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

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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.

www.FilmOakCliff.com

The Oak Cliff Film Festival

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch