It's a film Van Peebles made in France in his early years.
And there is also the legendary "Sweet Sweetback's Baadasssss Song."
"Confessionsofa" is nothing like the descriptions friends of mine have given about "Sweet ..." These women don't know each other: one is a black photographer; one is a white lawyer; neither is easily shocked or offended. But they didn't like anything about "Sweet Sweetback."
Still, I want to see it -- all the more now.
Sunday, May 4, 2008
Melvin Van Peebles' film is brilliant
The first night of the Maryland Film Festival, Barry Levinson reminded the audience that no matter how much film has evolved, it's still about storytelling, and "Confessionsofa Ex-Doofus, Itchy-Footed Mutha" is a new kind of cinematic storytelling.
Van Peebles came from New York to attend the screening, fresh from rave reviews at the Tribeca Film Festival. He told the audience last night that he made this film because the technology has evolved enough to give him the precision and control he had always longed for in the editing process -- his favorite part of filmmaking.
The technology allows him to manipulate images, add hand-painted (by him) elements to give scenes a magical quality with saturated colors, and slow or speed up the film for effect. It's a masterful film.
I'm providing a link at the top left of this page, to MFF director Jed Dietz's spot-on program notes for this film.
I love the fact that, at 75, Van Peebles plays the main character as a little boy and young man, as well as the old man telling the story in flashback. It works, because he uses the script to remind you his character is not as old as the actor. And it's a lot like real-life storytelling. When my grandmother told me stories of her youth, I imagined her as a child looking just like she did as a gray-haired old woman, but smaller. And that's what Van Peebles does with his character. I think he used that technology to make his character appear smaller when he's "the kid."
There's no way a verbal explanation can do justice to the way in which he pulls this off. You just have to see it.
Van Peebles came from New York to attend the screening, fresh from rave reviews at the Tribeca Film Festival. He told the audience last night that he made this film because the technology has evolved enough to give him the precision and control he had always longed for in the editing process -- his favorite part of filmmaking.
The technology allows him to manipulate images, add hand-painted (by him) elements to give scenes a magical quality with saturated colors, and slow or speed up the film for effect. It's a masterful film.
I'm providing a link at the top left of this page, to MFF director Jed Dietz's spot-on program notes for this film.
I love the fact that, at 75, Van Peebles plays the main character as a little boy and young man, as well as the old man telling the story in flashback. It works, because he uses the script to remind you his character is not as old as the actor. And it's a lot like real-life storytelling. When my grandmother told me stories of her youth, I imagined her as a child looking just like she did as a gray-haired old woman, but smaller. And that's what Van Peebles does with his character. I think he used that technology to make his character appear smaller when he's "the kid."
There's no way a verbal explanation can do justice to the way in which he pulls this off. You just have to see it.
Where else would a conversation like this start up?
The line to get into the closing night film was already pretty long when I arrived, and it wasn't moving. I decided to make a few notes because of something John Waters said Friday night when he introduced "Story of Women," which is a movie about abortion. As was "4 Months, 3 Weeks and 2 Days," released earlier this year.
"It's practically a trend," Waters said. "Maybe we should have an abortion film festival."
I'm not planning a festival, but I did start making notes on other films in which the issue, or a particular abortion, are a critical element.
The man behind me in line said, "I'm not trying to read your notes, but I couldn't help noticing ..." And he offered up "Vera Drake," starring Imelda Staunton.
It was Christopher Reed, assistant professor of film and video at Villa Julie College.
We came up with a few more abortion films, and then passed the time (the wait ended up being an hour) thinking of the best female-friendship films, which I had been thinking about since seeing "Yeast" at the festival. He noted that "4 Months ..." is also a study of female friendship.
"It's practically a trend," Waters said. "Maybe we should have an abortion film festival."
I'm not planning a festival, but I did start making notes on other films in which the issue, or a particular abortion, are a critical element.
The man behind me in line said, "I'm not trying to read your notes, but I couldn't help noticing ..." And he offered up "Vera Drake," starring Imelda Staunton.
It was Christopher Reed, assistant professor of film and video at Villa Julie College.
We came up with a few more abortion films, and then passed the time (the wait ended up being an hour) thinking of the best female-friendship films, which I had been thinking about since seeing "Yeast" at the festival. He noted that "4 Months ..." is also a study of female friendship.
Alex Gibney, the most prolific guy in the room
As if it isn't hard enough to choose between the films, the MFF also has an ongoing schedule of filmmaker panel discussions and workshops. This morning, I sacrificed "Underworld" with the Alloy Orchestra to sit in on a talk with documentary filmmaker Alex Gibney, director of the Oscar-nominated "Enron: The Smartest Guys in the Room," Oscar-winning "Taxi to the Dark Side" and "Gonzo," which is screening at the festival this year.
When someone asked him what he's working on now, he rattled off four or five projects, including a film he just finished on Jack Abramoff. It sounds great!
Listening to what became a conversation between him and the half-dozen or so others in the tent, I could appreciate the film I saw later in the afternoon with perspective on the style. Gibney chose and hosted this rare screening of "WR: Mysteries of the Organism" (1971) by Dusan Makavejev ("Montenegro"). When it was released, as now, it was too arty and sexually explicit for wide release. Gibney saw it in college at a film society screening.
What it shares with Gibney's style is a strategic juxtaposition of two elements to tell a story. In "Enron," Gibney cut between the extreme-sports obsession of a lot of the Enron executives and the financial risk-taking and eventual ruin of the company.
In "WR," it's between sex and politics (or, more specifically, political ideology).
I was unable to see "Gonzo" yesterday. But it will surely be released theatrically, so I'll see it then.
When someone asked him what he's working on now, he rattled off four or five projects, including a film he just finished on Jack Abramoff. It sounds great!
Listening to what became a conversation between him and the half-dozen or so others in the tent, I could appreciate the film I saw later in the afternoon with perspective on the style. Gibney chose and hosted this rare screening of "WR: Mysteries of the Organism" (1971) by Dusan Makavejev ("Montenegro"). When it was released, as now, it was too arty and sexually explicit for wide release. Gibney saw it in college at a film society screening.
What it shares with Gibney's style is a strategic juxtaposition of two elements to tell a story. In "Enron," Gibney cut between the extreme-sports obsession of a lot of the Enron executives and the financial risk-taking and eventual ruin of the company.
In "WR," it's between sex and politics (or, more specifically, political ideology).
I was unable to see "Gonzo" yesterday. But it will surely be released theatrically, so I'll see it then.
Mumblecore
I have to admit the "mumblecore" tag given to a certain trend in independent filmmaking didn't sound all that appealing to me. Not all the filmmakers who get tagged with it have selected it for themselves, said Mary Bronstein, and a few of them feel it pigeonholes them.
But most, she said, believe it might get their films more attention on the festival circuit than if they were just one of the many. After all, festivals usually have far more entries than any one person can see, and anything that helps a film stand out can help.
Bronstein said the mumblecore movement is broader than just the collective of filmmakers that includes her husband Ronald Bronstein, Joe Swanberg, Greta Gerwig and others in their circle of friends and colleagues. A sound man for another independent filmmaker coined the phrase, Bronstein believes, and it usually indicates that a film was shot with a hand-held digital video camera for very little money, with natural lighting, containing a good amount of improvisational dialogue and having an intimate style.
"My film does have a similar style, but I feel like there's a separation in the themes," Bronstein said of "Yeast."
"I feel like the emotional level of my film is very intensified," she said. "All the 'mumblecore' films are very different."
But the natural lighting and small budget applies here. "My film cost fifteeen hundred dollars," Bronstein said. "That's just production, not counting transfers and taking it to festivals."
She's able to do this only because she and her colleagues work on each other's films, for no money. They all have other jobs. In addition to a degree in drama from New York University, Bronstein has a psychology degree, and works as a play therapist for a hospital.
"Nights and Weekends," by Joe Swanberg, has much more of subdued quality than "Yeast." It's a moving depiction of a long-distance relationship in a difficult and awkward stage. Swanberg co-stars with Greta Gerwig, who is also in Bronstein's film.
If you attended last year's festival and saw "Frownland," by the way, Bronstein played the female love interest of the main character. "Frownland" was directed by her husband, Ronald Bronstein. While it could be called a "mumblecore," it was shot on film, she noted.
But most, she said, believe it might get their films more attention on the festival circuit than if they were just one of the many. After all, festivals usually have far more entries than any one person can see, and anything that helps a film stand out can help.
Bronstein said the mumblecore movement is broader than just the collective of filmmakers that includes her husband Ronald Bronstein, Joe Swanberg, Greta Gerwig and others in their circle of friends and colleagues. A sound man for another independent filmmaker coined the phrase, Bronstein believes, and it usually indicates that a film was shot with a hand-held digital video camera for very little money, with natural lighting, containing a good amount of improvisational dialogue and having an intimate style.
"My film does have a similar style, but I feel like there's a separation in the themes," Bronstein said of "Yeast."
"I feel like the emotional level of my film is very intensified," she said. "All the 'mumblecore' films are very different."
But the natural lighting and small budget applies here. "My film cost fifteeen hundred dollars," Bronstein said. "That's just production, not counting transfers and taking it to festivals."
She's able to do this only because she and her colleagues work on each other's films, for no money. They all have other jobs. In addition to a degree in drama from New York University, Bronstein has a psychology degree, and works as a play therapist for a hospital.
"Nights and Weekends," by Joe Swanberg, has much more of subdued quality than "Yeast." It's a moving depiction of a long-distance relationship in a difficult and awkward stage. Swanberg co-stars with Greta Gerwig, who is also in Bronstein's film.
If you attended last year's festival and saw "Frownland," by the way, Bronstein played the female love interest of the main character. "Frownland" was directed by her husband, Ronald Bronstein. While it could be called a "mumblecore," it was shot on film, she noted.
Friendship break-ups
If you find the all-too-rarely explored topic of friendship break-up interesting, note that two films at this year's MFF explore that. One is "My Effortless Brilliance," about two men, but I couldn't get into that one during the unfairly short time I had to watch it.
I found "Yeast," about three female friends, much more riveting. It's emotionally intense, with unpleasant characters -- not for everyone. As for me, I had to leave after the first 20 minutes or so yesterday -- ONLY because I had to get to the screening of "Waiting for Hockney," but I plan to catch the rest of "Yeast" during the final screening at 4:30 p.m. today.
I had the benefit of interviewing "Yeast" director Mary Bronstein just now, and I'll be posting more later on how she was inspired to make "Yeast," and her insight into whether the "mumblecore" label hurts or helps the films that get tagged with it.
Link to Bronstein's myspace page to learn more about the movie.
I found "Yeast," about three female friends, much more riveting. It's emotionally intense, with unpleasant characters -- not for everyone. As for me, I had to leave after the first 20 minutes or so yesterday -- ONLY because I had to get to the screening of "Waiting for Hockney," but I plan to catch the rest of "Yeast" during the final screening at 4:30 p.m. today.
I had the benefit of interviewing "Yeast" director Mary Bronstein just now, and I'll be posting more later on how she was inspired to make "Yeast," and her insight into whether the "mumblecore" label hurts or helps the films that get tagged with it.
Link to Bronstein's myspace page to learn more about the movie.
Saturday, May 3, 2008
Subject and Director
Yesterday's screening of "Waiting for Hockney" was packed with the families and friends of artist Billy Pappas, left, and Julie Checkoway, the film's director. (The photo was taken by Gary Vikan, director of the Walters Art Museum and a mentor to Pappas, at the Tribeca Film Festival.) Checkoway, a former English teacher at the Gilman School, now lives and works in Salt Lake City as a journalist and filmmaker, with her husband, Lee Thomsen.
While no more showings are scheduled at the festival, it's likely this film will be back for a screening in some way. Read more about it at the Film Festival site, and at the film's website. (The link is at the top left corner of this page.) The site also includes a recipe for Cookie Pappas's poppyseed cake. The cake was one she made for artist David Hockney for agreeing to meet with her son.
"Waiting for Hockney"
These detail images are of Marilyn Monroe's lips and neck and hair, from the drawing at the heart of the documentary "Waiting for Hockney." The film screened Saturday afternoon, and by today, it's back at the Tribeca Film Festival for an encore screening. The bonus was that in addition to seeing this compelling film about a local artist -- Billy Pappas -- the audience yesterday got to see the actual drawing. I have to admit that during the film, I was more taken with Billy's artistic drive than with the drawing itself. But when I saw the drawing afterward, using the magnifying glass provided, I was enthralled. I could see the kinds of tiny folds in her eyelid. I could have looked for much longer, but there was a line that snaked all the way across the atrium and down the stairs to the theater, in the Brown Center at MICA. I had to wait in line for about 20 minutes myself. It was like years ago when I visited the Louvre and saw the line to view the Mona Lisa.
Update: Nurses were fake, ambulance was real
Update on the "Straight-Jacket" screening: There was rain, but most people didn't mind. And just in case anyone was overcome with fright, there were "nurses" on hand, just like producer William Castle used to provide back in the '50s and '60s as a way to reassure (or dare) moviegoers.
The nurses were Film Festival volunteers dressed in the retro white dresses that 99 percent of nurses have traded in for scrubs. They were having fun playing the part -- both of the volunteers I talked to are full-time college students: Christine Carter, a film and English major at Towson University, and Jessica Taylor, a theater major at Essex Community College. They were having fun and NOT doing anything to sully the image of real nurses. Even Christine's red platform sandals were on the tasteful side.
The nurses were fake, but if you saw the ambulance and fire truck earlier this evening, that was for real. A festival-goer fell and hit her head. An ambulance arrived, but the word was that she was not seriously hurt.
The nurses were Film Festival volunteers dressed in the retro white dresses that 99 percent of nurses have traded in for scrubs. They were having fun playing the part -- both of the volunteers I talked to are full-time college students: Christine Carter, a film and English major at Towson University, and Jessica Taylor, a theater major at Essex Community College. They were having fun and NOT doing anything to sully the image of real nurses. Even Christine's red platform sandals were on the tasteful side.
The nurses were fake, but if you saw the ambulance and fire truck earlier this evening, that was for real. A festival-goer fell and hit her head. An ambulance arrived, but the word was that she was not seriously hurt.
Melvin Van Peebles will be here Sunday night
Fans of Melvin Van Peebles are probably already planning to catch the closing night selection, "Confessionsofa Ex-Doofus-Itchyfotted Mutha," his new film. (At 75.) But now there's a bonus -- he'll be here for the screening. I first heard it from excited fan/festival volunteer Janet Johnson, and it was confirmed by Skizz Cyzyk, programming manager for the festival. Skizz pointed out that Van Peebles has been to the MFF twice before, once to introduce his film "Sweet Sweetback's Baadasssss Song," and also when his son's biopic about him, "Baadasssss," screened at the festival. For "Sweet Sweetback," the MFF had to get the print from Melvin Van Peebles himself, so he decided to bring it in person, Skizz said. And both father/subject and son/director (Mario Van Peebles) came for "Baadasssss."
Spotted at the film festival
Every year at the festival, without fail, I run into my old colleague at The Sun, Mark Fleming. Nice to see you, Mark, even if it's only once a year.
Also spotted this weekend: lawyer and city Domestic Master Theresa Furnari; Sun photographers Amy Davis, Elizabeth Malby and Kim Hairston, and pilot/photographer/videographer Perry Thorsvik; Royal Books owner Kevin Johnson; filmmaker Steve Yeager and partner Patty Barzyk; artist and progressive thinker Bob Hieronimus, who gave me a Willie Nelson cap just for having an energetic aura; retired judge Elsbeth Bothe; Charles Johnson, aka Mr. Johnson; filmmaker Matt Porterfield; nurse Tom Crusse (last name is pronounced like "Cruise"); development whiz Amy Jarboe; and others.
Also spotted this weekend: lawyer and city Domestic Master Theresa Furnari; Sun photographers Amy Davis, Elizabeth Malby and Kim Hairston, and pilot/photographer/videographer Perry Thorsvik; Royal Books owner Kevin Johnson; filmmaker Steve Yeager and partner Patty Barzyk; artist and progressive thinker Bob Hieronimus, who gave me a Willie Nelson cap just for having an energetic aura; retired judge Elsbeth Bothe; Charles Johnson, aka Mr. Johnson; filmmaker Matt Porterfield; nurse Tom Crusse (last name is pronounced like "Cruise"); development whiz Amy Jarboe; and others.
Economics, Film and Civilization
I had to leave the screening of “I.O.U.S.A.” early, which I regret. I will see the finished film when it shows up in theaters in August. I stayed for much longer than I meant to, at the expense of sending you these posts in a timely manner. Sometimes it’s tempting to just keep going to the movies.
The film about our national debt makes it clear that this most US citizens are economics-illiterate. I also went this morning to see “Bamako,” a feature film that illustrates how Mali and other African countries have become so impoverished. I couldn’t help wondering what the US will be like in 50 years.
The directors of "Hoop Dreams" were in attendance, and "I.O.U.S.A." director Patrick Creadon told the audience that documentary opened up a whole new world for him. Creadon, by the way, also directed "Wordplay." So even if you can't catch "I.O.U.S.A." until it is released in August, you can take the opportunity to rent "Hoop Dreams," which is one of the best documentaries ever made. There's an economic angle in "Hoop Dreams," too: The subjects are inner-city Chicago students hoping that a basketball scholarship will be their ticket to college, and a better life.
The film about our national debt makes it clear that this most US citizens are economics-illiterate. I also went this morning to see “Bamako,” a feature film that illustrates how Mali and other African countries have become so impoverished. I couldn’t help wondering what the US will be like in 50 years.
The directors of "Hoop Dreams" were in attendance, and "I.O.U.S.A." director Patrick Creadon told the audience that documentary opened up a whole new world for him. Creadon, by the way, also directed "Wordplay." So even if you can't catch "I.O.U.S.A." until it is released in August, you can take the opportunity to rent "Hoop Dreams," which is one of the best documentaries ever made. There's an economic angle in "Hoop Dreams," too: The subjects are inner-city Chicago students hoping that a basketball scholarship will be their ticket to college, and a better life.
The story behind "Straight-Jacket"
“Spine Tingler” is a lot of fun, if you like the intentionally over-the-top horror films of the '50s and '60s. But if you’re having trouble choosing between this documentary and something else playing at the same time, choose it only if you’re a big fan of William Castle’s films. For the rest of you, any 20-minute stretch of this documentary will supply you with several good laughs and some inside information on Hollywood and Castle’s marketing smarts to let you enjoy all the more “Straight-Jacket,” which will be showing outdoors tonight for FREE. Castle also produced a few “high-brow” films, but he’s known more for producing and/or directing pictures such as “House on Haunted Hill” and “Macabre” than he is for “Rosemary’s Baby” and “Frankenstein” (Boris Karloff version).
Anyway, what you learn from this documentary is that Joan Crawford was a tyrant on the set of “Straight-Jacket,” that she insisted on prominent product placement for Pepsi for her own financial gain, and that she had an extra scene written for herself when she feared the penultimate scene with the much younger Diane Baker, who plays her daughter, was going to steal the picture from her. This shows one more time: Sunday at 12:30 at the UB Student Center.
Anyway, what you learn from this documentary is that Joan Crawford was a tyrant on the set of “Straight-Jacket,” that she insisted on prominent product placement for Pepsi for her own financial gain, and that she had an extra scene written for herself when she feared the penultimate scene with the much younger Diane Baker, who plays her daughter, was going to steal the picture from her. This shows one more time: Sunday at 12:30 at the UB Student Center.
Thank you, Janet Johnson
I want to give a huge thank you to festival volunteer Janet Johnson, who found my watch for me, then came into the movie she knew I was in – “IOUSA” – to hand it to me. All the volunteers are great here, as are the Film Festival staff. I haven’t asked a question yet in which the answer was “I don’t know,” or even worse, contained the wrong information.
Janet is looking forward to closing night feature "Confessionsofa Ex-Doofus-Itchyfooted Mutha" by Melvin Van Peebles, and so am I. I've never seen a Melvin Van Peebles film, like most of this country, and that's a shame all around. Now 75, he's always made films on his own terms. He's the grandfather of indie filmmakers. Actually, the father of one in particular, Mario Van Peebles.
Janet is looking forward to closing night feature "Confessionsofa Ex-Doofus-Itchyfooted Mutha" by Melvin Van Peebles, and so am I. I've never seen a Melvin Van Peebles film, like most of this country, and that's a shame all around. Now 75, he's always made films on his own terms. He's the grandfather of indie filmmakers. Actually, the father of one in particular, Mario Van Peebles.
"Straight-Jacket" free screening tonight
Tonight (Saturday), there is a FREE screening of “Straight-Jacket,” a 1964 horror film starring Joan Crawford and Diane Baker. It looks like it will be an unintentional howler about axe murders. If you thought Faye Dunaway was overacting in “Mommie Dearest,” this will show that she was probably underplaying it. I don’t expect her to be playing an unsympathetic character, but some inside information about the movie can be gotten from “Spine Tingler,” a documentary about William Castle, the producer who made those big shlock/shock horror films. See the “Spine Tingler” post for more.
When the lights go up
One of the nice things about film festivals is that when the lights go up, you’re as likely as not to find yourself sitting in front of the actors you just saw in screen. Most of the films here feature a Q and A afterward with the director, producer or actors.
Comedy in Short Doses
You still have time to catch Comedy Shorts at 9:30 tonight (Saturday). My favorite in this collection was “Woman in Burka,” starring Sarita Choudhoury (“Mississippi Masala”), with “Hirsute” being a close second that time-travel fans will appreciate. And the rest of the comedy shorts offer a lot of all-out belly laughs for the adolescent but irresistible humor. Not for children, by the way. The shorts are grouped in collections of four or five, for one ticket price.
Friday, May 2, 2008
Holy merd! The film broke.
"Is there a better actress than Isabelle Huppert?" John Waters asked the crowd after the screening of his pick for the festival, "Story of Women," a French film by Claude Chabrol that was released in 1988.
No one could come up with a better actress than Ms. Huppert, who, it is said, brings a character into herself, rather than wearing her on the outside. If you missed this screening, you can find Isabelle Huppert films on DVD, and Claude Chabrol has directed a number of them. "Madame Bovary" is a good start. Video Americain is your best bet.
Each year for the MFF, Waters chooses to host a film that, for one reason or another, didn't get the exposure and attention it deserved when it first came out. "Story of Women" made distributors very nervous after Catholics protested strongly because of a scene in which the main character, being condemned to death, utters a profanely corrupted "Hail Mary." Amid the controversy, a radical used tear gas to bomb a theater where it was playing in France, and a man died while trying to get out of the theater. (see the NYT story, link at top left corner of this page)
No bombs went off at The Charles, thank God, but we all got a little nervous when, about 7/8 of the way into the movie, the film broke and fizzled out in a loud snap. The crowd was abuzz -- lots of cell phones and Blackberries came out and several people took the opportunity for a restroom break, but Jed Dietz, MFF director, quickly confirmed the break, but said it was being repaired and indeed it was.
No one could come up with a better actress than Ms. Huppert, who, it is said, brings a character into herself, rather than wearing her on the outside. If you missed this screening, you can find Isabelle Huppert films on DVD, and Claude Chabrol has directed a number of them. "Madame Bovary" is a good start. Video Americain is your best bet.
Each year for the MFF, Waters chooses to host a film that, for one reason or another, didn't get the exposure and attention it deserved when it first came out. "Story of Women" made distributors very nervous after Catholics protested strongly because of a scene in which the main character, being condemned to death, utters a profanely corrupted "Hail Mary." Amid the controversy, a radical used tear gas to bomb a theater where it was playing in France, and a man died while trying to get out of the theater. (see the NYT story, link at top left corner of this page)
No bombs went off at The Charles, thank God, but we all got a little nervous when, about 7/8 of the way into the movie, the film broke and fizzled out in a loud snap. The crowd was abuzz -- lots of cell phones and Blackberries came out and several people took the opportunity for a restroom break, but Jed Dietz, MFF director, quickly confirmed the break, but said it was being repaired and indeed it was.
Chesapeake Film Festival coming in Sept.
Easton is growing its own film festival, Jed Dietz announced on Opening Night of the MFF. As I suspected, the man behind the nascent Chesapeake Film Festival is Doug Sadler, director of "Swimmers," which had its debut at the MFF a few years ago. Search the Urbanite archives to read an interview I did with Sadler at the time. I ran into him today while he and Todd Albrecht, an Easton podiatrist also involved with planning the new festival, were going over THE BOARD (the giant schedule). Sadler, who lives in New York and Easton, says the festival will take place Sept. 26-28, and include venues such as the Avalon Theater.
One regular guy's picks
Having trouble choosing from among the many films showing simultaneously on 5 screens? I know I am. Here is what one friend, David Miller, has mapped out for himself. He's not a film geek, like me, just a typical educated Baltimore professional (by the way, he is single, gals). Some repeats -- I copied this from an email he sent to my husband to see if he wanted to join him at any of these showings. Because if he DOES go to all of these, he really is a film geek after all. That's a good thing.
Friday --
At the Death House Door, 7:30 pm @ Brown Center, MICA
Spine Tingler, 9:30 pm @ the Charles
Saturday --
Song Sung Blue, 11:30 am @ UB Student Center
Not Your Typical Bigfoot, 10:30 pm @ the Charles
Sunday --
Woodpecker, 11:00 am @ the Charles
Spine Tingler, 12:30 pm @ UB Student Center
Frontrunners, 2:00 pm @ the Charles
At the Death House Door, 5:00 pm @ Brown Center, MICA
Friday --
At the Death House Door, 7:30 pm @ Brown Center, MICA
Spine Tingler, 9:30 pm @ the Charles
Saturday --
Song Sung Blue, 11:30 am @ UB Student Center
Not Your Typical Bigfoot, 10:30 pm @ the Charles
Sunday --
Woodpecker, 11:00 am @ the Charles
Spine Tingler, 12:30 pm @ UB Student Center
Frontrunners, 2:00 pm @ the Charles
At the Death House Door, 5:00 pm @ Brown Center, MICA
Friday -- the marathon begins
I plan to start with "IOUSA," which, from what I hear, ought to get the kind of attention and reaction -- and hopefully, distribution -- that "An Inconvenient Truth" got. This time, however, it's our national debt.
By the end of the night, I am really really excited about the John Waters pick --- "Story of Women," a Claude Chabrol film starring Isabelle Huppert, who is always magnificent. And if that film lets out in time, I'm hoping to catch "Spine Tingler." If I don't, "Spine Tingler" repeats on Sunday at noon.
What are you seeing? I can't be everywhere -- help me out here. Post your own review here and then tell everyone you know to read it and comment. Let's talk film.
By the end of the night, I am really really excited about the John Waters pick --- "Story of Women," a Claude Chabrol film starring Isabelle Huppert, who is always magnificent. And if that film lets out in time, I'm hoping to catch "Spine Tingler." If I don't, "Spine Tingler" repeats on Sunday at noon.
What are you seeing? I can't be everywhere -- help me out here. Post your own review here and then tell everyone you know to read it and comment. Let's talk film.
Politics of Preschool
The funniest opening night film -- "The Politics of Preschool" -- won't be screened at the festival any more, but you can see it on director Heidi Van Lier's myspace page. I'm providing the link at left. I met Heidi and her husband/filmmaking partner Joe Kraemer last night. Their daughter, Maisy, stars in the film, but this is not like watching home videos of someone else's kid. It's really hilarious, and a little scary. Van Lier said she made the film when her daughter started preschool, and she (Van Lier) witnessed the emergence of personalities. You could see, she told the opening night audience, just where each of these kids was headed when they grew up. Her myspace page has a couple of other films, which I haven't had time to see. While Politics of Preschool is a G, however, Kraemer warns that "Chi Girl" is a "definite R." If you get there before me, tell the rest of us about her other movies.
Thursday, May 1, 2008
More today
Yes, I was having too much fun at the opening night party to leave at a decent hour. So while I'd like to tell you more about the films, I need to get some sleep. Watch this space in the morning. Barry Levinson, left, stayed at the party long after the news cameras left, talking to everyone and appearing to have a really good time back home in Bawlimer.
Cinema Cart
"Salim Baba" is a must-see, though it won't be screened anymore this weekend. Just as Ice Cream Joe drives his van through North Baltimore, Salim Muhammed pushes a "cinema cart" through the crowded and poor neighborhoods of Kolkata, India. Children flock to him and drop a rupee into a box so they can duck their heads under a black hood. Inside the cart, the film is projected on a small sceen. The Lumiere projecter is, by the owner's estimate, 100 years old. What's projected is a literally taped-together version of one of the 50 Bollywood musical/action/romance movies that he owns. Muhammed, a businessman who just happens to work on a small scale, uses good old scissors and wrinkled and dirty pieces of cellophane tape to edit the films into shorter versions. "I know what the audience likes," he says in his native tongue. A little bit of song and dance, a litte bit of fighting -- not too much of anything -- and there you have it.
"Very much like the studio heads," noted Levinson.
The film's producer, Francisco Bello, was in attendance. He's trying to raise enough money to go back to India to give the subject of his documentary a film version that he can play in his cinema cart. Salim Muhammed already has a DVD version, but he can't put that into his projector and play it for the kids.
If we're lucky, the MFF will screen this Academy Award-nominated short film again during Artscape. See the link at left to learn more about the film.
3-D and brevity
At the opening night shorts program, host Barry Levinson invited each filmmaker to come up to the stage to introduce his or her film.
It took Bennett Battaile a while to sidestep out of the middle of the packed row and climb the stairs to the stage.
"[My film] is shorter than the time it took me to get up here," Battaile said. "Enough said." That would be a great Oscar speech, wouldn't it?
The film was, indeed, a mere 1.5 minutes of 3-D animation called "Gnatural Wonders," with gnats making formations like an Army air show or a double helix. Yes, the MFF passed out commemorative 3-D glasses for this. I wonder how many people kept the glasses on for the second film before realizing it was not in 3-D.
Levinson recalled his first 3-D movie. It was the Three Stooges in 3-D, and that finger-poking-your-eyes thing was used ad nauseum, coming out at the viewer. I hope the MFF can find a copy of this some day and show it at a future festival.
It took Bennett Battaile a while to sidestep out of the middle of the packed row and climb the stairs to the stage.
"[My film] is shorter than the time it took me to get up here," Battaile said. "Enough said." That would be a great Oscar speech, wouldn't it?
The film was, indeed, a mere 1.5 minutes of 3-D animation called "Gnatural Wonders," with gnats making formations like an Army air show or a double helix. Yes, the MFF passed out commemorative 3-D glasses for this. I wonder how many people kept the glasses on for the second film before realizing it was not in 3-D.
Levinson recalled his first 3-D movie. It was the Three Stooges in 3-D, and that finger-poking-your-eyes thing was used ad nauseum, coming out at the viewer. I hope the MFF can find a copy of this some day and show it at a future festival.
It's all about storytelling
The screens are getting smaller and the technology is making the actual celluloid film a rarity. The film experience continues to evolve and change, Barry Levinson told the crowd at Opening Night. In fact, one of the best films of the program tonight was "Salim Baba," which was absolutely about the film experience. ("Salim Baba" merits a post all its own -- watch this blog for more.)
"But at the end of the day, it is about storytelling," Levinson said.
"But at the end of the day, it is about storytelling," Levinson said.
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