Film Fests Archive for April, 2011

SFF Dispatch: Wrapping a Terrific Fest

What a great film festival Sarasota has. Gorgeous city to get to hang out in, enthusiastic audiences, sunshine, beautiful beaches, fabulous parties, and most importantly, a really solid slate of films, curated by Artistic Director Tom Hall and Director of Programming Holly Herrick, who, in addition to having excellent taste in film, are two of the nicest people in the indie film world.
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Dallas IFF Dispatch: Murder Songs and Warlords

After a long day of travel, I finally made it to Dallas this afternoon for a couple days at the Dallas International Film Festival, just in time to check into my hotel room (replete with round bed and zebra rug), change into something more appropriate for the warmer Dallas weather (the sun! my eyes!) and hit the ground running with a couple screenings.

First up was Small Town Murder Songs, a Canadian film directed by Ed Gass-Donnelly. The film stars vet Swedish actor Peter Stomare (sporting a ‘stache that would be right at home on a 1970s porn set) as Walter, a cop in a small Mennonite town in Ontario. A murdered stripper (the first murder the town’s police force has ever had to deal with) is the catalyst for the story, as Walter almost immediately targets Steve (Stephen Eric McIntyre), the seedy white-trash lover of his ex-mistress Rita (Jill Hennessy, terrific here). Martha Plimpton is quietly powerful in a less showy role as Walter’s current girlfriend (or maybe wife? This isn’t made explicitly clear).
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Pay No Attention to What’s Behind the Curtain …

How should a journalist handle reporting information that a film festival might prefer not be written about?
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Quote Unquotesee all »

“The effect of the avalanche, and Tomas’ refusal to acknowledge his terror, seem to have devastating effects. But the interesting thing about Force Majeure is the sly suggestion that maybe this event could have a liberating effect on the family.”
~ Robert Horton 

 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour