Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood.
The Closing Night Party for Frameline 33, took place at Terra Gallery on Rincon Hill, here in San Francisco. It's a bit more than a hop-skip-and-a-jump away, and I miss the party tent outside of the Castro Theatre. Anyway, it was a bit of a who's who of the fest there. I was semi-stalking the Kuchar Brothers, but couldn't come up with anything witty to say, so left them to their filling tupperware with the catering. (If you've seen them, it isn't as tacky as it sounds!) There was also the director of ANOTHERWORLD, Fabiomassimo Lozzi, and his cute boyfriend, acting like newlyweds even after being together for 18 years. (Plus the two of them are adorable and evil flirts! Uh, don't ask...) Sharon Gless and Rosie O'Donnell were brought up on stage to share a kiss for the girls, apparently, before they left, which was sort of cute.
Anyway, the central purpose is to announce the Audience Award Winners, which were decided via text-voting on the AT&T network this year. (I'm still skeptical of the process.) After knocking back a few Skyy cocktails (I found a NEW recipe! Skyy Cherry Infused Vodka and Coke! It's a cherry coke with a KICK!), K.C. Adams, who has grown on me and was being very shy amongst the crowd, not to mention sort of studly, but I digress... Uh, Oh! K.C. Adams and Jennifer Morris first announced the "Volunteer Award" which goes to the Volunteer of the Year and he/she then awards the Volunteer Pick, which went to PRODIGAL SONS. The AT&T Audience Awards were presented to LUCHA for Short (which I was accused of being racist for not liking); TRAINING GROUNDS (which I did not see?!?!) for Documentary; and PATRIK, 1.5 for Feature.
MY Personal favorites:
Feature: FIG TREES
Documentary: THE GOOD AMERICAN
Short: LIE TOGETHER
Special Favorite: THUNDERCRACK!!!
A final and huge thank you to Karen Larsen, and Kelda and Leo, at Larsen Associates and Natalie Mulford, at Frameline for all their generous (GENEROUS!!) assistance and access to this year's festival!
Maxxxxx says
re FRAMELINE and LARSEN ASSOCIATES: "I love you too!"
You can contact Maxxxxx or myself here: JayCBird@AOL.COM
Monday, June 29, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Closing Night Awards
Saturday, June 27, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Day 11 (Closing Night)
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
ANOTHERWORLD (dir. Fabiomassimo Lozzi, Italy, 106 Mins.) Though simply described as 43 monologues about being gay in Italy may seem, the impact of the film was breathtaking. Even though a great majority of the pieces are dramatic, if not severe (based on interviews pulled from Antonio Veneziani and Riccardo Reim’s books Pornocuore and I Mignotti), Lozzi’s affirming personal climax was sincerely moving. It is an exceptionally theatrical piece, as it was workshopped on stage, however it breaks free from being stagebound by director Lozzi's imaginative production design and exceptional editing. Not to mention, the 50+ actors are all gorgeous - there isn't a dawg in the pack! During the Q&A, Lozzi explained that it was a hugely popular project for actors in Rome and that a great many of the performers are television and film stars who wanted to lend their voices to this piece about the cultural and self-imposed oppression of being gay in the Roman Catholic controlled country. Though the material can be exceptionally difficult at points, and the format of all those monologues can seem intimidating, I found it to be a rewarding experience!
The Official Closing Night program began with a K.C. Adams and Jennifer Morris love-fest for each other and with the audience, which was fully deserved. Mr. Adams appeared even more nervous tonight than during the Opening Night Ceremony. However, that boyish nervousness was actually sort of endearing by the end of this year's fest. Ms. Morris handled the majority of the evening as the pro that she is, as she introduced Wendy Jo Carlton, the director of tonight's film, as well as special guest, Rosie O'Donnell, who was there to support Sharon Gless and give a nifty closing night bit of a stand-up routine. She came off warm and charming and not at all the bulldog that some television producers would have her portrayed. Ah, if only the film had been her equal...
Despite Sharon Gless' great performance, HANNAH FREE (dir. Wendy Jo Carlton, USA, 2009, 90 Mins.) never breaks free from its stagebound roots. In fact, the succession of monologues became tedious, particularly after having just witnessed the film before and how dramatically and cinematically a script could be opened up, even though maintaining the core material. The story here focuses on the last few days of life of a lesbian couple, who are separated by the next-of-kin of one of their families. The conflict there is oversimplified and "preached to the choir" as it were, provoking preanticipated cheers, boos and hisses. Of course, that said, perhaps I am just a bit too cynical, as there were weepy eyes around me by the end. I was just not only NOT moved, but actually a bit annoyed by how over simplification of the speech, the cinematic tehnique and conflict of the drama.Maxxxxx says
re ANOTHERWORLD: "I love you!"
You can contact Maxxxxx or myself here: JayCBird@AOL.COM
Frameline 33 (SF LGBT Film Festival, 2009) - Day 10
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
POP STAR ON ICE (dirs. David Barba, James Pellerito, USA, 2008, 85 Mins.) After K.C. Price (most ably, and in a sort of studly manner, for 11AM on a Saturday) introduced the exceptionally soft spoken directors of this documentary about champion ice skater Johnny Weir, it became clear that that there were FANS in the house! In fact, a third of the house decided to give it a standing ovation, at the end. Hm. Well. I can only appreciate the work, skill and talent that it takes to do what he does. Weir also displays a quick wit and a formidable debate style. However, I am not quite sure why he might be considered a "gay icon" as he declines to discuss the matter, regardless of how obviously 'gay' he is. That aspect of his life is not readily addressed in the film, which presupposes that the audience already knows and accepts an unspoken fact. That's a tricky road for a documentary. By ignoring that little tidbit, the film could be seen as exploring the relationship between coach and athlete and where it led. However, even in some of the "coaching scenes", both Weir and coach Priscilla Hill, seem very camera-aware, and it treads into the chicken-or-the-egg world of 'reality' programming. (In fact, there is a television series following him in production.) As he is as much an entertainer as a competitor, realty gets blurred.
FRUIT FLY (dir. H.P. Mendoza, USA, 2008, 94 Mins.) Director, producer, writer, songwriter and actor H.P. Mendoza is a dynamo. I do not know how he does it and still maintains such a sweet persona, without appearing to be a total control freak. Anyway, his latest musical may not be quite as magical as COLMA: THE MUSICAL. However, Mendoza's maturity as a film maker serves this material well! It is leaner and sharper, the characters are more focused and he has given it an ending that winks at wisdom. The performers and characters are older and wiser, too, which sets the piece off as a good companion work to COLMA. Mendoza is now on "my list" of cult figures and I can not wait for another two years for his next effort!
The afternoon was broken up with the shorts program, DYKES DELIGHT, which I previewed earlier.
MR. RIGHT (dirs. Jacqui Morris, David Morris, UK, 2008, 94 Mins.) Briefly, I just got board with this first of the two 'Pink Saturday' films (Pink Saturday, being the street parTAY that explodes outside the Castro on the night before Gay Pride Day), and, in full disclosure, walked out about half way. The film starts with a woman complaining about dating a gay man, and it never seemed to stop complaining about gay men in general. There was what seemed like endless chatter amongst the four couples (three gay and one straight), in a THIRTYSOMETHING goes QUEER AS FOLK way. It felt shallow and bitter and I was in more of a mood to people watch than watch people snipe at each other on screen.Maxxxxx says
re FRUIT FLY: "Dooby dooby dooo-oooo!"
You can contact Maxxxxx or myself here: JayCBird@AOL.COM
Friday, June 26, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Day 9
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
The Short Subject Program for the day, a collection of international short narrative firlms, was previewed and posted earlier:WORLDLY AFFAIRS.
THE BABY FORMULA (dir. Alison Reid, Canada, 2008, 81 Mins.) What a lovely, little romp this was! In mockumentary style, Alison Reid documents the simultaneous pregnancies of a pair of lesbians, who were able to conceive with each other's ova, without sperm, as this scientific breakthrough spreads through their disbelieving families. It is actually the relationship between the two pregnant partners that is the heart of the story though. The performances from Angela Vint and Megan Fahlenbock are nearly spectacular in their freshness, sincerity and realism. (Well, since they were both actually pregnant during the filming, perhaps attaining realism was easier than imagined?!) Their relationship with each other could have held my interest for hours without the funhouse of the families interjecting. In fact, the families are overplayed by comparison, which may have been the point of introducing a 'family circus' element, but I found it a bit distracting. Even with that, the editing is near comic genius at points and director Alison Reid has conceived a brilliant domestic comedy, that she perceives (during the Q&A) could have a life of its own as a series. I totally agree!
CANYON CINEMA'S QUEER UNDERGROUND was curated and presented by Canyon Cinema's Executive Director, Dominic Angerame, as a collection of avant-garde, experimental and underground short subjects with LGBT content. (All films are sourced to the Canyon Cinema Website.)
The program began appropriately enough with an invocation, as it were. SHAMAN PSALM (dir. James Broughton, USA, 1981, 7 min.) is simply a poem being recited underneath images of a male, nudist gathering. "The love shaman calls for a sexual revolution of the body politic urging mankind into a new love age." This was followed even more appropriately by a Kenneth Anger piece from his MAGICK LANTERN CYCLE, 
FIREWORKS (dir. Kenneth Anger, USA, 1947, 15 min.). It is simply a dream, or a nightmare, of homoerotic passion with a group of sailors and fireplaces.
The program continued with one of my two new directorial discoveries at this festival. CONFESSIONS (Dir. Curt McDowell, USA, 1971, 16 min.) Made while Curt McDowell was a graduate student at San Francisco Art Institute, it is simply a confession to his mother and father, "listing (in exhausting detail) his sins of the flesh." What is so compelling is his innocent, if not humorous take on his life at that point. He has a charming presence that makes the personal, if not nearly surreal expression of his desires even more accessible.
GENTLY DOWN THE STREAM (dir. Su Fredrich, USA, 1981, 14 min.) This was one of the more inaccessible pieces. It is silent and features a great deal of filmic poetry, most of which was written on the actual frames. Though I followed it as the stream of consciousness that it was, it is always a bit difficult to follow someone else's dream, quite so literally.
I, AN ACTRESS (dir. George Kuchar, USA, 1977, 10 min.) George Kuchar is my second directorial find at this year's fest! I LOVED THIS egomaniacal take on directing an actress. As actress and director wrestle over a screen test, Kuchar (as the director) continually pushes and crosses the boundaries of his own expression, and literally attacking the actress's space and talent. He is amazing to watch and work. His ability to write such complicated verbiage and then deconstruct it visually has me stunned!
VALENTINE FOR NELSON (dir. Jim Hubbard, USA, 1990, 5 min.) It is what it says and is a decent companion piece to the much more explicit lesbian "love letter", which followed. HOLDING (dir. Connie Beeson, USA, 1971, 13 min.) "Two young women in love communicate through fantasy and touching in a rhythmic buildup, merging time concepts. Flashes of the past blend with the present and future in a collage of themselves, the hills, the sea and their sexuality."
DEVIL'S DAIRYMAID (dir. Kym S. Farmen, USA, 2008, 8 min.) In what had to be perhaps the most intensely paced and edited short, Kym S. Farmen tale of a dairymaid "lured into a dark forest by mischievous and ominous spirits" took on magical and maniacal velocity, for such a simple action, setting and plot. In an odd way, I really got into the churning, churning, churning...Maxxxxx says
re THE BABY FORMULA and I, AN ACTRESS: "I love you too!"
You can contact Maxxxxx or myself here: JayCBird@AOL.COM
Frameline 33 (SF LGBT Film Festival, 2009) - Day 8
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Today's short subject program that I was able to preview and post earlier was TRANSTASTIC, which featured narratives about the transgendered experience.
COLLEGE BOYS LIVE (dir. George O'Donnell, USA, 2009, 90 Mins.) This turned out to be perhaps the most exposing of the "call boy documentaries", even if it did try to slide by that actual issue. The film is about the occupants of the webcam house "College Boys Live", which is an adult entertainment website. As it turns out the "college boys" are not in college, doncha' know, but a ragtag collection of post-adolescent Oliver Twists who are in search of a surrogate family and willing to expose themselves to an audience for rent. As exploitative as the situation may sound, the head of the household is not holding them "hostage" and in fact, seems to spend a greater deal of time handling the constant change over of boys. They agree to a 6 month stay, however it would seem that very few make it for a year. At any rate, a great deal of "Big Brother" voyeuristic drama ensues, which actually sort of heightened the entertainment value, in that 'watching a car wreck' way. During the Q&A, one commenter remarked that he felt he was being exploited as much as a voyeur. Well, come on! What about the catalog description LURED you in here...? Yawn...
GIVE ME YOUR HAND (dir. Pascal-Alex Vincent, France, 2009, 80 Mins.) This is one of the more beautifully shot films in the festival. It is dreamily paced and even though the handling of the twins was a bit confusing at times, even emotionally in that stereotypical French "I love you so much, let's fight!" kind of way. The twins, Alexander Carril and Victor Carril, capably handle the emotional ambiguity that director Pascal-Alex Vincent requires of them, as they take a journey to attend their mother's funeral, across country. Now, why this sets off a Candide-like adventure, I am not totally sure. Frankly, now as I think about it, the film really does unspool like a dream - not really making much sense, but just enough to keep me captivated for it's perfectly timed 80 minutes. They also appear in Vincent's short included in the WORLDLY AFFAIRS shorts program, which appears to be nearly a pitch film for this feature.Maxxxxx says
re both films: "Sweet, sweet eye juice!"
You can contact Maxxxxx or myself here: JayCBird@AOL.COM
Thursday, June 25, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Day 7
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Today's screenings included three short subject programs, which I was able to preview earlier:
GLOBAL QUEERS: The collection of four documentaries of activists and lifestyles around the world.
BI-REQUEST: A collection of narrative shorts, focusing on bi-sexual orientation.
BACK TO LIFE: A collection of narrative shorts, focusing on women, mostly and featuring perhaps the best piece of the festival, LIE TOGETHER!
I also screened at an earlier preview, PRODIGAL SONS (dir. Kimberly Reed, USA, 2008, 86 Mins.). Although the program synopsis actually details this documentary, with spoilers, the story of this family focuses primarily on the three sons: one gay, one adopted (who has suffered a brain injury and has the biggest surprise of a "past life") and the filmmaker, who is a Male-to-Female transgender, as she returns to her high school reunion. The father died a couple years before the film begins. I was gasping throughout the revelations of the family's history, but that was exposing what I feel is the film's "flaw". The focus is mostly on Reed and how family and friends continue to react to her transition. What I want to know is how the mother is able to get through this amazing soap opera! (I swear it is only missing pirates!) Seeing as the subject is also the director, I would have liked to have seen a more objective view.
MISCONCEPTIONS (dir. Ron Satlof, USA, 2008, 95 Mins.) A very stable and professional cast, led by A.J. Cook (CBS’s Criminal Minds), Orlando Jones and David Sutcliffe (Gilmore Girls), are able to overcome this highly unlikely comedy, in which a devout Christian (Cook), who lives somewhere in the South, is led by God to be the surrogate mother to a gay couple (Jones and David Moscow) in Boston. And there's the rub. One must suspend disbelief that the gay couple were unable to find an available surrogate in Boston, much less have to go to the extent necessary to find this woman. Once you get past that, there is the over-the-top production design, which HAMMERS the cultural differences in such a way as to be a sit-com. Toss in a couple lies and deceptions, and drama is to ensue. However, the situation is so broadly drawn at that point that I found myself lacking any real sincere emotional reaction to the film, except to admire Orlando Jones' comic mastery.
REDWOODS (dir. David Lewis, USA, 2009, 82 Mins.) First the great news: I finally met up with my former contact at TLA Video: Lewis Tice! Yay, Lewis! Second, the good news: The film he is involved in looks beautiful. The cinematography is gauzy, dreamy (t was filmed around the Russian River area here in Northern California) and it's subjects are requisitely handsome! However, the screenplay actually sort of bugged me. Now, as I hope everyone knows by now, I am not a prude. However, this slight story of a seven-year-itch, just rubbed me the wrong way. I don't know whether it was the short and underdeveloped clip we get of the married pair and their autistic son, before the "visitor" arrives, or that such a brief flirtation would lead to even a dinner with the parents, during the week long stay. (The other husband and son have left town for a visit with the birth mother, I believe - though it was so quickly done at the beginning, I am unclear.) But I just didn't buy into such a quickly developed relationship, considering what I would hope would be the emotional ties that bind him to his current situation, much less his excitement in introducing him to his family, which garners only a slight warning from the father. I just felt that the emotional truths were being ignored for the sake of the visual beauty of the film. Though most of the cast and crew were present, I just chose not to stay for the Q&A, much less go to the after party in the Castro, which I heard great things about!Maxxxxx says
re LIE TOGETHER: "I love you too!"
You can contact Maxxxxx or myself here: JayCBird@AOL.COM
Wednesday, June 24, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Day 6
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
PATRIK, AGE 1.5 (dir. Ella Lemhagen, Sweden, 100 Mins.) This was a "Centerpiece screening" which I feared would be 'cute'. I LOATHE 'cute'! But, it is only in the production design in which the pair of gay men live, surrounded by IKEA constructed suburb, where the are seeking to adopt a child. It is not a spoiler to state that the decimal for the 1.5 year old is misplaced to read 15 year old, as that is the conflict and reason for the piece. The trio is forced to deal with each other and their existence as a family, surrounded in a white picket fence world. The characters at the core of the film are what saved it from my loathing. The performances are real and artistically set against the artificial background, which is hindering, if not oppressing their development as a family unit. It does have a distributor and should be on DVD release by the end of the year, if not sooner. I was able to screen this in a preview a couple of weeks ago, which allowed me time to attend a double feature at the Victoria.
THE GOOD AMERICAN (dir. Jochen Hick, Germany, 2009, 90 Mins.) Unlike the preceding evening's GREEK PETE, this film is sincerely honest, with flaws and ambivalent heroes. It is not so much a biography, but a portrait at a critical time in the life of Tom Weise, ex-gay escort, founder of Rentboy.com and an illegal immigrant for the past 11 years in the U.S., as he dissolves his American ties to return to Berlin, for what may be the last time, with his American partner. Weise displays a definite charisma of a survivor, for having surived AIDS, Hepatitis C, prosutition and the nearly illegal business he ran for nearly a decade, even while producing the infamous annual Hustlaballs around the country. The video includes interviews with his co-workers and his co-owner, who he creates something of a conflict with. (Perhaps easier to dissolve the partnership by, as he may not be able to return?) His partner is also profiled as he makes the transition from NYC to Berlin, and his comments regarding Germans are very funny! The heart of the "good american" arises as he discusses his 'legal' responsibilities while being illegally a resident: [paraphrased] "I love it here, though I do not pay taxes for an illegal war, I have offered over $50,000 to the social programs that need the money more." There are a slew of pornstars and escorts interviewed about Weise, and in fact, Derrick Hansen was present to introduce the film's sponsor, The St. James Infirmary, which he did while displaying multiple times as much charm as the aforementioned "Greek Pete". Also, a letter from Weise was read in which he stated his intention to be present, but was denied an entry Visa only two weeks ago, due to the U.S.'s continuing restriction on HIV+ visitation and immigration. [One note: the video was shown in a skewed aspect ratio, perhaps due to the PAL-NTSC conversion.] Anyway, enough about the hooker flicks!
THUNDERCRACK! (dir. Curt McDowell, USA, 1975, 152 Mins.) Oh. My. GAWD!! I now feel ashamed that I am in my late 40's and have only now discoverd this brilliantly concieved, produced, performed piece of Underground Cinema! I approached it with trepidation due to the 2 hour and 35 minute running time, which is a LOT of underground. However, the time FLEW BY! I find it hard to describe. Perhaps calling it a pornographic Edward Albee play if it were directed by David Lynch, would suffice? I would not want to give any kind of spoiler away, except for a small sample of dialogue. My favorite being, "...a malignancy of glandular grotesqueness that struck at the very root of his manhood...", which appears in the midst of one of many classically structured monologues given the lead actress, Marion Eaton, who handles her role of an oversexed Tennessee Williams heroine, with aplomb (and a cucumber!). (SPOILER: Click here for the entire monologue!) Director Curt McDowell's sister, Melinda (who also appears in the film), was present to officially announce the distribution rights for a "Special 35th Anniversary" DVD of the film to be released later in the year from Synapse! This will be the first time the film has been available! (There is a European cut from Denmark, which is only 90 minutes.) The sound design needs some restoration and rebalancing, but I found I could cut out a great deal of treble interference by wearing my MP3 player earbuds, and I CAN NOT WAIT to own this remarkable, hysterical, oh and quite pornographic, classic masterpiece of underground cinema to be in my home to shock my friends and neighbors! Also, "survivors" of the epic were given "THUNDERSTRUCK!" buttons and a lucky member of the audience, "local drag sensation Kegel Kater walked away with a hand silk-screened print of the original film poster," but risked being mugged by moi after the screening, but was saved by MUNI. Screenwriter George Kuchar was also present, but left before the screening started.Maxxxxx says
re both films: "Wooooooooo!!!"
You can contact Maxxxxx or myself here: JayCBird@AOL.COM
Thundercrack! SPOILER: A Monologue for Gert
[Starting immediately after maniacal laughter]
Gert: He who does not exist. I told a lie, a little white lie! You see, he does exist, behind this door, but not out here in the world of sanity. God has no mercy. You see what he's done to my son. Gerald had gone to Borneo to collect some erotic artifacts, that was all. A harmless excursion into the steaming tropics in the name of art. But he was smitten with a violent, swelling, tropical disorder - a malignancy of glandular grotesqueness that struck at the very root of his manhood. You see him now at the pinnacle of his disorder, repulsive to both man and woman alike. And what is more important, repulsive to himself. So self-revolting his mind became unbalanced, knowing that the one thing that made his life worth living was being crushed by the weight of his own testicles. For his safety, and mine, and for the safety of Beulah and Pinky, I had to lock him up behind this door. The weight of that malignancy on our fragile bodies would crush the very life out of us. You two will be fine. You'll survive. You'll give Gerald a taste of the sweetness he wanted his whole life. You'll survive. And I pity you.
[Maniacal laughter swells.]
Monday, June 22, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Day 5
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
MAKING THE BOYS (dir. Crayton Robey, USA, 2009, 90 Mins.) Though it is simple to describe as a documentary about the creation of the play THE BOYS OF THE BAND, director Crayton Robey has done an extraordinary amount of research to place it, as well as its author Mart Crowley, in historical perspective. In fact, he has the seeds of a multi-part documentary here: a biography of Mart Crowley; the culture at the time of the creation, development and production of the play; the play itself; the cultural reaction to it; finally, the film and reaction to that as well. Though it's running time is only 90 minutes, it does feel a bit longer, as Robey attempts to cover so much ground. However, it would appear to be necessary, as his prologue includes a series of man-on-the-street surveys with Gay Pride participants who surprisingly have never even heard of THE BOYS IN THE BAND, much less seen it or even value it's significance for gay visibility. It is an entertaining and exceptionally educational documentary, even as it screened here as a "work in progress." During the following Q&A, which was sort of a mess, I have to admit that even I contributed to the semi-chaos, when I asked how long he had been filming since he included the deceased Edward Albee. Uh, Albee is still alive... Ah well... (Oh, the answer was approximately two years.) There was also an extensive 'discussion' from the audience from Bay Area Reporter film critic David Lamble about the availability of William Friedkin to discuss the film. I think he might be 'legally tied' to the DVD extras to comment in a separate documentary, though. (As K.C. Price was about to introduce the director and film, my friend Andy noted that he needs to work on his "ums" during his speaking. From that point on, that is all I heard! Damn you, Andy!!)
I attempted to follow the screening with the next program, El Niño Pez, from the director of XXY. However, I fell asleep during the first few minutes. I was out so deeply, that when I woke up, I had no clue what was happening and decided to pop back home for a REAL nap to get ready for the evening.
FIG TREES (dir. John Greyson, Canada, 2009, 104 Mins.) This is a work of ART. I absolutely LOVED it, though I understand why a few people walked out. It is self described as a "doc-op about AIDS, pills and Gertrude Stein" and that probably sounds as hideously pretentious as those who walked out may have felt it was. I was completely taken away and transported by its operatic ("doc-op" is short hand for documentary-opera, I believe) structure and the music (composed and adapted by David Wall) that ran nearly the entire of the film, which included a great deal of Stein and Virgil Thomson’s Four Saints in Three Acts. Director John Greyson treads treacherously into Peter Greenaway territory with his over abundant use of split screens and subtitles, which at one point become graphic art in themselves. It may seem a stretch at first, but think it bears repeated viewings to understand how he relates musical palindromes of classical, modern-classical and pop music to the ironic plight of AIDS patients, as they face pharmaceutical and governmental structures that seem intent on keeping them from obtaining treatment. The cinematography by Ali Kazimi, Jesse Rosensweet of Bill Layton's production design
is beautiful and seamless between the two of them. I assume one was responsible for the operatic sequences and the other for the interviews. Ah, the interviews. The documentary portion include interviews of a number of activists, most extensively with Zackie Achmet (who is the central figure of the operatic sequences), Tim McCaskell and Gugu Dlamini, among others. The concentration of the documentary is really upon Africa, however it does relate to McCaskell's work in Canada. There was a moment towards the last quarter of the film 
that I began to become emotionally and physically moved by the weight of all the preceding painful beauty of the piece and actually started to become choked up! Though Greyson's work can be a hit (LILIES), miss (PROTEUS) or mixed (ZERO PATIENCE), this has pulled the best techniques and qualities he possesses to create, what was for me, an extraordinary experience!Maxxxxx says
re both films: "Dooby dooby dooo-oooo!"
Frameline 33 (SF LGBT Film Festival, 2009) - Day 4
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
My afternoon was preempted by a matinee of PORGY AND BESS at the SF Opera, so I was able to only attend two features.
The first program was preceded by the short I WAS A TEENAGE RUMPOT (dirs. George and Mike Kuchar, USA, 1960, 12 mins.), which they made when they were eighteen and it was a perfect way to enter IT CAME FROM KUCHAR (dir. Jennifer M. Kroot, USA, 2009, 86 Mins.) This is a biography of the twin brothers, George and Mike Kuchar, who are generally regarded as pioneers in underground film. There is a generous amount of footage and photography of them as boys, as they began making movies when they were twelve. Their childhood stories are as amusing and surreal as their shorts. (They trained a parakeet to run on an LP player, even at 75RPM!) They are credited as the inspiration for John Waters and Atom Egoyan (who both receive a nice amount of screen time), Andy Warhol and even the production of BARBERELLA! Mike retired to painting and illustration. However, George continues to make short films with his students at the Art Institute in San Francisco. The footage of him and his students is filled with joy and an innocent enthusiasm which belies the twisted content of the productions themselves. There was also extended discussion of the 1975 'epic' THUNDERCRACK!, which will be screened later in the week. 
Since the brothers were presented with the Frameline Award (by Christopher Coppola), the director was present, along with the brothers and a dozen other people involved with the Kuchars for a panel Q&A. Ironically, as charming and magnetic as I found the Kuchars to be, director Jennifer M. Kroot was their opposite. I found her to be sort of cold and disinterested in her subjects, and even during her introduction and as she began the panel, she thanked an army of supporters, but never mentioned the brothers themselves. Though I began the panel, her odd attitude only encouraged me to run down the street for the next feature.
PORNOGRAPHY: A THRILLER (dir. David Kittredge, USA, 2009, 113 Mins.) Hm. Well. I have some very mixed feelings about this. The plot transpires in three acts, really. The first two were creepy, intriguing and actually gave me a start! The cast was requisitely handsome, as the majority are playing porn actors who are victims of an underground group of snuff film producers. The imagery of the murders is particularly nightmarish! The increasing dread during the second act is ably executed and performed. However, in the third act, the attempt to tie the three sections together is subverted by a single moment, a single cell phone call to be exact, which blows it out of the water and into the "we're just playing with your heads!" territory, in that faux-David-Lynch way. Also, the third act is a bit undermined by having the most unlikeable character appear to deal with the climax. And here is sort of the rub. By having divided the film into three distinct sections, and by keeping the "villain" in the shadows as it were, what could have been mounting suspense and fear is stuttered and halted. However, director David Kittredge is also partly responsible for SOCKET, which I also nearly loved, so I think Kittredge is someone to keep an eye out for. He was present, along with most of the cast, and was just maybe a bit too pleased with himself. (I know, why should I hold that against him?) In other words, yes, the film has sold out its screenings, but then, if you submit a film called "PORNOGRAPHY" to gay film fests, the title sells itself. Maxxxxx says
re both films: "Sweet, sweet eye juice!"
Sunday, June 21, 2009
San Francisco Opera - PORGY AND BESS (restored)
PORGY AND BESS (By George and Ira Gershwin and Dubose and Dorothy Heyward, Conductor: John DeMain, Production/Director: Francesca Zambello, Washington National Opera production) In the midst of a film festival, I took a breather to spend a (long) afternoon at San Francisco Opera's (restored) PORGY AND BESS. Now, I only mention "long" and "restored" as I was expecting Executive Director David Glockley to have transferred the lauded Houston Grand Opera production up here. Instead, this was the Washington National Opera production, which restores the score from the 150 minute "Broadway version" to a 195 minute version (that is still short 45 minutes from the first score, which apparently received only a few, early stagings). Personally, I am OK with the shorter version, as the additional material does not seem to be all that overtly exceptional, except for a trio near the finale that I do not remember as being part of the earlier versions I have seen. Anyway...
Eric Owens does a robust job as Porgy, who in this production is given a simple crutch and not the traditional "goat wagon" to work from. Laquita Mitchell is able to compensate for some unfortunate costuming as Bess. She is dressed as either Carmen or Mother Mary, depending on the portion of the performance we're in, and it is just too obvious. She is able to sing past it, and we are given a great deal of character without the indications given by her dress. Also standing out in the supporting cast are Karen Slack and Alteouise deVaughn, who join Owens for a simply fabulous trio near the end of the opera. Sportin' Life is sung, acted and danced by Chauncy Packer. Now, Sportin' Life is a really odd role within the piece. Firstly, it is as if they wrote all the Tin Pan Alley numbers for him, and his songs really do not fit within the fabric of the opera, in my humble and non-operatically educated opinion. However, that might be the point, as he is this external force that acts as the Devil to Bess' Faust, in what is one of a few sub-conflicts. In fact, in this expanded version, Bess is faced with no less than three men and lives from which to chose. Needless to say, tragedies ensue. Her third nemesis is Crown, sung here by Lester Lynch, who regretfully does not have a "big number" by which to be overly memorable. However, he does take part in a really skillfully and surprisingly physical fight between him, Porgy and Bess. The chorus is simply excellent, particularly during the two prayers in the second act, which I always forget about, and am always blown away by!
The setting by Peter J. Davison and lit by Mark McCullough are really fascinating and really BIG! We are set in a factory, more than a port, but it works. The staging and movement are unusually choreographic and handled with requisite vigor and efficiency by the chorus. In the end, though, I would have to say that I now no longer need to see another PORGY AND BESS, unless it is the more operatic excerpts.Maxxxxx says
re PORGY AND BESS: "Dooobie dooo-oooo-oooo!"
Frameline 33 (SF LGBT Film Festival, 2009) - Day 3
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Day Three at Frameline 33 began with the traditional matinee screening of FUN IN BOYS SHORTS and FUN IN GIRLS SHORTS, which I was able to pre-screen, as well as two more short subject programs which screened today: CALLING ALL NERDS AND ART FREAKS and GET HAPPY, all of which I have previously posted comments about.
I began my 'live viewing' day with THE BUTCH FACTOR (dir. Christopher Hines, USA, 2009, 88 Mins.). Executive Director, K.C. Price introduced the film, with ever increasing comfort with the audience. No, he has not yet adopted the flirtatious quality that previous Festival Director Michael Lumpkin exuded, but he is warming up to us. Anyway, the documentary attempts to discuss masculinity as expressed by gay males. Though there are a couple fascinating interviews, most notably from Vincent Calverese, who works in the SF Sheriff's Department and has been a highly visible member of the "film event community" as he has been the escort-bodyguard of many a special guest. His commentary describing the reactions and role of being a gay corrections officer was fascinating, particularly in comparison the the majority of the rest of the interviews. As much as one would appreciate the eye-candy, there really wasn't much to be learned from gay softball-rugby-rodeo-football players, etc. It was as if just saying "I'm a gay rugby player" was proof of something? Ironically, the film ends up being about as shallow as the topic that the participants are denying it is. If masculinity is to be defined by actions and appearance, which with only a couple exceptions in the film seemed to be it's thesis, then I do not know how you can discuss that, without even broaching the topic of the sexual positions involved in when truly "expressing" one's sexuality. In other words, and to be a bit crass, it's all good and well to say, "Hey, I'm a big, butch gay guy!", but how do you handle that in the passive role, sexually. Anyway, that has been a topic in the past, which is why this documentary is probably best enjoyed as a jock-film. Director Christopher Hines was present, however, I was not able to stay for the Q&A, as I had to charge off, down the street, to make it for the next feature. 
LITTLE JOE (dir. Nicole Haeusser, USA, 2009, 87 Mins.) As much as I so highly anticipated this documentary about "the iconic" Joe Dallesandro, by the end of the film, I was questioned the film's inclusion in an LGBT festival (as if working with Andy Warhol is all it take to have "gay creds"?), and I actually became a bit tired of listening to Mr. Dallesandro. The film takes its format from THE KID STAYS IN THE PICTURE, which was the 'monologue' by and about Robert Evans. In LITTLE JOE, Dallesandro is the sole voice, interspersed with clips of his work, and he has done an incredible AMOUNT of work, mostly in Europe. I think it would have befitted the subject to have a second or third opinion chime in, and during the Q&A, the question did come up, and he said that THAT film could be made after he's dead. (He did receive a less than overly enthusiastic standing ovation when he approached the stage for the Q&A.) Oh, and this was one of those Q&A's that I dread. It began as a "reporter from the Bay Area Reporter", whose name I didn't recognize nor remember, rushed the stage to ask Dallesandro's opinion on gay marriage. Yawn. This was followed by a series of "fan comments", which weren't really questions, but compliments. I was sorely disappointed by the event, only to be extremely, pleasantly surprised and moved by the next film.
DARE (dir. Adam Salky, USA, 2009, 90 Mins.) This is the expanded, feature version of the short of the same name, which screened at Frameline in 2005, and I apparently wasn't overly impressed with. However, Adam Salky and screenwriter David Brind, have done a truly exceptional job of fleshing out the situation and characters into a surprisingly moving portrait of three teenagers, exploring their physical and emotional selves. Emmy Rossum and Ashley Springer are the best friends who begin to compete for the affections of Zack Gilford. I know, the plot sounds a bit trite, but Zack Gilford's performance as the "big man on campus" who doesn't want to be physically "used" anymore as a stud, but loved for being himself, was simply amazingly so deeply felt, that by the climax, I was actually moved. (This really surprised myself, as I don't have much sympathy for the "painfully beautiful".) Not to mention the truly exceptional scene leading up to it, was nearly as provocative as Bertolucci's THE DREAMERS. And the surprises didn't stop there! During the Q&A, Ms. Rossum proved to be the saltiest of the four speakers (Salky, Brind and Gilford were there, also). When I asked how she would compare her past experiences in multi-million dollar budgeted films (PHANTOM OF THE OPERA, THE POSEIDON ADVENTURE, etc.) to an indie, the three men interrupted with adoration and she replied with, "Yes, wearing push up bras and riding motorcycles fucking rocks, but so does a great script!" This program was a great evening!
I then hauled back down the street for GREEK PETE (dir. Andrew Haigh, UK, 2008, 70 Mins.). The director, Andrew Haigh, describes the film as a "narrative documentary", which is what could be more accessibly described as "scripted reality." The subjects of the film are documented and at times re-enact episodes from a year in the life of London callboy, "londonboyPete". Now, the concept is sort of fascinating, but Haigh's subject isn't all that intriguing. Even with the extensive editing, there is still a camera awareness from the 'cast' which belies the format. I simply did not find "Pete" or his friends that endearing or likable enough to engage myself in this "documentation" of their lives. Also, for a 'narrative documentary', there is a lack of character arc or plot, however, that may have been part of the point...? Maxxxxx says
re DARE: "I love you, too!"
Saturday, June 20, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Day 2
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
After opening with AN ENGLISHMAN IN NEW YORK, Frameline chose to screen THE NAKED CIVIL SERVANT (dir. Jack Gold, UK, 1975, 77 Mins.). It's been more than a few years since I last saw this, and it was a pleasure to revisit. Firstly, it is a surprise to see how young John Hurt appeared 35 years ago! Not to mention, the surprise revisiting of the performances from Patricia Hodge and John Rhys-Davies! The screenplay holds up as well as remembered and perhaps even more solidly than its "sequel", as it is drawn directly from Quentin Crisp's autobiography, which necessitates Hurt being on screen in nearly every frame. Whereas, AN ENGLISHMAN IN NEW YORK was edited to include a great deal of reaction shots and 'commentary' from the supporting characters, where none was necessary, THE NAKED CIVIL SERVANT presents the character that was Quentin Crisp as someone that could stand alone.
ASSUME NOTHING (dir. Kirsty MacDonald, New Zealand, 2009, 80 Mins.) I must confess, in the spirit of full disclosure, that I dozed off during this documentary of the work of photographer Rebecca Swan, and more specifically, the subjects of her photo essay regarding gender expression and identification in New Zealand. The film focuses more specifically on four models, and it was within the fourth interview that I simply "rested my eyes" and lost the impact of that final subject. The film does present the fascinating work of Swan, but the interviews are typical of the "talking head" format, and there are a long sections of monologues by the subjects relating their experiences in establishing their gender identity, which, yes, is a topic that is sometimes lost on me.
I took a break and passed on the short subject program THE YOUNG AND THE LOST, which reportedly had audience members yelling at the screen as they walked out! I think I need to get a screener and see what all the fuss was about!
AND THEN CAME LOLA (dirs. Ellen Seidler, Megan Siler, USA, 2009, 70 Mins.) My final selection of the day was a joyful lesbian 'remake' of RUN LOLA, RUN! It was produced in San Francisco, so the audience was excited for the film. Directors Seidler and Siler actually did a pretty good job in translating the Tykwer film into their own world. The performances are all quite exceptional! I don't want to sound too surprised, but... well, I was! Ashleigh Sumner as LOLA, has an extremely appealing screen presence and displayed GREAT timing, which I was so thankful for! The concept of the film relies on speed and efficiency, and Sumner, as well as Seidler and Siler's direction and editing, was clearly and professionally executed. There wasn't a weak link in the supporting cast, either. The only hesitation I have is the lack of continuity in editing Lola's run through the city. However, the cuts are so obviously out of sync with the geography of San Francisco, that it could be a joke in itself, but if so, it doesn't really work, as the audience around me began to remark on the incongruity, if not impossibility of running from South of Market to Alamo Square to pick up 'the package' in Chinatown, etc. Regardless, AND THEN CAME LOLA would be a fun little companion piece in anyone's video collection next to RUN LOLA, RUN!Maxxxxx says
re AND THEN CAME LOLA: "Step up! Step up!"
Friday, June 19, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Opening Night!
Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Ah to be back, LIVE! at Frameline 33: San Francisco International LGBT Film Festival!! Opening night began at the Castro Theatre with the traditional review of past years' festival trailers, leading up to the present one. I have not spoken of this year's trailer in any of the festival preview postings leading up to tonight, as I thought I should give it another chance. That perhaps it would grow on me after a few viewings. It has not. Though it is nowhere near the enigmatic disaster that was the trailer for Frameline 26 (which continues to be annually hissed at during this "parade of trailers"), it did necessitate some explanation for its significance from the past and present President of the Board of Directors during their welcoming speech. (It seems that the projector used in the trailer is the actual projector used in the FIRST Frameline Festival, 33 years ago.) What the pair lacked in polish, they did make up in sincerity, and there was a noticeable absence of a "donation pitch" which seemed to dominate the "opening ceremonies" of the last couple of festivals I attended. (I was in Atlanta for the 2007 and 2008 Festivals.)
Eventually, Festival Director, Jennifer Morris and, freshman Executive Director, K.C. Price (he replaces Michael Lumpkin, who stepped down last year), were introduced. Mr. Price was pretty prepared and polished during the preview and press conference last month. Perhaps it was the exhaustion or a bit of opening night jitters, but tonight he seemed to fall back on a certain corporate blandness, which only made Ms. Morris appear more impish and charming than she already is. Oddly, I can't really remember a thing either of them said, other than the list of acknowledgments to this year's sponsors, members and volunteers, before introducing Richard Laxton, the director of tonight's opening feature, as well as a brief shout out to performance artist, Penny Arcade, who was in the audience and whose character figures prominently in the film.
AN ENGLISHMAN IN NEW YORK (dir. Richard Laxton, USA, 2009, 74 mins.) This is not necessarily a sequel to the 1975 film THE NAKED CIVIL SERVANT (which will screen the next afternoon), though John Hurt does reprise his role as Quentin Crisp and this takes place during the last ten or fifteen years of his life. Hurt could possibly be the only prominent actor who could play the role. (In fact, I asked the question during the Q&A and the answer was that the director would not have stayed with the project without Hurt.) Hurt plays him with even broader strokes than I remember from NAKED CIVIL SERVANT. And though I am sure it is an accurate, if not artistic portrayal of the man, it does seem to throw off the chemistry of most of the rest of the cast. Laxton seemed to reach for a balance between the theatrics of Crisp and the realities of the people in his life. However, the script portrays the supporting characters as archetypes, more than real people. Cynthia Nixon comes closest to humanizing her portrayal of Penny Arcade, who is quite theatrical to begin with. However, Denis O'Hare and Jonathan Tucker (Crisp's editor, Phillip Steele and artist Patrick Angus, respectively) are left to play the "eyes of the audience" and the "soulful youth", as opposed to the actual persons. The dialogue for the character Steele is particularly stilted and nearly a series of questions to which Crisp is always at the ready with a quip. In fact, a friend (JimmyD, who worked with Steele in NYC) remarked that Crisp was written as the 'gay Yoda'. He speaks nearly exclusively in platitudes, which may have been the case in real life. However, it leaves the rest of the cast dry as far as being able to have a "real" conversation in the scene. I just don't know if it meant to be as tiresome as it seemed, even if spending that much time with Crisp could have been that in real life.
The Q&A following the film was dominated by Penny Arcade, who was not on stage, but asking a question, or actually making a few long remarks about the characters' accuracy from the audience. There was also a long, if not miscommunicated discussion between an audience member and the director about non-specific transgender roles, or some such thing. Afterwards, I wandered down to ask how involved the estate was, if at all, to which Laxton answered that most of Crisp's dialogue is in public domain, but there were some permissions that needed to be obtained from the surviving family.
I am not a big fan of Frameline's opening night parties (unlike the Closing Night Parties, which I LOVE!), so I stayed for the 10PM feature, which was briefly introduced by K.C. Price, who mistakenly promised us a Q&A afterwards.
THE COUNTRY TEACHER (Venkovský ucitel) (dir. Bohdan Sláma, Czech Republic, 2008, 113 mins.) It is sort of a late hour to be screening such a deliberately paced and languid film in Czech with subtitles. However, I never dozed once, due to the simply spectacular and technically marvelous cinematography! Director Bohdan Slama has created a film with some outrageously long takes, in which the camera seems to be completely free of any physical boundaries or mounts. (How in the hell did the camera get from the middle of the lake, up inside the cherry tree?!)
The visuals float through the Czech countryside where a teacher has run away to avoid his feelings of pain from his last relationship. There he stays with a farm family, made up of a mother and son (of a fairly indiscriminate age). It isn't really a spoiler to state the plot drags on a bit as the triangle is all too obvious. That said, the climatic scene (NO SPOILER HERE) comes out of freaking NOWHERE and you could not have paid me enough as an actor to have been involved in it! I'll just say it is a mind blowing moment, which I guess is the point. 
Anyway, the film has a definite Eastern European pace and visual style, i.e. Bela Tarr, which I personally find fascinating and hypnotic, regardless of the relatively inanity of the plot itself. Oddly enough, as annoyed as I was with the screenplay, ("You're not into her, he's not into you, just leave them already!"), I was so visually captivated that I could not wait for the promised Q&A, which did not happen. But then again, it was after midnight when the film finished...Maxxxxx says
re both films: "Shut up!"
Monday, June 15, 2009
The Global Film Initiative - CALL FOR APPLICATIONS
The Global Film Initiative
CALL FOR APPLICATIONS
Summer 2009 Feature-film Production Grants
San Francisco, CA - June 15, 2009 - In its continuing effort to promote original filmmaking by individuals from around the world, the Global Film Initiative is now accepting applications for the Summer 2009 cycle of its feature-film production grants program. Applications will be accepted from April 30, 2009 to July 15, 2009, and decisions will be announced in September 2009.
Global Film Initiative production grants are awarded twice a year, in winter and summer, to filmmakers whose work exhibits artistic excellence, authentic self-representation and accomplished storytelling. The granting program furthers the Initiative's mission of contributing to the development of local film industries while offering audiences a variety of cultural perspectives on daily life around the world. Monies received through the Initiative's granting program are used to support completion of film production, and to subsidize post-production costs, such as laboratory and sound mixing fees and access to modern editing systems.
This year, the Global Film Initiative will award production grants of up to $10,000 each to select applicants during its summer granting cycle. These funds are made available following the Initiative's evaluation of an applicant's completed screenplay and early film-footage, and may include a pre-sale option for exclusive U.S. distribution of an applicant's film by the Initiative. Individuals may submit more than one film for consideration per granting cycle but please note that only applications from qualifying countries or regions will be considered and that production grants are not available for documentary or short films.*
The Global Film Initiative strongly believes in supporting narrative storytelling traditions from around the world and invites all qualified applicants to submit their work for granting consideration. For Applications & Guidelines, please visit: www.globalfilm.org/granting.htm.
Application deadline: July 15, 2009
*The Global Film Initiative accepts grant applications from countries in the following regions: Latin America, the Caribbean, Africa, the Middle East, Asia (excluding Hong Kong, Iran, Japan, Singapore, South Korea and Taiwan), and Oceania (excluding Australia and New Zealand).
The Global Film Initiative
The Global Film Initiative is a U.S.-based not-for-profit organization specializing in the support of independent film from Africa, Asia, Latin America and the Middle East. Founded in 2002 to promote cross-cultural understanding through the language of cinema, the Initiative awards numerous grants to deserving filmmakers from around the world each year, and supports a touring film series entitled Global Lens. For more information about the Global Lens film series and Global Film Initiative programs, please visit: http://www.globalfilm.org.
Wednesday, June 10, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Short Subjects Overview
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Of the 219 films appearing in Frameline 33's festival program this year, 141 are short films. The majority of these are grouped together into related topics (i.e. boys, girls, trannies, documentaries, art, etc.), while some accompany features, and a few of the lengthier ones (45 minutes) are paired with a short or two. I love the Shorts Programs, as you can find "pitch films", new directors and some veterans, who are stretching their skills.
This year, Frameline is featuring 17 programs exclusively showcasing shorts. (Missing this year are the "Boys/Girls From the Bay" programs of locally produced shorts. Probably due to number submitted?) I was quite fortunate to be able to preview 10 of those programs, which included over 70 films. Here briefly, are my enthusiastic recommendations! (Links to detailed capsule reviews are linked, as well as the program recaps, which are listed at the bottom of this post.)
In my humble opinion, 
LIE TOGETHER (dir. Jeanette L. Buck, USA, 2008, 14 min.) is by far the outstanding piece of the shorts I previewed. It screens with BACK TO LIFE, and is worth the price of admission to the entire program, as well as the time spent waiting for it to appear.
Perhaps the best performance featured in the festival, much less the shorts program, is by Deb Margolin in COUNTERTRANSFERENCE (dir. Madeleine Olnek, USA, 2008, 16 min.) She could well be THE female Buster Keaton or Woody Allen! This piece plays with the EXTREMELY popular FUN IN GIRLS SHORTS program, which features a number a fun films! The program plays twice, so even though the first screening may be sold out, the second screening, on Pride Day, is usually available.
Of the documentaries, I always look forward to GLOBAL QUEERS which highlights activism and lifestyle challenges from around the globe. If I were to have to choose a single film to recommend, it would have to be GENERAL IDEA: ART, AIDS AND THE FIN de SIECLE (dir. Annette Mangaard, Canada, 2008 ,48 min.) for simply taking me back to when I first arrived in San Francisco, not to mention an all too rare glimpse at one of the most interesting artists that were working during those crazy years in the '80s and '90s. The film is featured in CALLING ALL NERDS AND ART FREAKS.
There is also another biography worth noting. 
GET HAPPY (dir. Mark Payne, USA, 2008, 27 min.) It is the pearl in an oyster bed of drag shorts! I LOVED IT! It is a quick biography of make up artist and performer Mark Payne, who, as it turns out, will be performing at the Opening Night Party, and I HOPE will be convinced to share a little at the screening of the film! It plays in the program of the same name, GET HAPPY.
Speaking of "art" there are several animated selections. In fact, I almost dedicated an entire posting to them! But there is one that stands out in my mind. NUMEROLOGY (dir. Paula Durette, USA, 2009, 3 min.) I do not know how to begin to describe this DELIGHTFUL short animation that "unveils the mysteries of lesbians through the occult arts"! This screens in the DYKE DELIGHTS program.
Now, you might have noticed that I haven't really included a "boy flick." Odd that. However, this year, though there are numerous "good" flicks in the mens programs, there wasn't one that really stuck with me. However, with the dozens and dozens of screenings, not to mention that I have only seen HALF of the films, I'm sure there could be a new classic in there, somewhere.
Of the remaining programs that I have not seen, I am very excited about SWISS TREATS (a collection of films from Switzerland, which appears to be in place of the usual Australian program), CANYON CINEMA'S QUEER UNDERGROUND (a retrospective of Canyon Cinema's distribution history), and THE YOUNG AND THE LOST (a collection of "amazing, provocative and haunting shorts about young men"), as well as SAN FRANCISCO (dir. Margaret Cho, USA, 2009, 6 mins.) which accompanies the feature, AND THEN CAME LOLA.
Here are the links to my detailed recaps of each the Short Subject Programs that were available to me for preview:
FUN IN BOYS SHORTS
FUN IN GIRLS SHORTS
CALLING ALL NERDS AND ART FREAKS
GET HAPPY
GLOBAL QUEERS
BI REQUEST
TRANSTASTIC
WORLDLY AFFAIRS
DYKE DELIGHTS
BACK TO LIFEMaxxxxx says
re LIE TOGETHER: "I love you too!"
Tuesday, June 09, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Back To Life
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
The films in this program of short subjects are comedies about, by, and for "women with past and present hurdles to overcome". It screens once: Wednesday, June 24, 9:30 PM at the Roxie Film Center. The program is listed in order as presented via screener and subject to change and includes:
EVELYN EVERYONE (dir. Kylie Plunkett, Australia, 2009, 17 min.) Featuring Loren Horsley as a woman seeking love, but in a virtual Sim-world. (There is a good amount of animation here, by Elka Kerkhofs and Leigh Ryan.) Though the topic might be a bit dated these days, I did find it amusing and Horsley does a great job, considering her work is virtually alone.
AT HOME (OR LOVE AS WELL) (dir. Mariel Macia, Spain, 2008, 25 min.) What a lovely film and beautifully, if not realistically developed, produced and performed. In other words, I may be over-identifying, as I've been there and done that. Sort of. The "sexual therapy" thing. In a way. Well, not with a woman, but... Anyway, I digress! This could easily be developed into a full length feature. And there was an interesting use of split screens. 
INNOCENCE REMAINS (dir. Nathalie Camidebach, USA, 2009, 15 min.) The couple involved are such polar opposites (i.e., one practices zen and the other kickboxes), that their conflict feels forced, before it then crosses into the nearly contrived, as a birthday gift is coincidentally the trigger of drama. The subject matter (surviving sexual abuse) is so difficult to handle in just fifteen minutes. But the whole IS redeemed by an excellent end title. Or as one of the partners says, "This is so fucking surreal." 
BACK TO LIFE (dirs. Desi del Valle , Hollie Lemarr, USA, 2009, 12 min.) Well, I found the physicality between del Valle's mourning character and her "straight gal-pal" to be a bit unrealistic, but Del Valle is such an appealing performer to watch, regardless of the believability of the circumstances. Actually, thinking back on this, she is the only "image" I remember...LIE TOGETHER (dir. Jeanette L. Buck, USA, 2008, 14 min.) An exquisitely edited (by Bonnie Rae Brickman) piece in which a relationship is examined from beginning to end in a non-linear kaleidoscope of events. Brilliantly performed by Lauren Johannsen and Elise Grant, and beautifully photographed. Ryosuke Kawanaka's use of light and focus from the bright clarity of the new love to the gray, chill of the relationship's death knell is extraordinary! Elizabeth Pringle's screenplay is concise and lean. Jeanette Buck has created in only fourteen minutes what Stanley Donen did in two hours with TWO FOR THE ROAD. This is such an extraordinary piece on all levels, and probably the best short subject of this year's festival.
LUCHA (dir. Maria Breaux, USA, 2008, 15 min.) Set during El Salvador’s civil war (primarily set by a fairly political opening title regarding President Reagan's involvement), a pair of women discuss (and I mean that in the most literal way, as this is apparently an adaption of a two character one act play) love and war. A bit tiresome really, considering it is unnecessarily in Spanish with English subtitles. There is an oddly placed dream sequence, that is about as cinematic as the short gets, but it seems nearly wedged in.Maxxxxx says
re LIE TOGETHER: "I love you, too!"
Frameline 33 (SF LGBT Film Festival, 2009) - Dyke Delights
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
The films in this program of short subjects are comedies about, by, for lesbians. (Duh!! "Dyke Delights"!?) It screens once: Saturday, June 27, 3:30 PM, at the Castro Theatre. The program is listed in order as presented via screener and subject to change and includes:
LES LAPINES (The Girl Bunnies) (dir. Francoise Doherty, Canada, 2008, 4 min.) A brief and a bit roughly executed animation of two female bunnies in love and the "different" family they form. Though the animation may be crude by PIXAR standards, it is still a strangely hypnotic, if not psychedelic, experience... oh yessss... bunnieeeees...
TOOLS 4 FOOLS (dir. Kate A. Brandt, USA, 2009, 8 min.) Comedienne, Julie Goldman drives the piece with some great energy and fabulous pacing as an infomercial salesperson of everyone's 1AM nightmares! She's selling something you might need at 1AM, too. hee hee hee... 
LEW LO FROM THE BLOCK (dir. Brynn Gelbard, USA, 2009, 4 min.) Coming from the creators of last year's hoot LEZBRO DON'T CHA KNOW, is a music video worthy of Dr. Demento!! Simply: it's a "musical parody about how a Jewish American Princess from Long Island turned into a big ol’ faux queen in SF." I loved it!
TROPHY (dir. Karla DiBenedetto, USA, 2008, 11 min.) The program takes a bit of a dip with this slight script involving daughter and soon-to-be-stepmom. The cast is more than capable, but they are a bit stranded by a predictable script. However, the production is professionally executed.
THE 6 MONTH RULE (Linda Andersson, USA, 2008, 12 min.) A second entry from Linda Andersson, whose WHEN THE TIME'S RIGHT screened earlier. Here, she has gathered another capable cast as a group of friends gathered for one of those parties where one too many past relationships come colliding. In other words, it's a cocktail party farce, and it works fairly well, though timing can always be tighter in these kind of things.
A DAY AT THE BEACH (dir. Veronique Courtois, USA, 2008, 3 min.) In this traditionally animated little flick "Brad and Sally" share a special vacation on a beach! I am ALWAYS a fan of independent animation of this type! Courtois shows pace and good technique. She can stretch herself in script and not be quite as literal, but still, that's just a quibble and I HOPE she is working on something for next year, too!
QUEERER THAN THOU (Dir. Ramses Rodstein, USA, 2008, 8 min.) "The labels of sex and who wears them best..." Yes, well, though it has a clever idea, and the subtitled labels are fun, PAUSING for them kills the pace. No, no no! The climactic test of who is the queerest lacks energy for what it must be. In the end, I am afraid that it comes off pretty lame. I'm sorry guys...NUMEROLOGY (dir. Paula Durette, USA, 2009, 3 min.) I do not know how to begin to describe this DELIGHTFUL short animation that "unveils the mysteries of lesbians through the occult arts"! The fact that I find it so visually specific as to defy sufficient literal description just thrills me to no end! THAT is what great animation can be all about. Brava, Ms. Durette!
SISTA CHRONICLES (dirs. LC Bruce, EJ Wood, USA, 2008, 17 min.) Well, where else would you see ANOTHER dildo retrieval comedy?! Unfortunately, this one is dreadfully paced. It actually begins with the foursome (who appear quite mismatched, even beyond SEX AND THE CITY-esque stereotypes) are playing... dominoes?! Then a series of flashbacks and flash forwards become excuses for extended skits, featuring characters we don't really know. One top of that, the sound design is poor enough to make it difficult to understand. As it progresses, I began to think that some of the characters were played against type, in a "Young Ones" way. Unfortunately, it attempts that kind of farce, too, but the cast simply doesn't have the timing and the editing doesn't have the pacing to support that kind of outrageousness. Then there is the climax which is just sort of ... wrong, but in a funny way, had the rest of the production been up to par. It is simply too slow and too long, even at seventeen minutes.
BUTTERY TOP (dirs. Catherine Crouch, Kelly Hayes, USA, 2009, 4 min.) This is a clever little big involving the baggage we all bring into a dating situation. A quick, wittily executed, single joke, performed against the Blue Danube, and over a loaf of bread.
Maxxxxx says
re NUMEROLOGY: "Sweet sweet eye juice!"
Monday, June 08, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Worldly Affairs
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
The films in this program of various narrative short subjects from around the world. It screens once: Friday, June 26, 3:15 PM, at the Castro Theatre. The program is listed in order as presented via screener and subject to change and includes:
RAW LOVE (AMOR CRUDO) (Dirs. Juan Chappa, Marin Deus, Argentina, 2009, 16 mins.) This is a vaguely typical gay teenager coming of age story, but set in Argentina. It is extremely similar to EDGE OF SEVENTEEN, but even more naively innocent, in action, yet more mature in its emotional communication between the two boys. The one who is yearning is wonderfully performed and his musings are hauntingly photographed.
SOMEBODY IS WATCHING US (dir. Maxine Desmons, Canada, 2009, 11 min.) What is being primarily billed as a piece about sexual paranoia in a public bathroom, actually goes into much more obscure and convoluted territory. Our characters are students of English as a Second Language in a classroom in Canada. The performers (Michael Young and Jonathan Muzlera) display a great deal of sexual tension throughout, but what that has to do with the recurring Icarus story underneath it, is unclear to me.
TEDDY (dir. Christopher Banks, New Zealand, 2009, 13 min.) Though treading treacherously close to maudlin, somehow, Christopher Banks is able to keep his cast from tripping into melodrama. The process of resolution and letting go are remarkably told in the short thirteen minumtes of this short. The ending is a bit of a sell out, but the performances are so genuine that it is quite forgivable. Plus, I'm a bit bitter and jaded for "cheap sentiment"!
BABY SHARK (dir. Pascal-Alex Vincent, France, 2005, 15 min.) Considering that this is only fifteen minutes long, Pascal-Alex Vincent (who is also represented this year with GIVE ME YOUR HAND) has PACKED the time with three acts of teenage sexual angst and ennui. It opens with racously enough with a LOUD punk soundtrack as a boy is skateboarding. The handheld camerawork at this point was pretty annoying for these first few minutes, too. Then, without warning we cut to a boy and girl, who might be post coitus, playing xBox and completely BORED. The skateboarder enters (there hasn't been ANY dialogue yet!) and, well, let's just say "action ensues"! And that is just the first of three sequences! The second sequence is comparatively complacent about being a high school outsider. The third sequence would almost seem to be the short version of GIVE ME YOUR HAND, as it is nearly identical in the actual seed of the plot. I loved GIVE ME YOUR HAND, so I was surprised to come back to my notes to realize this is the same director, as it is no where near the subliminal tone or pace of the feature. Vincent is a director to watch!
THE SAINT (dir. Elfe Uluc, Bosnia & Herzegovina, 2008, 17 min.) It is sort of an odd piece in which an older ex-drag queen (is there such a thing as an "ex" drag queen?) is running around in the ghettos sharing anything and everything he finds, has and is, including himself. The film portrays as a near religious figure, ergo the title. There is some Fellini-esque pathos, however, Zahin Celik gives an incredible performance, within the time given and the setting he is placed against. The film is also remarkable considering where it was produced! Oh, and the score includes a lot of Antonin Dvorak! woo hoo!
MOTHER KNOWS BEST (Dir. Bardi Gudmundsson, Iceland, 2009, 21 min.) A man is living with his overbearing single mother in ReykjavÃk. She is fabulously played by Helga Braga jonsdottir, who somehow avoids falling into any caricature or melodrama and actually let us feel for HER, more than her son. She plays the role with so much wisdom, she knows more about her son, than HE does himself. It is a trip of a performance! (I wish the final two songs had been subtitled!!)
Maxxxxx says
re BABY SHARK: "Maxxxxxx! SHUT UP!"
Frameline 33 (SF LGBT Film Festival, 2009) - Transtastic
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
The films in this program of short subjects are about, by, for transexual men and women. It screens once: Thursday, June 25, 7:00 PM at the Victoria Theatre. The program is listed in order as presented via screener and subject to change and includes:
MICHELLE'S FIRST WEDDING IN A DRESS (dir. Ann von Hageman, USA, 2008, 5 min.) A sweet, short video of Michelle, who is getting married in San Francisco to her lesbian girlfriend. Apparently, she was married before, but she wasn't wearing the dress, then! Clever little bit of titling and concept, that...
BIG DEAL (dir. Hilary Goldberg, USA, 2008, 4 min.) Oh, I hate it when I get irksome! It attempts to recreate the shooting of Andy Warhol by writer Valerie Solanas, so what that has to do with being "transtastic" is beyond me, to begin with. This hip-hop video attempts to be an Andy Warhol homage, and it drove me nuts. Granted, the music by Katastrophe is not really to my taste, but I found it bearable. However, the video was shot on Super 8, which is probably the total low-tech, antithesis of how the music was produced. It just grated on me in style and execution.
BEING LISA (dirs. Gene Hosington , Becca Louisell, USA, 2007, 10 min.) This piece feels a bit thrown together. The script is underdeveloped and the performances are not all they could be. (A chicken or the egg quandry?) The production goes straight for the awkward moments, and it is a bit high on the melodrama. Using slow motion to punctuate a moment is risky under great circumstances, but considering the general slow pace of the acting here, it is not a good choice. The situation and relationships involved in a business dinner that turns romantic is complicated enough, but to toss in the transgender issue, and then adding on the influence of surrounding friends is just way too much for this ten minutes to handle!
LIFE (dir. Aarin Burch, USA, 2008, 4 min.) and TELL ME THE... (dir. Bobby Poirier, USA, 2008, 4 min.) These are quite simply, a pair of music videos for "Billboard charting transman," Joshua Klipp, and featuring the queer modern dance company, Sarah Bush Dance Project, and "catwalk pageant winner, Asia Vitale." I liked the songs, and visually, they're pretty standard, though.
BLINK (dir. Silas Howard, USA, 2009, 11 min.) Director Silas Howard, who was a member of the great ensemble of DON'T MESS WITH TEXAS has cast an equally talented ensemble, featuring Ben Foster (playing sort of a skin head brother), in this bleak and depressing story. I wasn't sure where the "transtastic" part was, as it appeared to be more lesbian oriented, since neither party expressed tranny tendencies, except for the visual of polishing a gun and beer bottle. Yes, a gun and a beer bottle, Dr. Freud. There is also an awkward kiss in the hall. The photography is dark and murky too, and... what's up with the sea cucumbers?
KADEN LATER (dir. Harriet Storm, USA, 2008, 9 min.) Animated sequences featuring an interview about the physiological transition from female-to-male, and the ambiguity of leaving behind the female, are interwoven with live action footage of his daily life. There is also a nice little bit that speaks to marriage equality. Frankly, I don't really remember much of this, now that I am reviewing my notes... Ah well...
TRANSPROOFED (dir. Andrea James, USA, 2009, 14 min.) Calpernia Adams (Transamerican Love Story) races to hide hints that she is transsexual before her unaware date arrives at her over-the-top apartment. Her best friend is played by Andrea James, who was a consultant on Transamerica. Calbpernia and Andrea show a great deal of cheistry and some comic flair. Ironically, it is Joel Lambert who is the weakest link in this small ensemble, though he has the most experience. The script is a bit overplayed for farce, but with a little brushing up, it could become a fun little feature.
AMONG COLORS AND RAZORS (Entre Cores e Navalhas) (dirs. Catarina Accioly, Ibere Carvalmo, Brazil, 2007, 15 min.) This is actually a joyful little bit about a male and female (yes, one does need to get specific about these gender things here) who meet everyday on a bus. He approaches his boyfriend about his transition, which the new girlfriend (sort of) embraces and the boyfriend does not. Sort of understandably, I guess. Anyway, I had a fun time watching it!
TRANZPLOITATION (dir. Rachel Matlow, Canada, 2008, 8 mins.) [Unavailable for preview] Frameline: "The story follows Kaleb as he fights discrimination, exploits his new trans-man identity (hello cheaper haircuts) and makes the personal decision to get the surgery he needs (Botox of course). Don’t miss the cameo by Amy Ray of Indigo Girls fame."Maxxxxx says
re MICHELLE'S FIRST WEDDING IN A DRESS: "I love you!"
Frameline 33 (SF LGBT Film Festival, 2009) - Bi Request
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
The films in this program of narrative short subjects are about, by, for bisexual men and women. It screens once: Wednesday, June 24, 7:00 PM at the Roxie Film Center. The program is listed in order as presented via screener and subject to change and includes:
BUS STOP (dir. Ruba Hatem, UK, 2008, 14 min.) A triangle that nearly crosses into farce as he and she are unwittingly having an affair with the same woman, due to their daily meetings at a bus stop. The situation would suggest a bigger payoff at the end, however, given the assumed budget and time constraints, Ruba Hatem has created an overall pleasant, if not bittersweet story. Perhaps she will develop it into something feature length?
ALLISON, MY LOVE (dir. Richard Paro, USA, 2008, 2 min.) Ah, self absorption knows no sexually oriented bounds! It is an extremely short, but effective presentation of a joke that could only be on film. Could it be expanded upon? Probably not, but it's good for a quick laugh.
RECESS (dir. Davyde Wachell, Canada, 2008, 14 min.) Oooo...! Bad, bad girls at a Catholic school! The short provides high production values and cinematography. The cast seems a bit physically mismatched, which is sort of odd for me to explain. Perhaps since the trio crosses Hollywood stereotypes, seeing these three distinctly different "types" interact so closely is unusual. Also, I got a bit confused with the dynamics between the three girls. Then there is the issue of one of them being a "cutter". In the end, I was just confused. However, given all that, there is quite the filthy-mouthed fight in the midst of it all, which was strikingly unusual. That was something I was reminded of during a check-in with the Frameline publicity office, which was screening it at the time. Otherwise, I sort of forgot about it...
BEST FRIENDS (dir. Andi Meiers, Germany, 2008, 5 min.) There really isn't much else to say about this than what the Frameline program does: "Based on old super 8 material, this movie about being 15, living in a small town and being best friends." I am actually not exactly sure why it is included here.
HOLY WATER (dir. Tatiana Lamela-Rabell, Puerto Rico, 2009, 12 min.) I can not remember the last time I saw a film produced specifically from Puerto Rico, so I don't want to be dismissive, but... This is pretty much a soap opera, involving virginity, Catholicism, the wrong guy and the right girl. Apparently. It needs to be really fleshed out to avoid the melodrama.
FLOTSAM (dir. Michael Curtis Johnson, USA, 2008 , 23 min.) This is an exceptionally, deliberately paced drama centering around a female Naval officer and her search for an AWOL officer, which leads to her own introspection. It is pretty bleak and, though there is an attempt at humor with the extremely WASP parents of the missing officer, their characterizations are pushed to such extremes in the midst of all the bleakness, it just isn't funny. However, the film does have the production values one might expect from the well equipped American Film Institute, of which this is a Masters Thesis Project. 
THIRTEEN OR SO MINUTES (dir. William Branden Blinn, USA, 2008, 14 min.) [This is also included in the FUN IN BOYS SHORTS program.] A pair of straight boys seem to have just had a night of... "exploring"? It's all sort of sweaty and more than a bit nice to look at, but... they're talking like girls after sex. And the cinematography is just "off", as faces fall out of frame. There is a LOT of dialogue, which leads me to believe it is an adaption of a one act play. No real movement or action, but face to face talking... It could have explored some much more enticing, if not intimate possibilities.
MAKE A MATE (dir. Jennifer Jordan Day, USA, 2009, 4 min.) One of the few and rare animated submissions, this stop motion with wire dolls and miniature pieces may lack in smoothness, but it makes up for the process of working with such small items! It's a cute little film with a slightly androgynous bent. Though I can only imagine the concentration and effort it must take to create a piece like this, I hope that Jennifer Jordan Day considers continuing and expanding her technique.
SHAFTED (dirs. Allegra Hirschman, April Hirschman, USA, 2009, 10 min.) [This is also included in the FUN IN GIRLS SHORTS program.] It's a quirky little comedy involving the property rights of sex toys after a lesbian break up. The femme lesbian Lindsay finds that her ex has taken all of her sex toys and she seeks restitution when she learns "that it is commonly accepted that femmes get "the shaft" when it comes to post-breakup sexual property." The pacing is a bit off and there is a very odd bit about dildo recycling (I think? - I almost wanted to stop and rewind on that one!). So, criminal activity becomes involved, which lends itself to some fun butch-femme dynamics, in that sort of homage to CELL BLOCK H way! Oh, and the end titles and song (uncredited) are a hoot!Maxxxxx says
re ALLISON MY LOVE: "What's your name?"
Friday, June 05, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Global Queers
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
This is a collection of four documentaries concerning the gay rights movement around the world, and it is always one of my annual highlights of the festival. The documentaries are produced and edited in "classic" documentary form. These are not op-eds or docu-dramas, but objective observations of the lives and struggles of LGBT citizens, in exceptionally culturally "conservative" countries, that the general American public may not be aware of. Other than what the Frameline Catalog synopsis provides, the only other comment I can offer this worthwhile program is that QUEER SARAJEVO FESTIVAL 2008 does bear some similarities to JERUSALEM IS PROUD TO PRESENT.... What may make the Sarajevo documentary stand out to a festival audience is the inclusion of the struggles involved in screening John Greyson's LILIES.
The program screens once: Wednesday, June 24, 2:15 PM at the Castro Theatre. The films are listed in order as presented via screener and subject to change, and include (and quoting from the Frameline catalog):
PECAH LOBANG (BUSTED) Dir. Poh Si Teng, Malaysia, 2008, 30 min.) Shot in the Kuala Lumpur red light district, this documentary revolves around Natasha, a Muslim Mak Nyah (male to female transsexual) who refuses to live life as a man in Malaysia. 
WELCOME TO MY QUEER BOOKSTORE (dir. Larry Tung, Taiwan, 2009, 19 min.) Located in Taipei, Taiwan, Gin Gin’s Bookstore is the only bookstore dedicated to the LGBT community in the Chinese-speaking world. The director explores the lawsuits and the discussion this iconic space has ignited, as well as its place in gay culture: hosting public forums, book signing and promotional activities for gay films and television shows.
QUEER SARAJEVO FESTIVAL 2008 (dirs. Cazim Dervisevic, Masa Hilcisin, Bosnia & Herzegovina, 2008, 30 min.) The first Sarajevo Queer Festival took place in the capital of Bosnia and Herzegovina from 24 to 26 September, 2008. Threats had been made during the run-up to the event and, at the event’s opening, there were indeed attacks on both the festival’s organizers and those taking part. 
KRUDAS (dir. Opie Boero-Imwinkelried, Cuba, 2006, 29 min.) Krudas explores the lives and work of a Cuban lesbian couple who are hip hop singers and performers. The duo addresses issues such as women’s liberation, lesbian rights, female solidarity and racism. Their work is deeply engaged with feminism and strong ties to their African roots.Maxxxxx says
re GLOBAL QUEERS: "What's your name?"
Thursday, June 04, 2009
Frameline 33 (SF LGBT Film Festival, 2009) - Get Happy
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Films in this program of short subjects are listed in order as presented via screener and subject to change. It screens once: Saturday, June 20, 9:00 PM, at the Roxie Film Center. This collection is a group of drag queen comedies, more or less, well, at least it is a campfest and includes:
Lipstique (Featuring Fauxnique) (dir. Kia Simon, USA, 2009, 5 min.) As simply described in the festival program this features San Francisco "locals Fauxnique and Peaches Christ, this music video for Silencefiction’s “Lipstique” is part drag queen make-up tutorial and part drag performance." It's entertaining enough for the music video it is. A bit monotonous visually, but one NEVER passes on seeing the fabulous Peaches Christ, in spite of what state of creation she may be in!
STEELING MAGNOLIAS (dir. The Vasco Brothers, USA, 2009, 3 min.) Oh dear. Well, it is probably a first attempt, I hope, as it does come off as something that could have, or probably was created on a MAC. In this, a cable guy becomes distracted (at best) by a video of STEEL MAGNOLIAS, and loses himself in a green screen daydream. The sound design was terrible, or at least it was on the screener copy, and I HOPE that has been addressed. It is just general silliness, and I got the impression that it was more of a straight man's impression of doing female roles than true camp.
LITTLE BFFs (dir. Steven Corfe, Glenn Gaylord, USA, 2009, 5 min.) This is just a twisted little puppet show produced by that twisted Q Allen Brocka of RICK AND STEVE fame! I loved this for all it's sophomoric and infantile humor! "Two children play with their dolls (Miley Cyrus and her BFF Mandy) to explain what ‘Gay’ means," interspersed with some typically, classic dialogue such as "shake your hole girl and hand me those poppers!" It took me back to those wonderful, twisted days of DIRTY BABY DOES FIRE ISLAND...
GALACTIC SEX WARS (dir. Robbie McEwan, Australia, 2009, 14 min.) Perhaps this was just coming too soon on the heels of my screenings at Another Hole In The Head, but this little attempt at sci-fi-camp "failed to impress" as they say. "In the year 3069 a bitter struggle between homosexual separatists and Christian fundamentalists rages. Now only one homo star fighter remains and with it one last chance to save homokind - destroy god itself." Well, at least by eliminating proper nouns, or at least labels, so it seems. That's a LOT of odd ground to cover in just fourteen minutes, and it just doesn't manage to do it. The script is terrible and the plot gets all tangled up and, in the end, it just doesn't make sense. It attempts to turn teleporting into a gag, which has been done, but so much better, simply because the production values here are trying too hard to be cheesy, and in this post YouTube world, the bar for intentional cheesiness has been significantly raised!
GOLDEN DIAMONDS (dir. Julian Vargas, USA, 2008, 3 min.) An almost too brief skit about a couple exploring a shoe fetish. More or less. I sort of wish Vargas was able to expand upon it some.
FASHION HO (dir. Yaniv Dabach, USA, 2008, 3 min.) You know, as much as the inclusion of music videos in some of these short subject programs can be annoying, this was an exception. Not only does the group, Dalipstyxx, have a cool retro-80's sound and style, but director Yaniv Dabach (WITH YOU (Frameline 30)) displays some proficient editing and photographic choices.
LUSHES (dir. Ash Christian, USA, 2009, 21 min.) I loved, loved, loved FAT GIRLS (Frameline 30), also directed by Ash Christian, so I raised my expectations for LUSHES as soon as he appeared on screen. Unfortunately, especially in the first third of this short, this just wasn't clicking. Christian and his cast are just too sweet natured to be playing the jaded drag queens they want to be, particularly playing opposite the character Basil, who is performed with such perfect sexual ambiguity in style, fashion, manner and humor, by a performer credited as Cheeks! Christian's side of the story does pick up with the appearance of Ashley Fink, who was also a delight in FAT GIRLS. So, he does know how to surround himself with talent. I think, perhaps, in this instance, he could have taken a step back from the project and cast someone else in the two leads, leaving him to direct and sharpen his script. All that said, he displays such wit and promise that I can't WAIT for his next project!
OOKIE COOKIE (dir. Barry Morse, USA, 2009, 3 min.) This is a music video as "a gaytastic tribute to video artist Tom Rubnitz", who I only really know of as having directed the documentary WIGSTOCK: THE MOVIE, though if this vid is any indication, I have probably seen dozens of Rubnitz videos during the 80's. Here, a literal parade of drag queens, starring Jackie Beat (and a pickle) appear, in what I assume is further recognition of the work they did and the appreciation they owe Rubnitz for helping shape drag-video, if there could be such a genre. GET HAPPY (dir. Mark Payne, USA, 2008, 27 min.) The pearl in this oyster of drag! I LOVED IT! I quick documentary/biography of Mark Payne. The primary focus is on video footage of his adolescent years, performing DEAD ON impersonations of female chanteuses. What he might have lacked in variety (Liza, Barbra, Judy, etc.), he makes up for in accuracy, if not near spooky identity. So effective was his act, that he appeared with Bob Hope and Milton Berle, to name a few, I'm sure. It would seem that he took all that experience to become one of the top makeup artists in Hollywood (two Emmys!). However, you might take the boy out of drag, but you can't take the drag out of the boy, as Mark Payne will undoubtedly prove as he will be performing at the Opening Night Party! Not to mention, I fully expect his appearance at the screening for surprises! PLEASE!Maxxxxx says
re GET HAPPY: "Doobie dooo-oooo!"
Frameline 33 (SF LGBT Film Festival, 2009) - Calling All Nerds and Art Freaks
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Films in this program of short subjects are listed in order as presented via screener and subject to change. It screens once: Saturday, June 20, 1:15 PM
Roxie Film Center. This is a collection of four literal and impressionistic biographies, about historical homosexual figures in entertainment, science, art and politics, and includes:
UNCLE DENIS? (dir. Adrian Goycoolea, UK, 2009, 18 min.) Director Adrian Goycoolea, a great-nephew of "the great flamboyante" Quentin Crisp, seems to be working through some family guilt about ignoring Mr. Crisp. There is a LOT of home movie and video footage, which is rare and appreciated! The director's mother bears a striking resemblance to Quentin. Perhaps the most interesting reactions come from the two surviving sisters, as well as the family's shock about Quentin's dabbling as a male prostitute. Though there is some trivial interest here, it sort of pales in comparison to Quentin's autobiographical material. Ah well...
DECODING ALAN TURING (dir. Christopher Racster, UK, 2008, 17 min.) A fairly dry documentary that "uncovers Alan Turing, British WWII hero at the center of US/UK Intelligence, now hailed as the father of the modern computer." It gets a bit overly involved with the actual theory of computing, for my taste, but there are significant clips of ENIGMA and the Derek Jakobi film BREAKING THE CODE, in which to expand upon an apparently, fairly private person. It does attempt a bit philosophizing about decrypting Turing's life compared to decrypting secret codes. There is also some extended discussion of his suicide in 1954 (by eating a cynanide laced apple), which spawns the urban legend that the Apple Computer logo is a nod to his genius. GENERAL IDEA: ART, AIDS AND THE FIN de SIECLE (dir. Annette Mangaard, Canada, 2008 ,48 min.) When I first moved to San Francisco in 1993, the San Francisco Museum of Modern Art (which was still in the Civic Center location then), hosted General Idea's installation THE FIN de SIECLE, which blew me away!! I can not believe it has taken this long for a documentary of the artistic collective from Canada, whose most recognized work was for AMFAR and the 
AIDS insignia, which was an homage (or "apolitical rip-off") of Robert Indiana’s LOVE. Their work straddled the line of pop-art and political commentary, yet contained a certain self aware humor about they were doing, without losing the importance about why. There is an extensive collection of video work in the documentary, as well as an attempt at presenting their collection of self portraits, though nothing compares to having walked into that room which contained the actual 
THE FIN de SIECLE (installation version) of discarded white walls, surrounding the three white seals... It is sad to know that two of the three who made up the collective have since died. 
575 CASTRO ST. (dir. Jenni Olson, USA, 2008, 7 min.) This is an impressionistic portrait of Harvey Milk, using basically still cinematography of the recreated Castro camera store (used during Gus Van Sant’s MILK), as director Jenni Olson allows shadows to pass through the frame, while Harvey Milk’s original recording to be played in the event of his assassination is heard underneath it. Though I can not say I have been one of Olson's biggest fans (her THE JOY OF LIFE drove me nuts!), I found this to be subtly haunting...Maxxxxx says
re GENERAL IDEA: ART, AIDS AND THE FIN de SIECLE: "Sweet, sweet eye juice!"
Frameline 33 (SF LGBT Film Festival, 2009) - Fun in Girls Shorts
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Films in this program of short subjects are listed in order as presented via screener and subject to change. It screens twice: Saturday, June 20, 1:45 PM and Sunday, June 28, 11:30 AM, both at the Castro Theatre. This collection is a group of comedies about, by, for lesbians and includes:
GIRL TALK (dir. Jennifer Smith, USA, 2008, 7 Min.) A nice little bit of an O'Henry twist on this little episode involving gossipy high school girls. The girls are tough, but don't cross into the stereotypes that have so dominated the genre lately. (Also, it features exceptionally appropriate animated title sequences by Nathan Courtney and company.)
FALLING FOR CAROLINE (dir. Christine Chew, Canada, 2009, 20 min.) Christine Chew has cast a trio of wonderful comediennes, (Yanna Baiser (nerd), Denise (Caroline)Mader Shannon Currie (friend) even if the actual physical chemistry between them seemed a bit lacking to me. "To win the girl of her dreams [sweetly played by Denise Mader], a klutzy young woman [played with klutzy panache by Yanna Baiser] must overcome a wardrobe malfunction and the bad lesbian habit of overprocessing", that she vents to her manager and friend, played by Shannon Currie]." It is a bit stagebound, however, there are some laugh out loud sight gags during that ever treacherous "second date"! Yes, the pair is awkwardly matched, but sweet to each other, which only made it more endearing. SHAFTED (dirs. Allegra Hirschman, April Hirschman, USA, 2009, 10 min.) It's a quirky little comedy involving the property rights of sex toys after a lesbian break up. The femme lesbian Lindsay finds that her ex has taken all of her sex toys and she seeks restitution when she learns "that it is commonly accepted that femmes get "the shaft" when it comes to post-breakup sexual property." The pacing is a bit off and there is a very odd bit about dildo recycling (I think? - I almost wanted to stop and rewind on that one!). So, criminal activity becomes involved, which lends itself to some fun butch-femme dynamics, in that sort of homage to CELL BLOCK H way! Oh, and the end titles and song (uncredited) are a hoot!
I'VE GOT YOU (dir. Camrin Pitts, USA, 2008, 5 min.) A sincere and sweet music video with Melange’ Lavonne, expressing her wishes, dreams and the idealistic world she will create when she will have children. It is one of the most impressive, positive and crafted with such approachability to the "mainstream masses" I would LOVE to see her expand her activism! It is fun and surprisingly gentle, yet quite affirmative about what love can be found in an "alternative family". Her lyrics are nearly spectacular! (I HOPE she is at the screening!)
WHEN THE TIME'S RIGHT (dir. Linda Andersson, USA, 2008, 11 min.) Accompanied by a fabulous soundtrack by Jayla, a woman finds herself in a time traveling twilight zone as a clock seems to become a metaphor for her tendency of just checking in on her relationship, where she wants to know the ending before taking the big step. Ah, how time can fly if you're not engaged! 
LITTLE MUTINIES (dirs. Angie Powers, Elizabeth Stark, USA, 2007, 20 min.) I am afraid that this piece just did not gel for me. A family living out of a trailer, the mother (Guinivere Turner) used to be a child prodigy of some sort, has a lot of baggage to sort through in the twenty minutes of screen time. I almost felt that the quirky photography, editing and pacing indicated this might be a 'pitch film' for a feature that would (hopefully) fully explore the characters and their relationships. One of the daughters would like to run away, but is bound to the family baggage, so it would seem. I think the cast needed more time to develop the bonds that this quirky family needs to tap into for an effective drama. They just did do not seem to have the chemistry for the climax it must support.
DON'T MESS WITH TEXAS (dirs. Tricia Cooke, Carrie Schrader, USA, 2008, 7 min.) Some excellent pacing and performances from a well balanced ensemble, with another O'Henry twist to it, only emphasizes that city dykes could open THEIR minds up as much as they think that our "country cousins" need to. "A comic morality tale about two cocky young lesbians who bite off more than they can chew in a Texas roadside diner."COUNTERTRANSFERENCE (dir. Madeleine Olnek, USA, 2008, 16 min.) We follow a terribly sheepish and awkward woman in therapy, played by Deb Margolin who could well be THE female Buster Keaton or Woody Allen! This is a fabulously edited and shot, and apparently improvised script! I could have watched another hours worth of Ms. Margolin's exceptional work and director Madeleine Olnek's choice of "hiding" all of the characters who are Margolin's foils and obstacles is near brilliant. Probably the best piece I have seen from this fest, yet!
U-HAUL RAP Dir. Bob Koherr, USA, 2008, 6 min.) Based on the joke, “What does a lesbian bring on a second date? A U-Haul,” this music video by Amy Turner and Kathryn Lounsbery, displays a near "Saunders and French" chemistry in their execution. It is bouncy, bright and a joy to behold in all of its brief six minutes!Maxxxxx says
re COUNTERTRANSFERENCE: "What's your name?"
Frameline 33 (SF LGBT Film Festival, 2009) - Fun in Boys Shorts
Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.
Films in this program of short subjects are listed in order as presented via screener and subject to change. It screens twice: Saturday, June 20, 11:00 AM and Sunday, June 28, 2:15 PM, both at the Castro Theatre. This collection is a group of comedies about, by, for gay men and includes:
FREQUENT TRAVELLER (Dir. Patricia Bateira, Portugal, 2007, 8 min.) This could actually be expanded to be either a farce about the lengths one man goes to in order to be touched, or a creepy drama about how one man fulfills a particular fetish. It sort of depends on your mood! Regardless, director Patricia Bateira actually sets an ambiguous relationship between "partners" and opens up this brief 8 minutes to possibilities that I wasn't sure I really wanted to end so soon! It's a different way to open a collection of "comedies", but enjoyable, nonetheless.
The Island (dir. Trevor Anderson, Canada, 2008, 5 min.) The script features the Canadian filmmaker visualizing a piece of "fan mail" he receives. Through some niftily animated backgrounds and settings, his mind is allowed to wander, ala a monologue reminiscent of a "Buddy Cole" rant, what it might be like to "put 'em all on an island," all while marching through the snow. The monologue is more amusing than the visuals. However, Trevor Anderson has a clean, technical showcase here of style and substance, even if they may not be overly complimentary to each other.
BOY MEETS BOY (dir. KIM-JHO Gwang-soo, Korea, 2008, 14 min.) Boy sees boy and then... a Korean Bjork pops up out of nowhere for this non-linear narrative music video! There is an animated video within it, and the song repeats the phrase "Be careful when you hook up on the street..." Then, sort of out of the blue, one of the boys returns a camera to him that we see (in flashback) that he mugged him for. I think. 14 minutes is sort of short for a non-linear narrative and to keep it all straight. But it is pretty enough to look at and anybody who aspires to be Bjork-ish is ok in my book!
STEAM (dir. Damien Rea, USA, 2008, 3 min.) Well, three minutes is too long for a Calvin Klein steam iron commercial and too short for a "quickie" in the world of soft core porn, but that's what this adds up to, in my book. Except for the visual of a sweaty torso, and the easily accommodated running time, I'm not exactly sure what has prompted the apparent international appeal of this piece on the international festival circuit.
SUCKER (dir. Peter Pizzi, USA, 2008, 17 min.) Recorded in mini-DV, a NERDY guy picks up (exceptionally HOT!) guys on line for blow jobs and talks and talks and talks and talks about it. This walks a strange line between narrative and porn. Apparently, it is based on a short story, as it is a monologue, but it needs to be adapted into more "action" and less reciting of the short story. Not to mention that the main character just oozes a NEEEDINESS that is off putting to listen to, even for the seventeen minutes.THIRTEEN OR SO MINUTES (dir. William Branden Blinn, USA, 2008, 14 min.) A pair of straight boys seem to have just had a night of... "exploring"? It's all sort of sweaty and more than a bit nice to look at, but... they're talking like girls after sex. And the cinematography is just "off", as faces fall out of frame. There is a LOT of dialogue, which leads me to believe it is an adaption of a one act play. No real movement or action, but face to face talking... It could have explored some much more enticing, if not intimate possibilities.
REUNION (dir. Dennis Hensley, USA, 2008, 11 min.) An awkwardly unlikable cast seems to be a bit of a trademark of Dennis Hensley, who co-wrote TESTOSTERONE, which screened at Frameline 28 (2004) (which predates this blog, but is in my "diaries" at the time.) Here, the cast of characters include "a gay TV home makeover show host returns to his small hometown for his 20-year high school reunion, boyfriend in tow, and discovers that his former classmates are not exactly what they once seemed." Frankly, though the concept and idea of "going back" to see who else might have 'come out' since high school has a bit of nostalgic appeal, I will give credit to this short that the reality of such confrontations are probably as anti-climatic as it is depicted here. I am afraid that is all that stuck with me about this one.
DISH (Dir. Brian Harris Krinsky, USA, 2009, 16 min.) Two 15 year olds boys talk and talk and talk and about sex, in graphic terms. One is a virgin and more or challenges himself to hook up with a slut. Their attempted sex scene is done off camera which is sort of cleverly executed. In the end, this could almost be considered teenage mumblecore, which is a frightening trend, as it is just TOO SOON to start with the navel gazing! Also, it is the first time I fell across the term "Emo kids". Maxxxxx says
re STEAM and THIRTEEN MINUTES OR SO: "Time for shower?!"
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Pseudomyxoma Peritonei (Huh???)
Fluidtoons! By Brett W. Thompson!
THE EVENING CLASS (by Michael Guillen)
Television Without Pity!
John Rutherford's Blog for COLT Studio Group
