MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Confessions of a Film Festival Junkie: AFI 2012

The AFI Fest opened Friday with the world premiere of Hitchcock, a likable yarn focusing on the iconic filmmaker and his wife at the time of his filming Psycho. In retrospect it seemed an almost anachronistic choice in light of the recent broadcast of The Girl, a more Machiavellian portrait of the man and his mentor/Svengali relationship with his Birds discovery Tippi Hedren.

The event runs through November 8 when Steven Spielberg’s portrait of Lincoln and the passage of Amendment 13 giving blacks equal rights following emancipation rings down the curtain.

So, a brief word about opening and closing nights. These bookends exist irrespective of what one might term the filling of any cinematic sandwich. They are designed for festival patrons and sponsors that might otherwise never set foot on this or other celluloid territory. As such they demand films that entertain and provide a sense of worthwhile but not oppressive art. And such a sleight-of-hand requires a stern application of Hippocrates dicta: First, do no harm. It might also be argued that this is also the last word and to that end AFI has fulfilled its initial task.

The evolution of AFI Fest has been peripatetic. Its roots can be traced back to the 1970s and Los Angeles first major movie smorgasbord FilmEx which its current proprietor acquired in receivership. Essentially it’s survived by adapting and adapting again and again and today is a first tier Festival of Festivals bolstered to some extent by its position on the calendar.

Situated between early autumn discovery events including Toronto and Venice and the awards season that culminates with the Oscar telecast, AFI Fest is an opportunity to put the spotlight on American and international films hoping to translate critical acclaim into box office rewards. It coincides with the annual American Film Market, one of the premier sales and acquisition events for the global movie industry.

Many major film festivals embrace film markets for myriad reasons including political considerations (securing anticipated movies) and commercial affiliation (generating revenue). But the AFMA is independent of the AFI Fest and despite such reciprocal nods as shuttles between events and mutual accreditation there remains a major hurdle that cannot be cleared. The festival unspools in Hollywood and the market is firmly planted in Santa Monica. In a city as crippled by traffic strategies the roughly seven miles that separates the two can account for a commute of more than an hour during high congestion periods.

All that (and more) aside the lineup of AFI Fest 2012 is across the board impressive. There’s a smart balance of the accessible and the arcane, lauded filmmakers and nascent talent, narrative and non-fiction and nods to archival as well as family offerings. In the coming days I’ll endeavor to make some sense of the selections but for the nonce I have to get to my next screening.

 

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Klady

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato