By Ray Pride Pride@moviecitynews.com

Oak Cliff Film Festival 2013 Announces Films, Events, and Sponsors

DALLAS, TX (May 13, 2013) — The Oak Cliff Film Festival, taking place at the Texas Theatre, The Kessler, Bishop Arts Theater, El Sibil, Belmont Hotel, Oil and Cotton, Four Corners Brewery, and the Turner House June 6th – 9th, announces its full list of films, events, and sponsors with highlights including:

– Opening Night films: Joe Swanberg’s “Drinking Buddies” and HBO’s acclaimed and controversial “Pussy Riot: a Punk Prayer” followed by opening party with DJ sets by Pitchfork darlings Vulgar Fashion and DJ Wild in the Streets at the Texas Theatre.

– Bobcat Goldthwait’s new film “Willow Creek” – a found footage tour de force that will forever change the way you view Bigfoot. Bobcat in attendance!!!

– “Shadow of the Bat-Man” a silent film with a live score performance featuring the Two Star Symphony orchestra and clips from silent films that were inspirations to Bob Kane, as compiled by filmmaker Andre Perkowski.

– “End Of the Road” – a “lost” 1970 film written and produced by (Oak Cliff’s own)Terry Southern that has recently been revived and unearthed by Stephen Soderbergh. The 35mm screening will be introduced by Terry’s son, Nile Southern.

– Back by popular demand… the “Cinema 16” experimental film block at Oil and Cotton including films by local stand-outs, Chris Howell and Fabian Aguirre.

– Alfred P. Sloan award winner at Sundance “Computer Chess”- Andrew Bujalski’s man vs. machine masterpiece. Shot with video equipment from the 1980s, the film documents an annual chess tournament where programmers code machines with the hopes of defeating a human chess master.

– Student Film Competition with a number of local University films (SMU, UNT, UTA) and one High School (Garland HS)

– 35mm repertory screening of Robert Altman’s “McCabe & Mrs. Miller” at the Texas Theatre presented by David Lowery and special guest, Keith Carradine, with a secret screening to follow that is not to be missed!

– Bike Friendly Oak Cliff and New Belgium Brewery present a treasure hunt! A two-wheeled adventure across North Oak Cliff, ending in a sunset cocktail party at the Belmont Hotel.

– Music video block at El Sibil followed by an after party with sets by DJ Tony Schwa and Buffalo Black, Def Rain and Cutter, Night Comfort and Zoo Visual

– Filmmaking and Technology panel: “Digital Disruption and The Afterlife of Arthouse”
Join us for what promises to be a spirited discussion about the future of cinema, fundraising, and distribution. Panelists include festival guests from AV Club, Sundance Film Institute, Forrester Research, the Texas Theatre, and filmmakers directly affected by the current trends.

– Closing night Awards ceremony at Four Corners Brewery includes entertainment from DJ Gabriel and George Quartz. Following tradition, one lucky winner will receive the famed “New Belgium Bike” as their prize

The OCFF programming team saw submissions via withoutabox double from last year and estimate that the select group of films in the program this year were curated from thousands of viewings. The team feels that they have solidified the vision of the festival this year, taking the metaphor of planting the flag in a battlefield, shown dramatically in this year’s bumper. “In year one you make it through as best you can. In year two you have to say something” said Jason Reimer, OCFF Co-Founder and Texas Theatre Creative Director. “You have to try and make your mark.”

In addition to a steady increase in film submissions, OCFF also saw its sponsorship support double from 2012. “It is impossible to put on a festival without serious backing (financially and time commitments) from the community and businesses” said Eric Steele, OCFF Co-Founder. “This year we saw our support double – thanks to some incredible organizations like New Belgium Brewing Co, the Advocate, Yelp!, Oak Cliff Cellars, Bank of Texas, and many others”. Steele also praised the local support that increased this year, saying “The Oak Cliff Neighborhood really delivered. Kudos to Jim Lake, Outpost American Tavern, Bolsa, Eno’s, Nova, Mesa, Charco Broiler, Small Brew Pub, Norma’s Café, and El Padrino. It’s a wonderful thing to have the belief and support of your neighbors”.

Festival Sponsors for the 2013 Oak Cliff Film Festival include:

New Belgium Brewing Co * The Advocate * Yelp! * Bank of Texas * Oak Cliff Cellars *Outpost American Tavern * Norma’s Café * Spiral Diner * Charco Broiler * Bolsa * Bolsa Mercado * Eno’s * Oddfellows * Mesa * Nova * Dallas Producers Association * Texas Film Commission Dallas Film Commission * Jefferson Tower


Background on The Oak Cliff Foundation, Fiscal Sponsor for OCFF 2013

In 2001 The Oak Cliff Foundation purchased the Texas Theatre and began looking for a new permanent tenant. Several areas of the building were renovated and upgraded by the OCF. The Texas Theatre was added to the National Register of Historic Places in 2003. In 2010, The Oak Cliff Foundation leased the theater to Aviation Cinemas, Inc. Aviation Cinemas was quick to jump start operations and continued renovations. The theatre has garnered awards for Best Movie Theater in Dallas by The Dallas Observer and been nominated as Best Movie Theater, Best Music Venue and Best cocktail In Dallas by D Magazine.


The Oak Cliff Film Festival

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“We now have a situation where audiences very often prefer commercial trash to Bergman’s Persona or Bresson’s L’Argent. Professionals find themselves shrugging, and predicting that serious, significant works will have no success with the general public. What is the explanation? Decline of taste or impoverishment of repertoire? Neither and both. It is simply that cinema now exists, and is evolving, under new conditions. That total, enthralling impression which once overwhelmed the audiences of the 1930s was explained by the universal delight of those who were witnessing and rejoicing over the birth of a new art form, which furthermore had recently acquired sound. By the very fact of its existence this new art, which displayed a new kind of wholeness, a new kind of image, and revealed hitherto unexplored areas of reality, could not but astound its audiences and turn them into passionate enthusiasts.

Less than twenty years now separate us from the twenty-first century. In the course of its existence, through its peaks and troughs, cinema has travelled a long and tortuous path. The relationship that has grown up between artistic films and the commercial cinema is not an easy one, and the gulf between the two becomes wider every day. Nonetheless, films are being made all the time that are undoubtedly landmarks in the history of cinema. Audiences have become more discerning in their attitude to films. Cinema as such long ago ceased to amaze them as a new and original phenomenon; and at the same time it is expected to answer a far wider range of individual needs. Audiences have developed their likes and dislikes. That means that the filmmaker in turn has an audience that is constant, his own circle. Divergence of taste on the part of audiences can be extreme, and this is in no way regrettable or alarming; the fact that people have their own aesthetic criteria indicates a growth of self-awareness.

Directors are going deeper into the areas which concern them. There are faithful audiences and favorite directors, so that there is no question of thinking in terms of unqualified success with the public—that is, if one is talking about cinema not as commercial entertainment but as art. Indeed, mass popularity suggests what is known as mass culture, and not art.”
~ Andrei Tarkovsky, “Sculpting In Time”

“People seem to be watching [fewer] movies, which I think is a mistake on people’s parts, and they seem to be making more of them, which I think is okay. Some of these movies are very good. When you look at the quality of Sundance movies right now, they are a lot better than they were when I was a kid. I do think that there have been improvements artistically, but it’s tough. We’ve got a system that’s built for less movies in terms of how many curatorial standard-bearers we have in the states. It’s time for us to expand our ideas of where we find our great films in America, but that said, it’s a real hustle. I’m so happy that Factory 25 exists. If it didn’t exist, there would be so many movies that wouldn’t ever get distributed because Matt Grady is the only person who has seen the commercial potential in them. He’s preserving a very special moment in independent film history that the commercial system is not going to be preserving. He’s figuring out how to make enough money on it to save these films and get them onto people’s shelves.”
~ Homemakers‘ Colin Healey On Indie Distribution