The 2011 Dallas International Film Festival closes today, wrapping up an 11 day fest that accomplished what all regional fests should: screening favorites on the festival circuit while highlighting the talents of filmmakers in its community. Thanks to the tireless efforts of the Dallas Film Society (which took over the festival when the three-year licensing and consulting deal with AFI wasn’t renewed before the 2010 fest) — specifically chairman Michael Cain and artistic director James Faust — the 5th DIFF has integrated itself nicely into a Dallas arts community that already has a full calendar of events to choose from […]
I guess it should come as no surprise that my preference for film festivals tends to follow my sensibility when it comes to films themselves. If everyone in the blogosphere and beyond is talking about the upcoming Hollywood blockbuster or even the latest offering from the mumblecore crowd, I’ll want to review what’s coming out of Kazakhstan (The Gift to Stalin — three stars!) or rave about an undistributed doc that takes a refreshing look at a trio of grandma-age sex workers in Berlin (Saara Aila Waasner’s uplifting Frauenzimmer). I often feel like I’m out of the loop as the […]
There’s nothing like a parade to celebrate community spirit. When I arrived in Columbia, Missouri (aka CoMo) throngs of revelers in homemade costumes were marching down the main boulevard to kick off the 8th edition of the True/False Film Fest. The aptly named documentary festival ran from March 3-6, and community spirit was evident in the grassroots event dedicated to the audience experience. Columbia, a small city just north of the Ozarks, counts more than one quarter of its 108,000 residents as advanced degree holders. The University of Missouri (aka Mizzou) is the largest among several schools, and its prominent […]
“We love the filmmakers because without them we’d all just be here drinking.” So noted CineKink Film Festival founder Lisa Vandever after calling for a round of applause at this year’s midtown kickoff at the Taj Lounge, which saw burlesque performances — by Leta Le Noir, Sweet Lorraine and “N — “The ONLY Letter in Burlesque” followed by a small shorts program. With films containing a slick music video/Calvin Klein commercial aesthetic (Roy Raz’s The Lady Is Dead from Israel), to scenes of anatomical pottery (Debi Oulu’s My Erotic Video Art, another flick from Israel — what’s up with the […]
The 11th Tokyo Filmex opened with Apitchatpong Weerasethakul’s beguiling Uncle Boonmee, Who Can Recall His Past Lives (pictured left). The opening film set the tenor of the week to come — experimental, personal, willing to take chances. At the opening ceremony festival director Kanako Hayashi gave a shout out to the man who pretty much put Japanese film on the Western critical map, Donald Richie. All eyes in the audience turned toward the frail, but unbowed, man who graciously acknowledged the accolades. Over the last year the 86-year old Richie has been conspicuously absent from the film scene that he […]
Palm Springs, jewel of the desert, playground of the Hollywood rich, not to mention thousands of prosperous retirees who enjoy golf, tennis, and dinner at five, is also the home of a pretty cool film festival, started by Sonny Bono in 1990. Once, it was a sleepy little affair where audiences could see multiple films in the same theater on the same ticket, and no one paid much attention to the results. Those days are emphatically over. Wrapping its 22nd year on January 17, the Festival broke its own attendance record in 2011, as more than 130,000 cinephiles crowded into […]
Sometimes you wind up in a place where you do not have something that everyone else has. So it was being a young American producer at the Rotterdam Cinemart Labs, straight off the plane from Sundance. Think: Independent Film Model Congress. I and my fellow American, Billy Mulligan, found ourselves on Day One in a “Speed Dating” scenario, spending five minutes each with our new international producer friends. From this and the subsequent wine-fueled dinner, I understood quickly that for all the different backgrounds and accents (Bosnian-inflected Scotch English being the prize winner in this department), we were all quite […]
After the rush of sales in Park City this year, it seems the entire American cine-punditry is racing to declare this the beginning of a new golden age in American Independent Film. I sure hope they’re right. One wonders if March’s SXSW Film Festival in Austin will continue the trend and finally push that festival into true market status. Nearly 40 films were acquired in Park City and many more that premiered there will surely be acquired in the weeks and months to come. Yet for some of the most daring new American films, the sales rat race at Sundance […]
It was a grueling and exhilarating year. Last year from January to December I road-ripped in my van, the “Red Devil,” occasionally flew on airplanes, a few times rode on trains, sprinting across and around America, then over and around Europe, parachuting in on nearly 50 film festivals. It was a manic-depressive trip on the rollercoaster-roadway. One minute I was kissing the stars and the next I was eating asphalt. It was madness, but madness that made complete sense. To understand America today, non-fiction books are giving fewer and fewer clues. Literature has become passé for making sense out of […]
With a hat tip to Photo Cine News, here are clips from two Sundance 2011 prizewinners shot on DSLR cameras. The first, the Grand Jury Prize-winning Like Crazy, was shot on the Canon 7D. (Felicity Jones, featured in this clip, also won a Special Jury Prize for her acting.) The second, Hell and Back Again, won the World Cinema Grand Jury Prize as well as the World Cinema Cinematography Award. It was shot on the Canon 5D with custom-built rigs. Hell and Back Again clip from Danfung Dennis on Vimeo.