Authors — Howard Feinstein
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Thank Heaven for Seven: The Best of NewFest
This year marks the 25th anniversary of NewFest (September 6-11), kissin’ cousin of LA’s OutFest. Before the acronym LGBT became a more inclusive umbrella for groups stigmatized on account of sexual and gender preference, an earlier incarnation of a queer film event, The New York Gay Film Festival (1979-1987), was the only game in town. Founded by Peter Lowy, it took place at the Thalia cinema, then a film-buff paradise on the Upper West Side, and filled a huge gap for many of us. Distributors were fearful of gay-themed films. Of the selection, recurring topics included coming out and of […]
by Howard Feinstein on Sep 6, 2013 -
A Matter of Life and Death: Lee Isaac Chung and Abigail Harm
We all require friendship, companionship. In the three films Lee Isaac Chung (known as Isaac) has made, he observes assorted relationships in vastly different milieu: in Munyurangabo (2007), the bustling central market of Kigali, the capitol of Rwanda, and that country’s verdant countryside and poor isolated villages; a beach house smacking of privilege on the southeastern coast of the U.S. in Lucky Life (2010); and, in his latest, the mysterious, inventive Abigail Harm (2013), a large but charmless apartment on a depressing, sparsely populated edge of New York City. The dramatic emphases, however, are less on bonding than on the […]
by Howard Feinstein on Aug 28, 2013 -
Pacific Rim: Asian American International Film Festival
Some titles that blur the gray line between ideology and pleasure could well have been fodder for battle between the just-concluded New York Asian Film Festival (NYAFF) and the Asian American International Film Festival (AAIFF), which runs July 24-August 3. The former is larger and younger (b. 2002) and comprised almost entirely of entertaining generic fiction; the latter, smaller, older (b. 1978), and more diverse, a politicized showcase in which fiction, documentaries, and hybrids share pride of place. Yes, there is telling overlap in their respective agendas. The AAIFF divides its 26 features into six strands (44 shorts are branded separately): Triple […]
by Howard Feinstein on Jul 22, 2013 -
Fifth Time’s a Charm: BAMcinemaFest
Something of a cinematic wunderkind, BAMcinemaFest (June 19-28) is the offspring of the three-year marriage, consummated in Brooklyn in 2006, between the Sundance Institute and BAMcinematek. The festival jumped past the Sundance-only model, adding submissions and films from SXSW, Toronto, and True/False. Curator Florence Almozini expertly cherry-picks the best indies from the previous year; each is a New York premiere. Around the time the betrothal was dissolving, Almozini explains, “We were looking at the NYC festival scene to find our own niche. We felt that no other festival was actually focusing on new U.S. indie films. BAMcinemaFest as a showcase […]
by Howard Feinstein on Jun 17, 2013 -
Rear-Ended: New Directors/New Films
If brave new fiction dominated the first week of New Directors/New Films, a cluster of divergent docs owns the second. Some of the docmakers aim for the intimate and personal (Stories We Tell, Anton’s Right Here); others, the extroverted and novel (Our Nixon, People’s Park). For the most part, grasp equals reach. The directors merge form and content in ways appropriate for both subject and audience. The one standout feature fits nicely with the docs. The Interval is a study in doc-like realism, and Italian director Leonardo Di Costanzo is a veteran of documentaries. The film has a light poetic feel as well — […]
by Howard Feinstein on Mar 26, 2013 -
Top Riders: New Directors/New Films
It’s my favorite time of the New York movie year: the New Directors/New Films festival (March 20-31), now in its 42nd edition. A New Directors film may be artful, heady, provocative, or innovative — or all four. Not always super polished — that’s traditionally more up the New York Film Festival’s alley — it should indicate promise. To that end, this crop pretty much delivers. A number of selections favor a bit of fakery in lieu of naturalism in order to get at some sense of truth. Just as you can make a case for the greater honesty of Méliès’s magic films […]
by Howard Feinstein on Mar 19, 2013 -
Toronto International Film Festival 2011
Toronto multitasks. It has to. The North American launching pad for second- or third-tier commercial releases with stars from lists A through C, the festival includes a rather high proportion of Galas and Special Presentations — a majority of them apparently uncurated. Many Torontonians, a cinephilic bunch, as well as peripatetic journalists and programmers, seek out more esoteric fare — almost all of it carefully selected by experts in different geographical zones (plus docs). Discovery, Contemporary World Cinema, Real to Reel, Visions, Masters, Mavericks, City to City: These are festival strands. The Galas and Special Presentations seem, well, booked. What […]
by Howard Feinstein on Oct 23, 2012 -
Grouping Films at The New York Film Festival
Grouping is an excellent organizing tool during a film festival — mapping the films and intimating their relationships. The only problem is that, for the reader, you run the risk of relinquishing the element of surprise. Take, for example, Our Children (pictured above), a New York Film Festival main slater by Belgian director Joahim Lafosse. (The original French title is A Perdre la Raison.) It was not invited to Toronto, which has at least ten times the number of films as the New York Film Festival. What differentiates Our Children from the other selections? The most obvious is fragmentation. Short […]
by Howard Feinstein on Oct 3, 2012 -
The Best and Worst of the Toronto International Film Festival
Maybe I’m just a delusional film buff, but after a quarter-century of attending the Toronto International Film Festival – now affectionately called TIFF, a less compensatory moniker for Canadians with a complex than the laughably arrogant Toronto Festival of Festivals label of yore – I believe that the event and its component parts echo the unique demographic of this large North American city. The festival’s multiple ethnic and racial sections coexist snugly. More than any other big international film festival, TIFF – proudly uncommercial – is built upon a carefully balanced assortment of heterogeneous cinemas: national and generic, mainstream and esoteric, the spanking new and […]
by Howard Feinstein on Sep 17, 2012 -
TIME IN A BOTTLE: “THE GOOD DOCTOR”
After leaving his native Britain for the U.S., Dr. Martin Blake (Orlando Bloom) begins his residency in general medicine in a chaotic, understaffed hospital in an unspecified coastal city. This well-mannered, middle-class young man is vying for a fellowship in infectious diseases. Unfortunately, he is off to a bad start: He falls out with a powerful nurse, Theresa (Taraji P. Henson); and he inadvertently endangers a non-English-speaking patient with a potentially lethal dose of penicillin. Screenwriter John Enbom succeeds in a difficult balancing act: The more events point to Martin’s culpability in two deaths, the greater his superiors’ enthusiasm for his work. […]
by Howard Feinstein on Aug 29, 2012
