Chinese baby to a black family. The recently resuscitated Pam Grier stars. "I went from the Hamptons to Fort Lauderdale so that was a real change of pace. You got the sun. It was a pleasant experience without a doubt, and I really enjoyed it and had a good time."

Was it helpful?

"I don't know. I can't really say anything about it. I can't assess the impact. I had a good time. They flew me out and they put me up in first-class accommodations. I can't really . . . I can't really . . . It's hard to assess. I support them very much, but I can't give you an honest assessment. I'm sorry."

Do you mean it's too early or are you just being diplomatic?

"I'm just being diplomatic because I don't want to say anything negative about the Festival this early. I will tell you this though, the film, Fakin' Da Funk, it's something that I hope you guys can cover sometime. If you want to do an article, I'll be more than happy to be completely candid and honest. I think it would make a great article because you have an 18-day shoot in South Central and you have me. I'm also a subscriber to Filmmaker, too."

I'll talk it over with the editors.

John Gallagher, who also won The Spirit of Independent Film Award for The Deli, agrees to be up front without the promise of a possible cover story, but then he has nothing bad to say: "It worked for us big time for two reasons. One was that I actually met two investors, two people who saw The Deli and spoke to me afterwards about investing in some upcoming projects. They were South Florida folk. The other thing was the award they gave the film which helps the portfolio of the picture."

As for the Fort Lauderdale Film Festival, the print of Susan Winter's Noel Coward-y Pousse Cafe burnt on screen, and Ken Loach's venture into Guatemalan history, Carla's Song, ruptured at a pivotal scene. Some features got four screenings (Franchesca Page); others, one, and at a lousy time (Mark Schiffer's Strong Island Boys). Yet for the majority attending, this growing Festival was an unbeatable mix of smiling Mother Nature and celluloid. Especially for Kenneth Schapiro, whose My Girlfriend's Boyfriend was receiving its world premiere. The director of this In & Out-meets-Love, American Style-pic notes: "Unfortunately, it's not a festival that a lot of distributors attend. The benefit was in seeing an audience really enjoy your film... after paying for it!"

Brandon Judell is a contributor to Detour and lead critic for Critics Inc. on AOL. He's also written on film for The Village Voice and The Advocate, and edited The Gay Quote Book.




 
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