All these wonderful things

Dentler Sets Sail & The Chronicle Breaks a Bottle of Champagne Across His Bow

Via Eugene, a send-off from the Austin Chronicle as Matt Dentler officially hangs up his badge:

"He likes to say he came of age alongside SXSW Film (when he moves to New York in June for the Cinetic job, he'll still be well shy of 30). When Dentler took the reins, SXSW Film was considered something of an afterthought in the crowded festival landscape – larky and "Austin weird." Dentler made sure to retain those elements that drew people in the first place but to also hustle hard – what he calls 'getting the vote out.'

'I [would go] door to door with all the distributors, all the agents, all the press, all these people, and just be like: 'Hey! Please pay attention to us.''"

The article goes on to credit Matt with the mumblecore phenomenon and the career of Eli Roth, which some might think are fairly dubious distinctions.

So let me add the third:  Matt played the major role in making SXSW one of the most important festivals for documentary film in the world.

As I noted in my film festival survey in February:

"One could watch the doc lineups from Sundance and SXSW and get a pretty comprehensive idea of what's happening in the world of nonfiction filmmaking.  But whereas Sundance may weigh more heavily on the side of serious topics, SXSW lets its hair down with what is probably the most diverse line-up of all the major full spectrum festivals."

With Janet Pierson taking the reins now in Austin, the festival is in good hands, as is it's nonfiction future.  But it's worth taking a moment to man the rails for Dentler as he sets sail for NYC and our collective digital future.

BREAKING: Matt Dentler Leaves SXSW for Cinetic; Janet Pierson Takes the Reins

Longtime SXSW Film Festival Producer Matt Dentler is leaving his position at the popular Austin festival to take a new position at Cinetic Media in New York City.  Janet Pierson, a fixture in the Austin indie film community (not to mention the larger indie film world), has been named the new producer of the festival.  indieWIRE's Brian Brooks has the story:

"I've been a huge fan and supporter of SXSW Film since its inception," commented Pierson in a statement. "I'm thrilled now to take on the challenge of continuing its exciting growth."

SXSW 2008: Pictures from Opening Weekend

Festival coverage sponsored by IndiePix.

A few photos from last weekend in Austin....

Cinematical's Kim Voyner - also in town covering documentaries for indieWIRE (check out her dispatches here and here) - after a lovely lunch I had with her (that she also mentioned in a blog post).

SpoutBlog's Christopher Campbell alongside Jette Kernion of Cinematical and Slackerwood at the Spout reception.

THROW DOWN YOUR HEART director Sascha Paladino on 6th Street just down the block from the Ritz.

AlphaCine Labs' Jannat Gargi gets ready to feast on tacos at the always packed Gueros on South Congress.

Filmmakers Kris and Joe Swanberg at the BI THE WAY party at Austin's Enchanted Forest.  Worst bisexual dance party ever.  On Sunday it was announced that Swanberg's latest film (not entitled WORST BISEXUAL DANCE PARTY EVER although really that's a pretty winning title) NIGHTS AND WEEKENDS was picked up for distribution by IFC.

Celia Maysles follows up her Sunday morning screening of her controversial WILD BLUE YONDER by fielding questions from the mostly supportive audience that included acclaimed filmmaker Steve James.

The legendary Andre Williams holds court with AGILE MOBILE HOSTILE: A YEAR IN THE LIFE OF ANDRE WILLIAMS co-director Tricia Todd on Sunday afternoon before the world premiere of the film.

Filmmaker Bryan Poyser (DEAR PILLOW) at the Indie GoGo party.

Nearly everyone at the fest turned out for the VH1 Rock Docs BBQ at Maggie Maes, including Film Fest honcho Matt Dentler, flanked here by indieWIRE's Brian Brooks and Eugene Hernandez.

The great Aggie V. (Agnes Varnum) of doc it out fame with Current TV UK's Emily Renshaw-Smith, who tried to maim me in a kite flying accident in London last July.  No hard feelings apparently!

BritDoc's Maxyne Franklin with Jeremy Chilnick, co-producer and co-writer of Morgan Spurlock's WHERE IN THE WORLD IS OSAMA BIN LADEN?


BULLETPROOF SALESMAN co-director Michael Tucker with Liz Mermin, director of SHOT IN BOMBAY - both of whom screened their last films with me at Toronto 2006.

This last one's a little embarassing.  I was at the indieWIRE Austin City Limits party (that's yours truly on the right) talking with Danielle DiGiacomo and Pamela Cohn about the forthcoming Cinema Eye Honors when this Danielle asks if she can take a picture of me and Michael Tully.  "Michael Who?" I asked - and to be fair I thought that she'd meant Michael Tucker and just blanked on his last name.  Tully, she says, Tully.  Drawing a blank, I just nodded.  Anyway, this picture gets taken and it's only later that someone tells me that Tully had a film on the festival circuit last year, SILVER JEW.  Now it comes back to me.  Anyway, apparently he's now writing online (like there's a future in that).  But to think, last year he directed a film that was in the festival and now he's back, writing about films.  Kinda sad when you think about it.

SXSW 2008: MATADOR, SUPER HIGH ME, SEX POSITIVE and BEAUTIFUL LOSERS Highlight the Diversity in Austin

Festival coverage sponsored by IndiePix.

One of the joys of SXSW's nonfiction slate is it's breadth of content.  One minute you're watching Jury Prize winner THEY KILLED SISTER DOROTHY about  the death of a American nun and the next you're off to SUPER HIGH ME, comedian Doug Benson's experiment with staying off and subsequently staying on pot.

I went into the latter film with lowered expectations.  Comic concert films are pretty hit and miss with me as are stoner comedies.  Mixing the two?  Potentially disastrous. 

But Benson and his director Michael Blieden actually have concocted a fast-paced and occasionally hilarious film that finds time to seriously tackle medical marijuana laws and the draconian way that the federal government conducts its ridiculous war on pot.  If the latter is dealt with in a somewhat superficial manner, it's OK because a lot more seriousness might truly bum everyone out (harsh their mellow?  will anyone, including me be able to get through a review of the film without resorting to stoner cliches?).

Appropriating Morgan Spurlock's formula of a 30-day immersion into a new world, regular pot smoker Benson begins the film by going cold turkey for a month.  In the process he takes the SAT, a physical, a mental exam and a psychic ability test, all of which he'll re-take during the next month, when he smokes weed nonstop.  Although there's nothing scientific about his findings, it's still lots of fun to discover which tasks he does better sober and which he does better stoned.

Almost as much fun, but for completely different reasons, was Aaron Rose and Joshua Leonard's BEAUTIFUL LOSERS, a primer on a loose collective of artsts to emerge from a New York gallery (which Rose curated) in the early '90s.  I say collective because their work is far too disparate to qualify as a movement, although a number of them did come from a background in graffiti, skateboard and punk rock culture. 

But while the artists may not be totally cohesive, the film works on a number of levels, not least as an exploration of artists who, while products of a community and a time that detested corporate sellouts, weren't so afraid of backlash that they lent their talents to Pepsi, Nike, VW and the like.  And for a film that's about visual art, it's impressively stylish and well shot.  It could tap into the hunger for documentary about art and design in the same way that HELVETICA did last year.  (Full disclosure - Sidetrack Films, which co-produced my film on Kurt Cobain, produced BEAUTIFUL LOSERS.)

While BEAUTIFUL LOSERS was appropriately visual, the best looking film I saw at SXSW was THE MATADOR, Stephen Higgins and Nina Gilden Seavey's film chronicling several years in the career of up-and-coming Spanish bullfighter David Fandila - "El Fandi" - and one of the best of this early year.  Gorgeously photographed, tightly edited and featuring an impressive score by John Califra, THE MATADOR revels in the beauty and pageantry of bullfighting while never shying away from the inherent brutality.  And while, I care little for imposed ideas of neutrality, Higgins and Seavey do a good job of letting viewers hear from commentators who support and oppose bull fighting, as well as from those in the middle. 

At the heart of the story is the desire of "El Fandi" to complete more than 100 matches (or corridas) in a single year.  To reach that level is to be among the elite bullfighters of all time.  But as "El Fandi" attempts to reach his goal, we see that his style - less like classical dance and more like a slightly clumsy street fighter - and his sense of crowd-pleasing theatricality, leaves him at the forefront of a new era of bullfighting.  The question is whether the new era will be the last.

I also liked SEX POSITIVE, Daryl Wein's film about Richard Berkowitz, one of the first people inside the gay community to advocate for safe sex during the dawn of AIDS.  The idea of safer sex is so ingrained in the culture now that it's almost impossible to remember that there was a time when safe sex advocates were largely lambasted or ignored. 

Wein pulls no punches with his subject.  In addition to being an activist who blamed promiscuity in the gay community for the rapid spread of the disease, he was also an S&M hustler and later was addicted to crack.  Because of this, much of Berkowitz's legacy is long forgotten.  While the film suggests that it's time for a re-assessment of Berkowitz, it also strongly advocates for a return to safer sex practices, noting that infection rates of young men are skyrocketing.

I want to make note of AGILE MOBILE HOSTILE: A YEAR WITH ANDRE WILLIAMS, a film that I executive produced and which had it's world premiere at SXSW.  The filmmakers, Eric Matthies and Tricia Todd, are friends of mine and I joined the project during the editing process.  One of the things that I noted about the film when I first saw it - even in it's then rough form - was the fact that it didn't shy away from William's complicated life.  As noted on NPR's All Things Considered:

"It can be tough to watch; Williams is jailed for drug possession and evicted from his tiny apartment, and even when he's touring, he looks spent and he drinks constantly.

The film raises the question of whether Williams should still be on stage, and whether the audience's relationship to him is exploitive."

So much of the music documentary genre is accused of being hagiography and I was impressed by Eric and Tricia's ability to transcend their compassion and care for Andre with their desire to present a true portrait of a complicated and sometimes uncomfortable life.

Sad to have missed a number of films at SXSW that I was hoping to see, including the aforementioned SISTER DOROTHY, Steve James and Peter Gilbert's AT THE DEATH HOUSE DOOR, Dori Berinstein's SOME ASSEMBLY REQUIRED, Joshua Weinstein's FLYING ON ONE ENGINE, Jesse Moss and Tony Gerber's FULL BATTLE RATTLE and Sascha Paladino's THROW DOWN YOUR HEART, all of which I heard great things about.  Looking forward to catching many of them at some of this spring's upcoming festivals.

SXSW 2008: INTIMIDAD, BULLETPROOF SALESMAN and the Search For Deeper Meaning

Festival coverage sponsored by IndiePix.

The Austin of SXSW is abuzz and crowded.  Packs of 20- and 30-somethings walking purposefully down city streets, multi-colored credentials hanging around their necks.  Filmmakers and film lovers pass by gamers and web titans for days until finally, on Tuesday, the musicians arrive and the city, which had been at a steady boil, finally explodes.

For five days, movies and panels compete for attention with parties laden with queso and chips or, if you're lucky, bbq and a cold Lone Star.  Unlike at Sundance, where one wears the challenges as a badge of honor (I'm off to walk to the Library in the snow and its 18 degrees and I'm not sure I'm going to get a seat), the smallest inconvenience in Austin (it's playing at the Dobie?  I can't take my coffee in to the Paramount?) is enough to encourage everyone to stay put, grab a margarita or head to another happy hour.

WIthin this environment is a film conference (the word "festival" almost seems an inaccurate description) with an embarassment of riches - premieres from leading filmmakers, Sundance favorites and a raft of music related film titles - that can boggle the mind.  And it's all set against a backdrop of a shifting context for SXSW itself. 

A number of articles have hit in the past week - including a couple in the Hollywood trades - creating raised expectations and speculation about where, exactly, SXSW is headed.  The fevered reaction to IFC's acquisition of Joe Swanberg and Greta Gerwig's NIGHTS AND WEEKENDS (the first-ever pick-up of a SXSW premiere during the festival) only enhanced the questions.

For those of us in the nonfiction world, the idea of an emerging SXSW strikes as old news.  If you want to ascribe great meaning to SXSW's increased narrative profile, be our guest, but the documentary line-up has been strong for years - with a number of titles that began life at SXSW reaching far beyond Austin's city limits (a short list includes SPELLBOUND, MY COUNTRY MY COUNTRY, BOYS OF BARAKA, BILLY THE KID and HELVETICA).  Hell, we think it's one of the top 5 festivals for documentary in the world, but if the rest of the world wants to imagine that success at SXSW rises or falls with Bujalski, Duplass and co., who are we to fight it. 

But sometimes a rose is a rose and SXSW is a thoroughly straightforward festival.  From distributors to festival programmers to film writers (of which there were plenty), there is little attempt at subterfuge.  Everyone is here to have a good time, to enjoy a large, good festival that lacks some of the dealing and wheeling of Park City, and if that queso or BBQ or coffee gets in the way, well, so be it.  This isn't always understandable to filmmakers, of course, and will probably be less understood in the aftermath of the current rash of "is SXSW the next Sundance or is it the festival Slamdance always wished it could be" press pieces. 

Fact is, SXSW is SXSW - only more so than it was the year before.  More people, more films, more filmmakers, more bloggers, more outside entities looking to rub up against SXSW and receive a bit of its hipster charms.  Was this way in 2002 when I traveled to SXSW for the first time and is still this way six years hence.

What then to make of this year's documentary line-up, more than 60 films that run the gamut and are by turns intimate, political, funny and, in some cases, purposefully small.  Must we elevate the familial and the miniature into grander ideas and themes?   

The search for greater meaning was on full display at the Q&A for David Redmon and Ashley Sabin's INTIMIDAD, a beautiful portrait study of one Mexican family struggling to make a life for themselves.  Faced with few prospects in their small, remote village, Cecy and Camilo move to the urban city of Reynosa where they work multiple jobs, trying desperately to save money so that they can buy a piece of land.  Their decision also meant them leaving their toddler daughter back in the village with Cecy's parents, a choice that Redmon and Sabin illuminate with great humanistic restraint.

There is a universality to Cecy and Camilo's story - them wanting to make a better world for their child - but for some in Friday night's premiere audience, the larger concern seemed to be the disparity in incomes and costs of goods (the land and the house will cost $7000 US).  When Redmon was asked how he found his subjects, he related how he and Sabin had been researching a possible project that might trace the origins of Victoria's Secret products and had met Cecy, who had been working at a factory that made bras for the retailer.

This was all that some in the audience needed to hear as the remainder of the Q&A focused on the idea that INTIMIDAD was, in fact, a film with a political agenda (and for the lefty audience, an agenda that they wholeheartedly endorsed), a notion that Redmon rejected out of hand.  But that didn't stop audience members from proposing boycotts of Victoria's Secret or voicing their outrage.

While INTIMIDAD never shies away from the underlying conditions at play, the magic of Redmon and Sabin's film is in its ability to keep their focus on the humanity at play.  Cecy and Camilo's choice to leave their daughter and their subsequent longing for her provides an emotionality that deepens the film's exploration of the mundane and looming stuggles of the everyday and it's to the filmmakers' great credit that their observant camera is both intimate and unobtrusive.

What happens when the backdrop is Baghdad rather than the border towns of northern Mexico?  Can Iraq - and all the negative implications of that conflict - ever truly recede?

Debra Zimmerman of Women Make Movies, in her now-famous IDFA showdown with OPERATION HOMECOMING director Richard Robbins, argued that it was impossible or naive to create an apolitical film about war.  For the most part I agree with her, but you might argue that BULLETPROOF SALESMAN - the latest film from Michael Tucker and Petra Epperlein (previously of GUNNER PALACE and THE PRISONER OR: HOW I PLANNED TO KILL TONY BLAIR) comes close.

Drawing from footage originally shot at the top of the US invasion of Iraq, Tucker and Epperlein offer a clear-eyed profile of Fedelis Cloer, a man who's in the business of war.  Specifically, Cloer has gone to Iraq in order to sell his wares - bulletproof cars, vests and other protective devices.  Arriving soon after the invasion, Cloer at first encounters diplomats and workers who presume that they will have no need for his products - greeted as liberators, flowers in the streets and all that.  But Cloer knows what the future holds, even if Donald Rumsfeld and Dick Cheney did not, and once chaos ensues, Cloer is on hand to provide the necessary goods.

Cloer is matter-of-fact about his job.  When he sees a sign reading PEACE, he says that he doesn't want peace, he wants war.  Late in the film he notes that the best way for his product to improve is for people to die.  His product must fail in some way (bullets get through, bomb blasts are too big) in order for him to see where the deficiencies are.  Tucker is quoted in an indieWIRE piece as saying, "While it is a film about a man who profits from war, it's more a film about the pathology of violence." 

One of the things that has defined Tucker and Epperlein's work in Iraq has been their respect for the visual.  Nowhere was this more apparent than in THE PRISONER, for which Epperlein created a series of striking, graphic novel-like stills to tell portions of their subject's story.  That same flair is apparent in BULLETPROOF SALESMAN, starting with the initial title sequence that seems like something out of THE MAN WHO CAME IN FROM THE COLD.

While war looms over the shoulder of Tucker and Epperlein's subject, this is a film that knows it's long past the time of debating the merits of that particular conflict and satisfies itself with examining one small part of those who benefit from war's existence.  However, some critics still seem to be under the impression that every film must aim for NO END IN SIGHT summarization or DARFUR NOW styled activism, that it isn't enough for a film, whether it be BULLETPROOF or FULL BATTLE RATTLE or ORDER OF MYTHS, to concern itself with the capturing of one human's story - that there must be some grander payoff, one that occurs outside of the cinematic realm perhaps, wherein films change lives. 

Both BULLETPROOF SALESMAN and INTIMIDAD feel like they could be even shorter than they are (neither runs longer than an hour and 15 minutes) and perhaps you'll ultimately see them in a length closer to 55 minutes - a running time that's ideal for television but seemingly problematic for festivals.  In choosing small stories, personal portraits and intimate profiles, the teams behind both films are not shying away from larger themes, nor are they implying that the backdrop is, in reality, the story.  The greater meaning to be found in either film is within the hearts of the subjects and not in the political bent of the viewer.

More to come...

SXSW 2008: Daniel Junge's THEY KILLED SISTER DOROTHY Wins Jury and Audience Awards

Festival coverage sponsored by IndiePix.

THEY KILLED SISTER DOROTHY, Daniel Junge's investigation into the murder of an American Catholic nun in the Amazon, took both top documentary prizes at this year's SXSW Film Festival, winning the Grand Jury Prize as well as the Audience Award.  Tony Gerber and Jesse Moss' FULL BATTLE RATTLE received a Special Jury Prize, which Jeremiah Zagar's IN A DREAM took the Audience Award in the Emerging Visions Section of the festival.

Daniel Junge at the VH1 Rock Docs Party on Sunday afternoon.

Eugene Hernandez at indieWIRE has a full report.  Previously, indieWIRE interviewed Junge.  Here's the trailer for the film:

SXSW 2008: Touching the Future

Greetings from Austin where people are - believe it or not - still arriving after storms on the east coast left numerous flights canceled and delayed.  Despite that, this year's SXSW Film Festival seems to be in full throttle with packed screenings, packed streets and packed restaurants.  This is my third SXSW and I don't ever remember having to wait so long for a table at places all over town.  And also, I'm throwing down the guantlet.  Having walked down 6th Street last night with hordes of frat boys bent over on the sidewalk ready to puke their long island iced teas, I am forever forbidding the nation's film press from writing another "Main Street in Park City is so awful" story.

Much to write this year's films at SXSW however and I will be doing so in the days to come.  Thus far, particularly noteworthy is David Redmon and Ashley Sabin's INTIMIDAD and - on the narrative front - Gabriel Fleming's THE LOST COAST.

Until then, here's some photos from Friday night in Austin:

Filmmaker/blogger Michael Tully starts SXSW 2008 off right with a sampler plate from the always popular Iron Works BBQ as a parade of indie film luminaries poured in.

David Redmon and Ashley Sabin (far right) sell earrings designed by Cecy, the subject of their film INTIMIDAD, with all proceeds going to the family.

Josh Weinstein, director of FLYING ON ONE ENGINE and Daryl Wein, director of SEX POSITIVE at the A&E IndieFilm opening night party.

Barry Jenkins, director of MEDICINE FOR MELANCHOLY, and Gabriel Fleming, director of THE LOST COAST at the Netflix party for SUPER HIGH ME.

The Big Pivot From Columbia to Austin

Festival coverage sponsored by IndiePix.

With visions of True/False still dancing in our heads, we must now clear the decks and focus (focus people!) on the looming SXSW Film Festival, to which we will be flying tomorrow. 

But first, one last big summary about this year's triumphant T/F - but don't just take my word for it.  Word from our pal Pete Bland is that the fest set new attendance records for the weekend.  Here's a bit from some of the others who traveled to mid-MIssouri last weekend:

From Eugene Hernandez at indieWIRE:

"In just a few years, riding a wave of increased attention for non-fiction films, T/F has become an important stop on the fest circuit. Just as Matt Dentler at this week's SXSW and Tom Hall at next month's Sarasota Film Festival have personally worked to build strong bonds with filmmakers and industry for their fests, True/False's Paul Sturtz and David Wilson are developing loyalty from a vocal host of supporters. The ultimate proof of their success can be found not only in the strong advocacy coming from filmmakers themselves, but among local audiences who again showed up in record numbers for the distinctive event."

Karina Longworth recaps a particularly memorable warm-up act:

"At some of the larger True/False venues, the buskers sort of fade into the background, but at an intimate space like the new Little Ragtag, the performers really get a chance to take over the room. That’s where I saw Satin and Chenille, a girl and boy (I came late, so I’m not sure which one is Satin and which one is Chenille) who did a tongue-in-cheek set of standards and love songs before the Friday night screening of Carny.

“I hope you guys love each other as much as we love love songs,” said the boy, before they launched into an acoustic guitar-fueled version of “Baby It’s Cold Outside.” They followed that up with an epic, partially-accapella version on “I’ve Had The Time of My Life,” which turned into a mass sing-a-long. It was a great moment, and maybe an audience of 50 or so moviegoers united by a Dirty Dancing reference is a little thing compared to the achievement of such a well-curated program of films, but it’s also one of the many things that sets True/False apart from larger, more impersonal festivals, and it’s definitely a reason to go back next year."

At the IndiePix blog, Danielle DiGiacomo finds herself "shell-shocked":

"True/False really was about this new recognition of the power of nonfiction, as well as the recognition that there is no such thing AS nonfiction. These artists whose films I saw this weekend — Margaret Brown (THE ORDER OF MYTHS is her wonderful exploration of racial segregation and ritual in the American South); Nanette Burnstein (AMERICAN TEEN is an intensely crafted film that captures the truth of teenage life in midwest America); Cynthia Lester (MY MOTHER’S GARDEN explores the filmmaker’s mother’s hoarding disorder and mental illness with a sense of the beauty of difference and unconditional love); Daniel Robin (MY OLYMPIC SUMMER delves into the filmmaker’s collapsed marriage through the lens of his mother’s existential angst); Anna Browlnowski (FORBIDDEN LIES is an absolutely phenomenal film about a bestselling author/pathological liar that works on so many levels and shifts direction unexpectedly so many times I was utterly captivated); and James Marsh (MAN ON WIRE, about the World Trade Center tightrope walk of Philippe Petit, is about such a huge amount more that the audience was collectively moved to tears) — all capture a larger truth through their own lenses, their Cinema Eyes. I have not felt this moved since I attended the Flaherty Film Seminar four years ago. There was a feeling of collective energy and frenzy, of the spirit of everyone there supporting the same ideas."

Likewise, Shooting From the Hip's Ingrid Kopp is in love:

"The films were excellent, the parties were fun and everybody was so friendly it was almost disconcerting (for a Brit living in New York it’s a bit of a shock to the system). The local community gets very involved in the festival which means that there are enthusiastic volunteers everywhere and screenings are packed with locals rather than industry folk. And they really do come out to support the films."

Pamela Cohn at Still in Motion describes herself as "constantly moved by it all":

"From the welcome letter you receive upon your arrival to the friendly, smiling faces that greet you everywhere you go (okay, the night manager at the Regency Hotel was always a bit grumpy), you feel at home pretty darn quickly.  And the fact that you're in the heartland of this country gives it a resonance for both American and foreign filmmakers and artists, that it just would not have were it in, or near, New York City or Los Angeles.  Nonetheless, it's become, very rapidly, a destination for documentary lovers."

Joel Heller's got a podcast interview with T/F co-conspirators Sturtz and Wilson:

"It's astonishing, not only to think about the challenges Paul and David faced in creating a regional non-fiction festival that would take place in a small mid-western town during the winter, but also to consider how quickly the festival has earned the respect and goodwill of the international documentary film community—as well as the people of Columbia, Missouri.

Throughout the weekend, the "greatness" of everyone's experience attending True/False (including my own) was a continuous topic of conversation. My friends and I bandied about our theories how True/False came to be so amazing. Was it the festival's Telluride-inspired roots, the integrity and warmth of David and Paul, the closeness of the venues, the intelligence and enthusiasm of Columbia's residents (particularly the 500 devoted volunteers—1 out of every 200 residents!), the quality of the films, or the participation of filmmakers? All that is true—but I believe at the heart of the magic lies Paul and David's clear intention to focus on creating what Paul describes as "an ecstatic communal experience." The cheering, extended, rock-star standing ovation for David and Paul—as they walked onto the stage of the 1,750-seat Jesse Hall Auditorium for Sunday night's closing film—was a testament to their success at doing exactly that."

More to come certainly from these and others. 

But onward now to Austin.  For our own preview of this year's documentaries, check out the following links:

• Documentary Competition: BULLETPROOF SALESMAN, FRONTRUNNERS, FULL BATTLE RATTLE, THE MATADOR, SEX POSITIVE, SOME ASSEMBLY REQUIRED, THEY KILLED SISTER DOROTHY and WE ARE WIZARDS.
• Music Films: including BLIP FESTIVAL, HEAVY LOAD, NERDCORE RISING, OF ALL THE THINGS, THROW DOWN YOUR HEART, THE UPSETTER: THE LIFE AND MUSIC OF LEE "SCRATCH" PERRY, THE WRECKING CREW, AGILE MOBILE HOSTILE: A YEAR WITH ANDRE WILLIAMS, THE NIGHT JAMES BROWN SAVED BOSTON and THE SWEET LADY WITH THE NASTY VOICE.
• And the Rest of the Documentary Lineup: including 'BAMA GIRL, FLYING ON ONE ENGINE, IN A DREAM, THE OSTRICH TESTIMONIES, AT THE DEATH HOUSE DOOR, BEAUTIFUL LOSERS, CRAWFORD, DREAMS WITH SHARP TEETH, SECOND SKIN, INTIMIDAD, THE KING OF TEXAS, TULIA, TEXAS, NOT YOUR TYPICAL BIGFOOT MOVIE, BI THE WAY, HERE'S JOHNNY and HORI SMOKU SAILOR JERRY.

Karina previews NERDCORE RISING, SECOND SKIN, NOT YOUR TYPICAL BIGFOOT MOVIE and looks at some of the panels lineup.

indieWIRE has interviews with some of the competition filmmakers, including Michael Tucker of BULLETPROOF SALESMAN, Stephen Higgins and Nina Gilden Seavey of THE MATADOR and Caroline Suh of FRONTRUNNERS.

Meanwhile, eFilmCritic launches their epic coverage with interviews with Grant Gee (JOY DIVISION), Doug Benson (SUPER HIGH ME), Jay Delaney (BIGFOOT MOVIE), Eric Matthies and Tricia Todd (AGILE MOBILE HOSTILE), Ceri Levy (BANANAZ), Jerry Rothwell (HEAVY LOAD), Jody Lambert (OF ALL THE THINGS), Adam Vollick (HERE IS WHAT IS), Jeremiah Zagar (IN A DREAM), Erich Weiss (HORI SMOKU), Paul Owens (BLIP FESTIVAL), Liz Mermin (SHOT IN BOMBAY), Daryl Wein (SEX POSITIVE), Kurt Kuenne (DEAR ZACHARY), David Modigliani (CRAWFORD) and Celia Maysles (WILD BLUE YONDER).

Much more to come from Austin...

Premiering at SXSW - AGILE MOBILE HOSTILE: A YEAR WITH ANDRE WILLIAMS

In addition to checking out many of the new crop of documentaries at SXSW this year, I'm also traveling to Austin with the film AGILE MOBILE HOSTILE: A YEAR WITH ANDRE WILLIAMS, which was directed by my friends Eric Matthies and Tricia Todd and on which I serve as Executive Producer. 

AGILE MOBILE HOSTILE traces a year with the legendary R&B musician Andre Williams, called the "Father of Rap" by allmusic, a veteran of Berry Gordy's Motown and a still potent club presence.  It's a year that is a roller coaster, as you can see in a glimpse at the trailer:

IN DEPTH: The 25 Top Film Festivals For Documentaries

You've just completed your film.  Now it's time to decide which festivals to target.  Maybe all along you were planning on Sundance.  Hell, you built your entire post-production schedule around the Sundance deadlines!  Maybe you get in.  Maybe you don't.  Either way, you're about to make your next festival decision, and another and another.  And beyond the big ticket festivals, the ones where acceptance is supposed to be worth its weight in distribution gold, there's an endless stream of festivals to navigate.  Where should your second screening be?  Should you wait to hear from Tribeca?  And what about that random festival that you've never heard of but assures you a great time and a free ride?

As True/False gets underway today in Columbia, Missouri, these questions become even more prevalent.  In the next 60 days, five of the the top 10 festivals for documentary will unspool.  It's the spring nonfiction juggernaut and it must be navigated.

Over the past month, we've been soliciting thoughts on the world's top documentary festivals from a variety of filmmakers and industry figures.  We combined their honest takes (anonymity was assured) and our own research to form what we hope will be an annual survey of the 25 Top Festivals for Documentary Films.

A caveat:  As this blog's POV tends to reflect our own geographic position, this list will necessarily focus more heavily on those films that are most readily available to our North American readers and festivals from this continent will dominate this list. 

With that out of the way, here's part one of our 2008 take on the 25 Top Festivals for Documentary Films. 
Presenting the top 10:

1. Sundance Film Festival

Our take:
No other festival of its scale presents a documentary slate as equal to its narrative films.  Getting accepted at Sundance automatically means that you have entree to buyers and national press attention that far outpaces any other fest.  Also nearly automatic is a healthy festival run, even if things don't go your way, distribution-wise.  Everything else you've heard is true, too - the nonstop parties, the swag, the occasional difficulty getting heard.  But the press and industry folks are here to see movies, which is not always the case elsewhere.  The downside: expectations are super high.  If you can't make a splash at Sundance, you may find that your film's life is as thin as the air in Park City.

Others:
Industry:
"Brutal, hierarchical, difficult to connect.  Sadly essential for US because it's a magnet."

Filmmaker:
"Out of bitterness I'd love to chime in with criticisms of the festival, but let's face it -- it's the best and most visible forum for American documentary film.  There's no better way to sell a film than to be in Sundance, and documentary filmmakers there are treated neck and neck with narrative filmmakers.  Who wouldn't want to be at Sundance?'

Industry:
"Has the best + most consistent doc line up (20 yrs of doc support makes them #1 in my book) + programs a world doc section that's pretty kick ass."

Filmmaker:
"Getting into Sundance is a "dream come true".  It is a historic festival and it makes you proud to be selected. Also a sudden energy comes from mixing fiction and documentaries and here you have the chance to meet A LOT of interesting people. Sundance is really a "market" and here it also becomes clear to you that you have made a "product" to sell. That is not entirely bad, you just need to realize that. The festival is big and you use a lot of time on transportation but it is set in the most beautiful area in Park City. You would like to bring some friends or co-workers. You would feel alone otherwise. GREAT Parties and very well organized in spite of the size of the festival!"

Filmmaker:
"Despite all the political bullshit that everyone whines about (which is usually just sour grapes), and despite the fact that for many years Sundance has hypocritically celebrated lots of films that were anything but "independent" (HBO is indie?), and despite the fact that celebrities suck, Sundance is STILL king. There is simply no better festival to premiere your feature doc at, in terms of press, distributor attention, hype, celebration and long term career benefits. They've put docs right up on par with all the dramatic features ever since the very beginning of this festival and you just have to give them praise for that. (and c'mon, most of those indie dramatic features are horrible anyway).  But beware: don't think just because you were one of the 16 anointed docs that you've "made it."  You still have to get a rep and work the system in the worst way to make it truly beneficial.  At least 90% of all Sundance filmmakers go home after the event and get fantastically depressed because they still have no distribution. It is a myth that you "get distribution" at Sundance.  You have to MAKE that happen, wherever you are.  If nothing else, just by premiering at Sundance, you'll get invited to dozens of other good festivals.  The awards show is stupid, but what one's aren't?"

2.  Toronto International Film Festival

Our take:
The second biggest stage for documentary filmmaking, but caution, getting the attention of press and buyers is not automatic like in Park City.  There are lots of other fish to fry in Toronto, including a raft of Oscar hopefuls in the big narrative premieres, and most critics and film writers are inclined to focus on those films than on the doc lineup, particularly when there's not a competition element to the nonfiction titles.  Still, everyone in indie film (and then some) are in Toronto for the fest, and the industry contingent can actually be bigger than Sundance, particularly in opportunities for foreign sales.  Just know that you're going to have to work double hard for less results.

Others:
Filmmaker:
"Proud to have been there and of course would go again in a heartbeat, but felt overshadowed by bigger films.  The audiences are smart and very respectful of docs.  It would be great if they created a "House of Docs" type of forum to nourish their documentary filmmakers."

Industry:
"Too much of a market to make it worthwhile for a doc premiere unless the only goal is to sell the film to an international distributor."

Filmmaker:
"Obviously, Toronto is a great place to premiere your film because it's just so huge and internationally-prominent. But despite Thom Powers proactive championing of great docs, and his efforts to give them a bigger presence there (like they have always been at Sundance), make no mistake: Toronto is better suited for big dramatic films, stars, press, and red carpets. If you're going into town with a full-power invasion, it's great. If you're just lucky enough to premiere your doc there, but don't have a lot of money backing your arrival, you'll feel neglected. The festival is spread out all over Toronto (great city) but that discourages community. If it weren't for Thom Powers' social skills, I never would have met another filmmaker the whole time. The staff are also too overwhelmed by the sheer number of films to really care about you and yours. Welcome to the big city."

3.  IDFA

Our take:
The 800 lb. gorilla of international documentary festivals.  IDFA is a fantastic place to meet other filmmakers, screen lots of international films that may never make it to the US and potentially meet commissioning editors.  But make no mistake, it's huge.  You may spot HBO's Nancy Abraham in the smoky cocktail hour that the festival hosts each day, but so have more than 200 other filmmakers.  Get in line.  Or maybe don't, since she's already running for the exit.  The pitching forum is legendary and often brutal.  The mandate to focus on films from around the world can lead to some painful viewing experiences.  And the fest tends to leave you alone, which can be good or bad, depending on whether you want the festival to help you make contacts (if so, you'll need to ask).  But there's a comaraderie and bonhomie that is often lacking at other fests.  Plus, it's Amsterdam.

Others:
Filmmaker:
"Pretty fun, great films. Too many though. Excellent for selling to TV. North American theatrical buyers don’t come. They should. Doesn’t take itself to seriously which I like. Most amazing setting for a film festival in the world (in my opinion). They’re tight towards filmmakers and don’t look after them too well."

Industry:
"Big Kahuna of doc fests, very friendly (if smoky), extremely convenient setting, many opportunities to connect, extremely gracious and helpful staff to facilitate connections."

Filmmaker:
"I was very well taken care of when it comes to accommodation. Amsterdam is a fantastic city and lots of opportunities to party! The festival is so big that you will benefit from being a group of people there or else you might feel a little alone. The Audience is fantastic and very passionate. They love documentaries in Amsterdam. All in all do not miss this festival if you want to know what is "going on" in documentary."

Filmmaker:
"The audiences speak better English than the American filmmakers presenting their docs."

4. SXSW Film Festival

Our take:
One could watch the doc lineups from Sundance and SXSW and get a pretty comprehensive idea of what's happening in the world of nonfiction filmmaking.  But whereas Sundance may weigh more heavily on the side of serious topics, SXSW lets its hair down with what is probably the most diverse line-up of all the major full spectrum festivals.  Huge industry presence, but don't necessarily expect them to show up for your film, not when the weather's this nice and the margaritas and queso are so nearby.  The biggest gripe against SXSW is that is by far the most stingy amongst the major fests.  You can expect to pay your own way with little to no support from the fest.  But if you decide to go anyway (and you should), it's one of the most fun of all the festivals and the opportunities to meet other filmmakers and the occasional industry contact are plentiful.

Others:
Filmmaker:
"Great audiences at 10am on Sunday morning.  I seriously thought nobody would show up and then the theater was almost full.  Austin is great, too."

Filmmaker:
"After seeing such mediocrity (and worse) in Park City, my esteem for SXSW has been raised immeasurably."

Industry:
"Has super fun americana + music themed docs but lack of press + industry coverage on a broad scale makes them less enticing for filmmakers to have a world premiere there. They also don't take care of their filmmakers the way other fests do (flights + accomo) which is a problem."

Industry:
"I've been impressed with sxsw's doc line-up. it's brave and bold and fits in well with their narrative programs."

Industry:
"As awesome as it was, I felt it was a little too "nichey", almost as if they went out of their way to exclude certain doc' films and filmmakers. I appreciate their angle of Ameri-specific/ alt-american
docs' though. I think it's a formula that works extremely well but perhaps a little more would go a long way."

Filmmaker:
"SXSW is nice mix of business and pleasure... which I think has bled over from the long-running music festival. The programming here seems to be getting stronger and stronger. My only gripe would be lack of resources from the festival to travel invited filmmakers there (i.e., no airfare or hotel money). And it would be great if the music and film fests were more integrated."

Filmmaker:
"Out of all the festivals this is the one i had the least contact with the organizers, publicists etc... i guess we were lucky that the people responded otherwise i may have been frustrated."

Filmmaker:
"I like the laid back environment of sxsw. Lots of interesting and innovative filmmakers."

Filmmaker:
"Love everything about this festival except for the fact that they don't pay for nuthin'.  No airfare, no hotel, and this is because it's all tied in with the far bigger SXSW convention, so you always feel like the film festival is the little brother to the mega music festival. Whatever you do, don't make the mistake of showing up to promote your film near the end of the film fest, when 30,000 black-n-flannel wearing guitar-wielding alt rockers descend on Austin for the music fest. You'll stand in line for 4 hours for a bag and a badge that might not exist and suddenly nobody's ever even heard of a film festival.  HOWEVER-- I still love the SXSW FILM festival.  Despite the convention-like atmosphere, Matt Dentler is building a great thing. The atmosphere (during the fest itself) is supportive, very laid back (in a good way), and there are plenty of distributors running around and drinking tequila. Best mexican breakfasts of any festival on the planet. Great vibe."

5. AFI Silverdocs

Our take:
Has quickly become the most important US doc-centric festival, particularly in an age that puts a premium on theatrical potential.  Has a wide and diverse line-up, notably shining a spotlight on both social issue films as well as "less serious" topics.  There is a large and important conference that takes place simultaneously with the festival that can appear daunting from a distance and even more baffling up close.  Filmmakers are not necessarily encouraged to know, understand or effectively utilize this aspect of the fest, which can be problematic as although there is a huge industry presence, you may not have any idea on how to find them.  The AFI Silver Theatre, which hosts the fest, is one of the best theatres in the country.  Your film may never look this good again.  Lots of social events at which one can meet and hang out with other filmmakers.  Shockingly convenient to get around.  The hotel is a block from the main venues.  Great opportunities to meet other filmmakers.

Others:
Industry:
"Great connections with industry growing by the year. Good conference (she said objectively, having been on panels there). Love the programmer Sky Sitney. Convenient location, lotsa restaurants around good theaters and conference facilities at Discovery."

Filmmaker:
"It was great.  There's a real respect for documentaries, and it feels like a community, while at the same time there's enough visibility to not feel ghettoized."

Filmmaker:
"A bit boring really. Doesn’t seem to offer anything original. The festival basically has no personality. I was disappointed by it. Good films generally. It’s carefully programmed by people that certainly know about docs by I kind of expect that from a premiere docs fest anyway."

Industry/exec:
"Silverdocs is really taking the charge in nurturing relationships with filmmakers and industry alike. i'm intrigued to see what they will pull out this year for their festival. I think they are poised to really do something special now that (longtime sponsor and next door neighbor) Discovery may be tightening those purse strings."

Industry:
"Although I missed it in '07, '06 was really good. It felt like a true doc festival in the sense that filmmakers arrived from all over the world, industry folks came from all over the nation and it was close to the topical imposing presence of our capital city. The town was big enough to offer some sense of 'getting away from it all' (if required) - unlike Full Frame where you see the same faces around every corner."

Filmmaker:
"Has a huge community built up around it and boasts what has to be the most beautiful theatre in America -- the amazing AFI Silver Theatre.  I think the fact that it takes place in the nation's capitol also adds quite a bit of heft to the proceedings."

Filmmaker
"Not a very good experience. Great hotel though. Not very well organized and not personal at all. I was fortunate to have friends there or else I would have been very bored. The parties where not that great and all in all it is a shame, beacuse it is a big festival and it is set in the capital and that should rub of on the mood of the festival, but it never does."

Filmmaker:
"We premiered at SilverDocs as their Opening Night Film, so they pulled out all the stops and went the extra mile for us. Very, very generous in flying us out, and putting us up for 5/6 days.  Screenings are amazing - theater is top notch, festival staff are great, very convivial, lots of easy hotel partying since most folks are in one place.  Really well organized, well run, well programmed, well funded festival.  Only wish is that their  "industry" stuck around a little more.  Festival programmers and some US tv people stayed a day or three, but the European commissioners were in and out of there in the blink of an eye. Literally flew in for their panels and left straight from the panel venue. Other than that, two thumbs way up."

Filmmaker:
"Wonderful festival, very supportive. Intelligent audiences-- great Q&A sessions, fun parties. The perfect size and number of days to celebrate docs. SO awesome to be with only doc filmmakers (no publicists and famous-actor sightings to suck the life out of you). Programmer Sky Sitney fully gets it. Here docs are allowed to have fun and the filmmakers don't have to be pretentious and self-serious, even if their subject is heavy. The tech factor is big, too: awesome theaters, great sound, and a staff who is friendly and cares about every detail. Highest recommendation."

6. Hot Docs

Our take:
One of the oldest and most respected documentary festivals in the world.  Hot Docs is also a conference and features a pitch session that rivals IDFA, but without the same level of acrimony that you often find in Amsterdam.  Heavy industry presence, particularly on the international front, but as in Amsterdam, if you aren't selected for the pitching forum it can be difficult to connect with commissioning editors.  Being a Canadian festival, Hot Docs has an affirmative action policy as it relates to Canadian nonfiction, which can lead to some disappointing screenings.  As at the Toronto fest, the local audiences support Hot Docs with something bordering on mania and the festival is exceptionally well run and organized with a breadth of topic and style on display. 

Others:
Industry:
"Canadian-centric, not a bad thing! Good forum/pitch session. Friendly, easy, well-managed, nice setting."

Filmmaker:
"Very, very cool.  The Festival literally takes over the entire city (Toronto) and the audiences are fantastic.  They go crazy for documentaries there."

Filmmaker:
"The film lineup is fantastic, and the Toronto audiences are very engaged. I really I liked this festival, the only drawback in my opinion is that it's decentralized, there's no meeting/hangout place for filmmakers."

7.  Los Angeles

Our take:
Like its parent organization, Film Independent (and also like Sundance), LAFF treats the documentary lineup with the same care that it does its narrative strand.  The richest competition prize of any festival - $50K for the winning filmmaker - and a decent amount of attention from LA-based press and national buyers.  Films actually get bought here.  The focus on premieres can make for a somewhat uneven line-up at times, although recent winners like DELIVER US FROM EVIL, TARNATION and BILLY THE KID showcase a range of styles and tastes without losing focus on quality.  The fest is notorious for its hospitality - filmmakers are flown to a pre-festival retreat at Skywalker Ranch - and its 2006 move to Westwood has been a huge success, both in creating a community and in differentiating LAFF from LA's other huge film festival, AFI Fest. 

Others:
Filmmaker:
"I can’t say enough about the The LA Film Festival.  I’m always encouraging people to screen there. It was the most filmmaker-focused festival on our run. They truly wanted to make sure that each filmmaker was having a good time, meeting the right people and getting the most out of the festival.  Even though it's a fairly large festival you don't feel like you get lost in the shuffle. The Filmmaker Retreat before the festival was amazing and sets the tone for the festival. To me, it’s incredible that they even offer it.   The festival also had a great industry presence.  We had distributors at all of our screenings and sold our film out of this festival."

Filmmaker:
"Filmmakers are treated very well, and lots of opportunities to meet other filmmakers at the retreat."

Filmmaker:
"The best treatment towards the directors!!! more then just a film festival but almost like a film retreat. The lucas ranch, directors guild lunch, meeting and spending quality time with the other directors away from the festival, meeting and connecting with established directors/producers in the industry."

Filmmaker:
"I don't think LAFF gets enough PROPS! Even though I like NYC better then LA as a place to live i would choose LAFF way before TRIBECA film festival."

Filmmaker:
"Didn't think the selection of films was so great. At least in my category but i guess that's what happens when you are more concerned with world premieres then quality films."

8.  Full Frame

Our take:
Normally, the granddaddy of US documentary festivals would rank higher on this list, but there's a huge wait and see attitude in 2008 with many wondering how the fest will survive this year's departure of Full Frame founder Nancy Buirski.  One veteran filmmaker wrote that the fest was one of his favorites, "though I'm afraid with Nancy gone".  There's no denying that since the fest is no longer "the only game in town", it's lost some of its luster.  Still, it's hard to argue with success.  An essential spring weekend for nearly everyone in the NYC documentary community (and an easy hop down to Durham) and a huge line-up of many of the best docs of the year.  The proximity of Duke (and a selection board littered with academics) focuses Full Frame on serious social issue films and has an awards line-up that almost exclusively focuses on topic, but it still finds room for a movie like HELVETICA.  Plus, it's an easy place to meet lots of folks, from first timers to legends, and it has a strong, doc-centric industry presence.

Others:
Industry:
"Gorgeous location, good films, gracious living, good celebs, not so much industry."

Filmmaker:
"Out of all the festivals I attended, I made more new friends and had more face-to-face contact with the other filmmakers at Full Frame."

Industry/exec:
"It seems the the power and prestige that full frame once had is evaporating. they've lost their gusto. critical support seems to be vacant as well. they seem more concerned with promoting their brands and nancy b's projects than helping doc filmmakers and filmmaking."

Industry:
"Perhaps due to the weather, perhaps due to over exposure in the market, the whole time I was there it felt like the festival was trying too hard to be something. I guess they had to match the previous years' successes. And in the end is too much success the downfall of a potentially great festival? Filmmakers, industry, writers all appeared to be waiting for something more. And all it did was rain some more."

9.  Tribeca Film Festival

Our take:
After a much-needed staff shake-up, new initiatives like the Gucci Doc Fund and enhanced web presence and the promotion of doc programmer David Kwok, Tribeca is looking to right a wayward ship in its 6th incarnation.  Last year's fest was much derided, what with increased ticket prices, far flung screening venues, lackluster titles and lack of communication with press, but Tribeca seems to be trying to right past wrongs, including lowering prices, scaling back venues and reaching out to bloggers.  This year could prove key.  While it gives a documentary competition prize, the prize money (25K) is half that of the narrative competition.  Still, it can boast this year's Oscar winner - TAXI TO THE DARK SIDE - and that's not nothing. 

Others:
Filmmaker:
"We premiered at Tribeca and they did a lot during the fest to get us exposure, but since the festival ended they’ve pretty much fallen off the map. I (get) the impression that other programmers do a lot more to promote the films they like and refer them to other fests."

Filmmaker:
"Big, bold, too many films really. Not a great market place and all spread out like a nightmare. If you’ve got a high profile film and A-list celebrities to work with, it’s incredible. Otherwise, don’t bother."

Filmmaker:
"Our experience was fantastic, but I do see how documentary filmmakers get lost in the big schedule, multiple venues, etc."

Industry/exec:
"OK but their enormous line up + confusing sections relegate docs to "red headed step child" status."

Filmmaker:
"Loved playing at Tribeca and were blown away by the sheer mass of humanity that come out for docs (our first screening there played to over 700 people)."

Industry:
"2007 sucked for docs IMHO. 2006 was a much better year. With industry wide general backlash against the festival in '07 I hope they pull their socks up and get back to grass roots. Tickets were over priced, the festival screenings were all over town, there was nowhere for filmmakers to mingle and relax, it felt like an American Express elitist event."

10.  True/False Film Festival

Our take:
The most convivial and intimate of the big US documentary festivals.  Puts a premium on quality and diversity over premiere status.  Most of its films have played elsewhere (although primarily films have come from Sundance or Toronto or IDFA) or are about to play SXSW or Tribeca and screen here as secret screenings.  The community (Columbia, MO) supports the fest in a way that shocks newcomers - this may be the biggest audience you'll ever have.  This year is a transitional one for the fest as it experiements with new venues and copes with the temporary closing of its largest theatre, but already the fest is on pace to shatter previous attendance records.  One of the most generous of all major festivals - everything, including food, is paid for.  An incredible opportunity for meeting other filmmakers but not much of an industry presence (although that may be changing).

Others:
Filmmaker:
"Great films, a tight little program of unusually high quality stuff. Great parties. Fantastic atmosphere and they really take care of all their filmmakers."

Filmmaker:
"Only been once but they have the most interesting line up of docs  often it seems that the same stuff swirls around the same handful of festivals - thats not the case at true / false  plus its a manageable size and feels much like family."

Industry:
"Loved it. But I don't want to tell everyone how great it was(!) for fear of it turning into another Full Frame. There is every reason why it will remain the boutique festival that it is. As an 'industry' person I felt guilty just being there last year. All the filmmakers spent so much time together I felt like a gooseberry intruding on artists and visionaries talking!"

Filmmaker:
"My personal favorite. This is a very small and intimate festival compared to IDFA and Sundance. Paul and David take you by the hand and leads you through the most amazing days. Parties every noght and thetres filled with enthusiastic audiences. It is truely amazing to have you film screening it the Missouri theatre infront of 1200 clapping people from the town. And the whole town really backs up this festival and you can feel that very much. You become the local celebraty within days. This festival is personal and intimate. It is the best festival I have been on thhis year. Do this for your own sake - and the food is free.  I love True/False!"

Next up: Numbers 11-20.

Update: Check out our unsolicited festival advice guide for filmmakers.

SXSW 2008: Music Films From Martin Scorsese, Julian Schnabel, David Leaf, Jerry Rothwell & Sascha Paladino

Last, but certainly not least, the music documentaries of SXSW 2008.  As before, descriptions come from the festival, notes are supplied by yours truly:

SPOTLIGHT PREMIERES

BANANAZ
Directed by Ceri Levy

An in-depth and revealing glimpse at the cryptic cartoon band, Gorillaz. (North American Premiere)

Of further note: Levy previously worked with Gorillaz co-founder Jamie Albarn on a '90s-era Blur documentary, STARSHAPED.

LOU REED'S BERLIN
Directed by Julian Schnabel.

An artful document of musical legend Lou Reed, performing his influential record, "Berlin," to audiences in New York City. (U.S. Premiere)

Of further note: Premiered in Venice last year and had it's North American premiere in Toronto.

SHINE A LIGHT
Directed by Martin Scorsese

A career-spanning documentary on the Rolling Stones, with concert footage from their "A Bigger Bang" tour. (North American Premiere)

Of further note: Premieres in Berlin tonight as the opening night selection.  An all-star team of cinematographers worked on the film, including Ellen Kuras, Emmanuel Lubezki, Albert Maysles, Declan Quinn and Robert Richardson.

YOUNG@HEART
Directed by Stephen Walker

The touching and heartfelt portrait of a New England senior citizens chorus that has delighted audiences worldwide with their covers of songs by everyone from The Clash to Coldplay. (Closing Night Film)

Of further note: Had US premiere at Los Angeles Film Festival and also screened at Sundance.  Searchlight is planning a spring release.  Has already aired on UK television.

24 BEATS PER SECOND

BLIP FESTIVAL: REFORMAT THE PLANET
Directed by Paul Owens                        

A documentary look at the movement known as ChipTunes, a vibrant underground scene based around creating new, original music using old video game hardware. (World Premiere)

Of further note: You can see the trailer at /film.

HEAVY LOAD
Directed by Jerry Rothwell

Heavy Load are a punk outfit subject to the combustible flux of ego, ambition, fantasy, expectation and desire that fuels any emerging band. But they're also, uniquely, made up of musicians with and without learning disabilities. (World Premiere)

Of further note: Rothwell recently co-directed the Cinema Eye nominated DEEP WATER.

HEAVY METAL IN BAGHDAD
Directed by Suroosh Alvi

Playing heavy metal in a Muslim country has always been a difficult proposition, but after Saddam’s regime was toppled, there was a brief moment for the band in which real freedom seemed possible. (U.S. Premiere)

Of further note: Premiered at the 2007 Toronto International Film Festival.  Here is a summary of thoughts from that festival.

NERDCORE RISING
Directed by Negin Farsad

"Nerdcore" is the newest, dorkiest wave of hip-hop, born out of the internet and made possible by computer-obsessed geeks. (World Premiere)

Of further note: Farsad is a producer/director on the Comedy Central web series The Watch List.

OF ALL THE THINGS
Directed by Jody Lambert

A Filipino concert promoter has been begging Dennis Lambert (one of the most successful and gifted songwriter/producers of the ‘70s and ‘80s) to come tour for decades. Thirty-five years after the release of his solo album, he finally agreed. (World Premiere)

Of further note: Dennis Lambert wrote Coven's 1969 anti-war anthem "One Tin Soldier".

THROW DOWN YOUR HEART
Directed by Sascha Paladino

Cameras follow American banjo virtuoso Béla Fleck on his journey to Africa to explore the little known African roots of the banjo, and record an album. (World Premiere)

Of further note: Paladino is the producer/head writer on Nickelodeon's excellent new series "Ni Hao, Kai-lan", which premieres this AM.

THE UPSETTER: THE LIFE & MUSIC OF LEE "SCRATCH" PERRY
Directed by Ethan Higbee and Adam Bhala Lough

The fascinating story of Lee "Scratch" Perry, a visionary musician and artist from poor rural Jamaica who soon became of the most influential artists in reggae and dub. (World Premiere)

Of further note: Lough was nominated for a 2004 Independent Spirit Award for his feature BOMB THE SYSTEM.

WESLEY WILLIS'S JOYRIDES
Directed by Chris Bagley and Kim Shively

A portrait of the self-proclaimed rock 'n' roll star and Chicago city artist, Wesley Willis. (Regional Premiere)

Of further note: Premiered at Slamdance.

THE WRECKING CREW
Directed by Denny Tedesco

You heard them playing on the Beach Boys hits, on the Mamas and the Papas' recordings, on Frank Sinatra records, on Monkees' singles, and they were Phil Spector's Wall of Sound. Most likely, you never heard their name.  If you knew who they were, you called them "the Wrecking Crew." (World Premiere)

Of further note: Tedesco's father was the renowned session musician, Tommy Tedesco, who, in addition to playing with Elvis, the Beach Boys and Frank Sinatra, was also the guitarist for the US premiere of the Rocky Horror Show.

SPECIAL SCREENINGS

AGILE, MOBILE, HOSTILE: A YEAR WITH ANDRE WILLIAMS
Directed by Eric Matthies and Tricia Todd

A year in the life of Andre Williams, one of the unsung heroes of the American R&B community, who walks us through the hard life he's led over five decades of making music. (World Premiere)

Of further note: Matthies and Todd previously collaborated on the doc short AYAMYE, chronicling an effort to send used bicycles to Africa.  Full disclosure - I am the Executive Producer on this film.

HERE IS WHAT IS
Directed by Adam Vollick & Adam Samuels

An invitation to experience a year of creation, looking over Daniel Lanois’ shoulder. His psychedelic past emerges throughout the film as the hyperrealism of the in-studio documentation is contrasted by moments of wild fantasia. (U.S. Premiere)

Of further note: The film premiered at Toronto. 

JOY DIVISION
Directed by Grant Gee

The filmmakers investigate why Joy Division's collective musical genius and singular vision enjoys a larger audience and influence thirty years on. (U.S. Premiere)

Of further note: JOY DIVISION premiered at Toronto, where it was picked up by the Weinstein Co.  We covered the response to the film here.  Gee directed the well-regarded Radiohead documentary MEETING PEOPLE IS EASY.

THE NIGHT JAMES BROWN SAVED BOSTON
Directed by David Leaf

A documentary look at the historic James Brown concert, held just days after Martin Luther King's assassination, when the city of Boston was ready to boil. (Work-In-Progress)

Of further note:  The Boston Phoenix rated this show the greatest concert in Boston history.  Leaf co-directed THE U.S. VS. JOHN LENNON and is one of the most prolific creators of music documentaries around.

THE SWEET LADY WITH THE NASTY VOICE
Directed by Vincent Kralyevich

This documentary is the culmination of a two-year journey with Wanda Jackson, now 70, in performances across the United States and Europe. (World Premiere)

Of further note: Wanda Jackson sings one of my favorite country songs of the late 1960s - "A Girl Don't Have to Drink to Have Fun".

WE DREAMED AMERICA
Directed by Alex Walker

A documentary that delves deep into the dark and hilarious recesses of the British Americana music scene, exploring the gritty underworld of the New British Country movement. (U.S. Premiere)

Of further note:  Here's the trailer.

SXSW 2008: New Films From Steve James & Peter Gilbert, Liz Mermin, Erik Nelson, David Redmon & Ashley Sabin

Festival coverage sponsored by IndiePix.

Yesterday, we introduced the eight documentary features in competition in Austin this year.  Now, here's a look at all the non-music documentary titles screening at SXSW (we're saving the best for last - tomorrow).  As before, descriptions are furnished by the festival, notes are from yours truly.

EMERGING VISIONS

'BAMA GIRL
Directed by Rachel Goslins

A charismatic black woman at the University of Alabama runs for Homecoming Queen, going up against a century of ingrained racial segregation, internal black politics, and a secret association of all-white fraternities. (World Premiere)

Of further note: Goslins worked as a story producer on "Dog the Bounty Hunter".

FLYING ON ONE ENGINE
Directed by Joshua Z Weinstein

The documentary story of an Indian-American surgeon who, despite being critically ill himself and living in a one-room Brooklyn apartment, travels back to India every year to perform marathon surgery "camps" where he repairs the cleft lips of 700 children in a week. (World Premiere)

Of further note: Weinstein also can make a stop at the screening of Scorsese's SHINE A LIGHT - he was a camera assistant on that feature.

IN A DREAM
Directed by Jeremiah Zagar

The chaotic story of Julia Zagar and her husband Isaiah Zagar, a renowned mosaic artist, who for the past 30 years has covered more than 40,000 square feet of Philadelphia top to bottom with tile, mirror, paint, and concrete. (World Premiere)

Of further note:  As one might expect from the shared surnames, the director is the son of the subjects.  Zagar's most recent short film, which also featured his father, was CONEY ISLAND, 1945.

ONE MINUTE TO NINE
Directed by Tommy Davis

A haunting and touching documentary look at one family, thrown into the disturbing reality that follows a history of domestic abuse, as one member prepares to serve a jail sentence. (North American Premiere)

Of further note:  ONE MINUTE TO NINE debuted last August in Locarno.  Davis was at SXSW in 2004 with MOJADOS: THROUGH THE NIGHT.

THE OSTRICH TESTIMONIES
Directed by Jonathan VanBallenberghe

The dramatic story of the Rooster Cogburn Ostrich Ranch near Tucson, Arizona, where in 2002, two hot-air balloons triggered a stampede of 1,600 ostriches. (World Premiere)

Of further note:  This is VanBallenberghe's feature debut.

SPOTLIGHT PREMIERES

AMERICAN TEEN
Directed by Nanette Burstein

A documentary on seniors at a high school in a small Indiana town, and their various cliques. (Regional Premiere)

Of further note:  Premiered at Sundance and was the subject of a fierce bidding war.  Acquired by Paramount Vantage.  Rumored to be heading to theaters this spring.  Here's my thoughts on the film from Sundance.

AT THE DEATH HOUSE DOOR
Directed by Steve James & Peter Gilbert                                                         

An investigation of the wrongful death of Carlos DeLuna, who was executed in Texas on December 7, 1989, after prosecutors ignored evidence inculpating a man, who bragged to friends about committing the crimes of which DeLuna was convicted. (World Premiere)

Of further note:  One of the most highly awaited films of 2008 - the latest from the team that gave us HOOP DREAMS and STEVIE.

BEAUTIFUL LOSERS
Directed by Aaron Rose & Joshua Leonard                                                      

A feature documentary film celebrating the independent and D.I.Y. spirit that unified a loose-knit group of American artists who emerged from the underground youth subcultures of skateboarding, graffiti, punk rock and hip-hop. (World Premiere)

Of further note:  Had a work-in-progress screening in September at LA's inaugural SwerveFest.  Rose has also mounted a traveling museum exhibition on the Beautiful Losers movement.  Leonard was a co-star of THE BLAIR WITCH PROJECT.

CRAWFORD
Directed by David Modigliani                                                               

Just a short time before George W. Bush announced his intentions to run for the Presidency, the New Haven-born hopeful bought a ranch in tiny Crawford, Texas. This is what happened next. (World Premiere)

Of further note:  This is Modigliani's feature debut.

DREAMS WITH SHARP TEETH
Directed by Erik Nelson

A documentary portrait of acclaimed author Harlan Ellison, as he looks back on his fabled and influential career as one of the world’s top genre writers for television and print. (World Premiere)

Of further note: Nelson is a longtime producer for Werner Herzog and has served as Executive Producer on THE U.S. VS. JOHN LENNON and LEONARD COHEN: I'M YOUR MAN.


LIVING WITH THE TUDORS
Directed by Karen Guthrie & Nina Pope

After four years of participation as costumed historical re-enactors, Karen Guthrie & Nina Pope were given unprecedented access with their cameras to the UK’s oldest and largest historical re-enactment at Kentwell Hall in rural Suffolk. (North American Premiere)

Of further note: Screened last July at BritDoc at Oxford.

THE ORDER OF MYTHS
Directed by Margaret Brown

A probing and artful portrait of the divided Mardi Gras communities that still exist today in Alabama. (Regional Premiere)

Of further note: Premiered at Sundance to much acclaim.  My thoughts are here.

SECOND SKIN
Directed by Juan Carlos Pineiro

An intimate look at people whose lives have become transformed by the virtual worlds in online games such as World of Warcraft, Everquest and Second Life. (World Premiere)

Of further note: The film has already received a great deal of attention, particularly online (surprised?).

SHOT IN BOMBAY
Directed by Liz Mermin

Yes, Bollywood makes gangster films. This fast paced documentary, populated by a charismatic and often surreal cast of characters, goes beyond the tinselly glamour of "Bollywood" to explore some of the industry's darker sides. (North American Premiere)

Of further note: This is Mermin's return to India following her last feature, OFFICE TIGERS, which premiered at the Toronto International Film Festival in 2006.  The film is already on screens in London.

SUPER HIGH ME
Directed by Michael Blieden

Comedian Doug Benson, a famous marijuana advocate, decides to test the limits of his body during two, 30-day stretches. (Regional Premiere)

Of further note: Benson was named Stoner of the Year by High Times Magazine.

WHERE IN THE WORLD IS OSAMA BIN LADEN?
Directed by Morgan Spurlock

Acclaimed filmmaker Morgan Spurlock heads to the Middle East for two reasons: to understand cultures overseas and to find Osama Bin Laden. (Regional Premiere)

Of further note: Due this spring from the Weinstein Co.  Premiered at Sundance.  My thoughts are here.

WILD BLUE YONDER
Directed by Celia Maysles

Celia Maysles had no idea her father and his brother Albert were pioneers of verite documentary filmmaking. Determined to uncover the secrets surrounding her background, Celia sets out on a quest to rediscover her father by using his own artistic process. (North American Premiere)

Of further note: Controversial upon its launch at IDFA in November, response has seen a split of sympathies between filmmaker and her more famous filmmaking uncle.  indieWIRE's Brian Brooks covered the story.

LONE STAR STATES

INTIMIDAD
Directed by David Redmon & Ashley Sabin                                  

Cecy and Camilo recently migrated to Reynosa, Mexico with a dream to buy land and build a home. A year later they return to their rural hometown to reunite with their daughter. What seems like a satisfying reunion turns into a confusing dilemma that transforms the course of their marriage. (World Premiere)

Of further note: The new film from the folks who gave us KAMP KATRINA, which screened at SXSW last year, and MARDI GRAS: MADE IN CHINA, which premiered at Sundance in 2005.

THE KING OF TEXAS
Directed by René Pinnell

Although Eagle Pinnell was quickly becoming a regional film legend, his acute alcoholism and legendary ego alienated many of his friends and collaborators. Eagle remained a forgotten and mostly unsung talent throughout his life, which ended in 2002. Friends, family, and fellow filmmakers recall Eagle’s life, the excitement of working alongside him, and the burden of his addictions. (World Premiere)

Of further note: Pinnell's best known film, THE WHOLE SHOOTIN MATCH, was a special screening at SXSW last year.

TULIA, TEXAS
Directed by Cassandra Herrman & Kelly Whalen

At the end of one of the biggest drug stings in Texas history, dozens of residents of the small farming town of Tulia had been rounded up and thrown behind bars. Of 46 people indicted for cocaine dealing, 39 were African American. In the years to follow, troubling evidence about Coleman's investigation and his past began to surface. (World Premiere)

Of further note: ITVS is one of the funders of this film.

‘ROUND MIDNIGHT

NOT YOUR TYPICAL BIGFOOT MOVIE
Directed by Jay Delaney

Through the experiences of two amateur bigfoot researchers in southern Ohio, we see how the power of a dream can bring two men together and provide a source of hope and meaning. (World Premiere)

Of further note: Delaney's short film THE DAY THE WORLD SAVED SHANE SAWYER screened at the 2006 Sarasota Film Festival.

SPECIAL SCREENINGS

BI THE WAY
Directed by Brittany Blockman

This documentary looks at recent statistics, real-life stories, and more to paint a picture of the growing acceptance of bisexuality in America. (World Premiere)

Of further note: One of the film's subject's is the 11 year old son of TARNATION director Jonathan Caouette.

THE BLACK LIST
Directed by Timothy Greenfield-Sanders

In a film that works as series of living portraits, twenty prominent African Americans of various professions, disciplines and backgrounds offer their own stories and insights on the struggles, triumphs and joys of black life in this country and manage to re-define "blacklist" for a new century in the process. (Regional Premiere)

Of further note: Premiered at Sundance and was quickly picked up by HBO's documentary unit.  Written by film critic Elvis Mitchell.

BODY OF WAR
Directed by Ellen Spiro & Phil Donahue

"Support our troops" has long been a rallying cry for war proponents. But that phrase will never sound the same after you meet Tomas Young, an eloquent former soldier and current war protester. (Regional Premiere)

Of further note: The film premiered at the Toronto International Film Festival and was shortlisted for the Best Documentary Oscar.  It also won the Best Documentary prize from the National Board of Review.

DANCING ALFONSO
Directed by Barak Heymann

Alfonso is the lead dancer in a flamenco troupe, which rehearses in a Tel Aviv suburb After the death of his wife, he begins to obsessively court Sima, a dancer with the troupe, to the displeasure of his children, who are unwilling to accept the fact that their father might be interested in another woman. (U.S. Premiere)

Of further note: Heymann was at IDFA in 2006 with BRIDGE OVER THE WADI.

DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER
Directed by Kurt Kuenne

After Dr. Andrew Bagby was brutally murdered, the prime suspect (his former girlfriend) announced that she was pregnant with Andrew's baby. Andrew's childhood friend began this film as a way for the baby to learn about his father, until things started to take an even more unpredictable turn. (Regional Premiere)

Of further note: Premiered at this year's Slamdance.  Here's the GreenCine Daily post on the film.

DO YOU SLEEP IN THE NUDE?
Directed by Marshall Fine

Forty years after he blazed across the scene, Rex Reed is still going strong – a brand-name movie critic whose name and face remain easily recognizable, even if his influence has waned. (Regional Premiere)

Of further note: Premiered last fall at the Hamptons.

DON'T GET ME WRONG
Directed by Adina Pintilie

Within a stark Romanian psychiatric hospital, patients move stones, help each other perform daily tasks and discuss the existence of God and how to stop the rain. (U.S. Premiere)

Of further note: Grand Jury winner at DOK Leipzig last October.

GONZO: THE LIFE AND WORK OF DR. HUNTER S. THOMPSON
Directed by Alex Gibney

With access to never-before-seen archives, this is a fascinating documentary look at the legendary and undeniable Hunter S. Thompson. (Regional Premiere)

Of further note: Premiered at this year's Sundance Film Festival.  Gibney (duh) is nominated for an Oscar for TAXI TO THE DARK SIDE.  

HERE'S JOHNNY
Directed by Kat Mansoor

Previously renowned for his work in the comics Judge Dredd and 2000AD, Johnny now lives in an increasing state of immobility and frustration. He escapes the confines of his front room by drawing, and through the expression of his brilliant, and sometimes troubled, imagination we learn about the disease that he is forced to co-exist with. (World Premiere)

Of further note: HERE'S JOHNNY received some of its funding via BritDoc's funding forum.

HORI SMOKU SAILOR JERRY
Directed by Erich Weiss

A feature-length documentary exploring the roots of American tattooing through the life of its most iconoclastic figure Norman “Sailor Jerry” Collins. (World Premiere)

Of further note: Sailor Jerry's got his own website here.

SECRECY
Directed by Peter Galison & Robb Moss

The film is about the vast, invisible world of government secrecy. By filming people from the Central Intelligence Agency, the National Security Agency, reporters, information seekers, and individuals whose lives have been marked by their en