All these wonderful things

A Few Thoughts About This Year's Miami Film Festival

This was the second year in a row that I didn't make it to Park City for Sundance.  I had been toying with the idea of going pretty much even as the festival was starting up, but what with Sundance coming directly on the heels of this year's Cinema Eye Honors (and the multiple snow storms that struck New York while I was on the east coast), the notion of getting myself to Utah and more snow in the midst of recuperating from a months-long project was too daunting.

So, like last year, I eagerly awaited my first opportunity to see this year's new batch of films, no matter if word on the street was that this year wasn't shaping up to be on par with last (when 4 Sundance premieres would eventually make it to the Oscars and a handful of others were considered high profile snubs).

Luckily I'd been invited to participate in two different film festival juries in the first quarter of 2011.  Between the two, I'd end up seeing 13 of the docs that had premiered at Sundance.

I saw the majority of these while at the Miami Film Festival, which I attended last week.  Toronto International Film Festival doc programmer Thom Powers (also responsible for DOC NYC, Stranger Than Fiction and my co-hort in getting the Cinema Eye Honors off the ground) joined the team in Miami this year and invited me to be part of a jury that included Sheffield Doc/Fest Director Heather Croall and Jeremy Kay, the US Editor for Screen International.

The Top 25 Film Festivals for Documentaries, 2nd Edition - 6 That Would've Made the List If Only They...

Previously: 9 More International Festivals That Matter

In figuring out which film festivals would make up the 2nd round of our Documentary Film Festival survey, there were a number of festivals which stood out as important and potentially monumental in the life of a film.  They have brand value (people have heard of them) and they have distributors attending (sales potential).  But they barely show any docs - not just American docs, but any docs.  So, herewith are...

Five festivals that would've made the list if only they showed more documentaries:

Cannes Film Festival

Important Recent Premieres:  MY NEIGHBOR, MY KILLER, A THORN IN THE HEART, TYSON, WALTZ WITH BASHIR

Our coverage of Cannes here.

Others:

Filmmaker:  "It's a market, but not really for docs."

Industry:  "If you’re a filmmaker and you get a film in Cannes, it looks really good on your resume.  Not sure it does much for the film.  You might be a little bit marginalized there.  If you’re waiting for Cannes to give you an answer and you are passing on SXSW or Full Frame or Hot Docs, then I think you’re making a huge mistake.  Even getting into Cannes may not be as good as playing 2 or 3 of these spring festivals.  99% of the time it doesn’t work out."

Industry:  "The ultimate prestige event for docs, but they take so few that it's not a must-attend."

Industry:  "I love Cannes.  Cannes is a secret to me.  Everybody’s there.  Everybody’s there from all over the world.  You can see so many films.  It’s a great value for what you can see.  But they show so few documentaries – it’s kind of crazy."

The Monday Brief: Indie Film in Hell - The Bloodbath, CineVegas & Polanski, But Signs of Hope With Ondi Timoner's Innovations, CAPITALISM, SEPTEMBER & IT MIGHT GET LOUD

Is the entire indie film world going to hell?  That's been the question vibrating through our community for the past several weeks, particularly after a Toronto International Film Festival that was light on sales and a summary paper issued by Anne Thompson, in which she labeled this year's TIFF an "indie bloodbath":

"The old independent market is over. A new one will take its place. But we are smack in the middle between the end of one paradigm and the start of another, and it’s a scary place indeed...

If nobody knew anything before, they know even less now. The one sure thing is that moviemakers will now PAY to get their films released. The few remaining distributors can sit back and wait for movies to drop in their laps, often with P & A funds attached. All hopes of a hot sale at a festivals were dashed this year."

And if you think filmmakers going to festivals have it bad, what about the festivals themselves?  This year has seen an unprecedented upheaval, as five of the top 10 festivals for documentaries saw a change in leadership (Sundance, Silverdocs, Los Angeles, Tribeca and Full Frame) and a number of film festivals found themselves making news - Toronto over its choice of Tel Aviv for its City to City Spotlight, Los Angeles in its battle with the BANANAS!* filmmakers and lawyers from Dole, SF Jewish Film over its screening of RACHEL, Tokyo due to its rejection-then-capitulation/acceptance of THE COVE, not to mention the coup at the Denver Film Society.  And what does it say about the New York Film Festival if most of NYC's indie film cognoscenti took the first flights out of town to be in Austin for Fantastic Fest, just as NYFF was opening?

Now we learn that CineVegas, one of the best regional festivals in the US, will not be back for its 2010 edition (although they state publicly that they will try to return sometime after that) and yesterday  the news that filmmaker Roman Polanski was arrested in Switzerland as he was en route to receive a lifetime achievement award from the Zurich Film Festival.

Add to all this what any filmmaker on the festival circuit (including this one) can tell you with certainty - for many festivals, the days of largesse have passed.  No travel, no accommodations, no screening fees.  Oh yeah, and if you want more than a couple tickets to your film, you're going to have to pay for them.

Let that sink in for a moment.

Mike Plante Named Director of Programming at CineVegas; Trevor Groth Remains Artistic Director

Some good news out of CineVegas, one of our very favorite festivals that kicks off tomorrow - Mike Plante has been named Director of Programming.  indieWIRE had the story today:

Trevor Groth will stay on at CineVegas as Artistic Director, while Mike Plante has been named Director of Programming at the festival, which opens this week. There was some question as to Groth’s involvement with CineVegas after his recent appointment as Sundance’s Director of Programming.

“It has been a privilege working with Mike for the past eight years at CineVegas and his contributions to the growth and success of the Festival are immeasurable,” said Groth in a statement.  “I don’t know anyone more passionate and knowledgeable about film than he is and especially about the type of renegade films that have stamped an indelible mark on anyone who has taken the wild cinematic ride that is CineVegas.  With his expanded role, I am confident that we will reach new heights in discovering distinctive, alternative films.”

Last year, in writing about the top 25 festivals for documentaries, we wrote:

CineVegas would make the top 25 if it screened more docs.  It gets a strong press turnout and decent audiences and has a setting that offers a hilarious and striking alternative to nearly every other festival around.  There's talk that the festival - which boasted a full documentary line-up a few years ago and then started to cut back - may once again start beefing up its nonfiction slate.

Last year, the fest reintroduced a documentary competition.  This year it screens acclaimed titles like WINNEBAGO MAN and BEETLE QUEEN CONQUERS TOKYO. 

IN DEPTH: Part Three of The 25 Top Film Festivals For Documentaries

The conclusion of our first look at the world's top 25 film festivals for documentary films.  For numbers 1-10, go here.  For 11-20, go here.  Rankings are based on our research as well as the anonymous thoughts of numerous filmmakers and industry figures.

21.  Edinburgh International Film Festival

Our take: 
Edinburgh began more than 60 years ago as a documentary-only film festival and it still treats nonfiction with a lot of love in its Document section as well as elsewhere throughout its program.  The festival takes place in the midst of a city-wide arts fest that transforms Scotland's beautiful capital city into a late summer haven for artists of all stripes.  Extraordinarily well curated and a near-perfect introduction to UK audiences. 

Others:
Filmmaker:
"A classy and serious film festival but I didn’t get a sense of how it was as a market. Not much I presume. They were great to the filmmakers and it was a lot of fun too. Great city, that helps."

Filmmaker:
"So many great films and wonderful TALKS with major people in the industry! I LOVE EDINBURGH!!!!!!!! A really supportive staff."

22.  Slamdance Film Festival

Our take:
Makes this list by virtue of the fact that it occasionally hosts a high profile film like MAD HOT BALLROOM and KING OF KONG.  But don't be deluded - these films came into the fest with high-powered teams behind them.  A typical doc at the fest will be hard-pressed to attract buyers or press to screenings, as they are too busy further down Park City's Main Street to make it up to the Treasure Mountain Inn.  But if selling to a distributor is not your main priority, you are still in Park City with a film and are free to mix and mingle with everyone who's come to town for the bigger 'dance.  You'll just have to have your own coming out party somewhere else.

23.  Morelia International Film Festival/Ambulante

Our take:
An exquisite fest in Mexico has been steadily increasing industry and press presence over the past few years while simultaneously supporting Ambulate, Mexico's traveling documentary film festival.  The combination is creating a true documentary culture in Mexico, supporting both homegrown as well as international talent.  Strong crowds and a beautiful setting make Morelia a festival in ascent.

Others:
Filmmaker:
"FANTASTIC.  Docs are programmed by Shannon Kelley formerly of Sundance, who is lovely and thoughtful and brings an amazing selection. But the place and the film selection and the hospitality and the other guests blew my mind, an absolute life-highlight."

24.  Sarasota Film Festival

Our take:
One of the US' top regional festivals, Sarasota usually boasts a strong documentary competition slate.  While the films almost always premiere elsewhere, the programming choices reflect a truly broad cross-section of stylistic approaches, with an emphasis on films that are visually strong.  Add to this a growing industry and press presence and one of the top social environments of any festival and Sarasota is positioning itself as the top festival in the state for nonfiction. 

25.  Copenhagen DOX

Our take:
The largest documentary film festival in Scandinavia has proved impressive in its first five years.  For some reason, it goes head to head with Sheffield, which creates a kind of doc marathon in November.  Screens more than 100 films and is building its own pitch market (what European doc fest is complete without it?). 

So that's this year's top 25, but here's a look at some festivals that we think are promising and should be watched carefully...

FESTIVALS TO WATCH - IN TRANSITION

CineVegas

Our take:
CineVegas would make the top 25 if it screened more docs.  It gets a strong press turnout and decent audiences and has a setting that offers a hilarious and striking alternative to nearly every other festival around.  There's talk that the festival - which boasted a full documentary line-up a few years ago and then started to cut back - may once again start beefing up its nonfiction slate.  If you get in, it's a must to attend and unless you spend a lot of time at the roulette wheel, you won't spend a dime.

Cleveland International Film Festival

Our take:
Long a favorite of visiting filmmakers, Cleveland moves up the calendar this year and now faces off against SXSW and Thessaloniki.  Gets strong support from the community and pays for most everything (although there can be a big and sometimes unexplainable difference in accomodations). 

Hamptons Film Festival

Our take:
The industry-heavy October fest has recently brought in David Nugent, who most recently programmed a strong doc line-up at Newport.  While Hamptons has always had a sizable documentary component, the sometimes hierarchical feel (with the NYC indie film royalty on the very top) has in the past led some nonfiction filmmakers to feel left out.   

Hot Springs Documentary Film Festival

Our take:
The venerable Arkansas documentary festival has none of the sparkle or prestige of Silverdocs, Full Frame or True/False, and the line-up can be pretty musty at times, but the local crowds turn out strong and shorts are given a fair amount of respect.  The setting is lovely and you can take full advantage of the local baths, but don't expect much in the way of financial support.  Would be interesting to see what a fresh infusion of young programming talent could bring to the table.

FESTIVALS TO WATCH - RISING

Big Sky Documentary Film Festival

Our take:
Awkwardly positioned between Sundance, Rotterdam, Berlin, the Oscars and True/False, Big Sky has nonetheless drawn strong crowds and a minor industry/press presence with its mix of new films (including many from locals) and fest veterans that may play Big Sky even after a theatrical run (provided the film never reaches Montana). 

Festival Internacional de Cine de Gijon

Our take:
The fest on the northern coast of Spain is geared toward a younger audience and the nonfiction line-up accentuates the point.  Still relatively unknown, the fest has been growing in recent years by reaching out to and inviting North American filmmakers who may already be on the continent for IDFA.  Word is starting to get out.

We'd love to hear your thoughts on these festivals or others.  You can post comments here or email your thoughts.

CineVegas 2007: There's a Stripper Pole in the Shower

Part 3 of 4 in my series of reports on the June Film Festival Frenzy (TM).  Part 2 (Newport) can be found here.  Parts 1 and 4 still to come.  I'm George Lucas like that.

I arrived in Las Vegas last Monday, less than 14 hours after I had arrived back in Los Angeles from my voyage to Newport, and the transition between the two festivals was, in a way, strikingly easy.  Both are exceptionally well run and filmmaker friendly.  Of course, there are certain, obvious differences, the title of this blog post being just one, incredibly true, example.

When I tell people about CineVegas and the reasons why I think it's one of the very best festivals I've been to during this nine month festival run I've been on, it usually boils down to this description:

You stay at the Palms Resort and Casino.  You get up at some point and go downstairs to the filmmaker lounge, where you grab some coffee and check your email.  Then you head out to the pool and have a margarita.  Then you go inside, cross through the casino and head to the Brendan Theatres at the other end of the complex and watch a movie.  There is no need to pre-reserve tickets.  You just show your badge as you walk in.  Movies mostly play (during the week at least) during three time periods - the 3 PM hour, the 6 PM hour and the 9 PM hour.  You have a choice of three movies.  After your first movie, you either go back out to the pool or you stop in to the filmmaker lounge for a drink and happy hour snacks.  Then you go to another movie.  When that one is done, you hop in a shuttle which takes you to a party at another casino.  When that's done, you go to a second party.  And when that's over, you find yourself inside a suite in the Palms Fantasy Tower, wherein you find the stripper pole in question, the one that's in a shower that has a window that opens to the bar area.  Sometime after this, you go to sleep.

Repeat.

There aren't many docs at CineVegas.  The first time I was at the fest (with my first film in 2002) there was a whole doc slate.  But it was a challenge to get folks to come.  Now though, everything was packed, even the few docs that they screened (we had many more people in our single screening than in 2 screenings 5 years ago).  I did get to see a few narratives I'd been wanting to see (although not Craig Zobel's GREAT WORLD OF SOUND, which played opposite me - again!), including Jeff Blitz' ROCKET SCIENCE, a charming high school story of debate team dreams (let the ROCKET SCIENCE v. THUMBSUCKER debates begin) and Amir Mann's THE FIFTH PATIENT, a twisty 24-like tale of terrorists and spies.

Here's a look at my 48 hours at CineVegas in pictures, including stops in the filmmaker lounge, Hard Rock pool area, Stratosphere (top and bottom), Palms, booze cruise and late night performance by TV Sheriff and the Trailbuddies (complete with confused dancers).  And featuring Craig Zobel, David Wilson, Peter Rieveschl, Barrett Farmer, my Aunt Betty and relatives of Trevor Groth!:

 

Thanks to Trevor, Mike and Morgan for a most excellent return to Vegas.  I'm gonna start making narrative films (or at least keep making Vegas-friendly nonfiction films) so that I can be back again and again.

Silverdocs Day 3

Slowly waking up to Saturday in Silver Spring, Maryland (apparently some Silverdocs revelers took it upon themselves to congregate and inbibe most loudly on the deck of the Courtyard Marriott until 4 am, awaking and annoying other Silverdocs attendees - I will leave it to your imagination to determine whether on which side of the divide I stood) and pouring a second cup of coffee down my gullet.  There are way too many good movies screening today than I can mention, but hopefully I will be able to pull myself outdoors and start watching some of them.

Tonight is kind of the end of it for me, the last of our US festivals (although there may be the occasional one off screening prior to our theatrical opening in the fall) for the Cobain film, and a final hurrah on this particularly intense festival run (Seattle to Newport to CineVegas to Silverdocs).  I have been taking way too many photos and hope to start posting them - as well as noting the many films that I have seen - sometime next week. In addition, we will be podcasting our Oscar Rules debate panel from yesterday. 

More soon...

A Brief Respite Before Silverdocs

Back in Los Angeles briefly today after two pretty amazing days at CineVegas and prior to my departure early tomorrow for Silverdocs.  I'll have much more to say about the June Festival Frenzy (TM) in the upcoming weeks (including a rash of pictures), but in the meantime, check out Michael Tully's detailed recap of our weekend in Newport, which still, somehow, only begins to scratch the surface of the many adventures that were had there, as well as Matt Dentler's early on the scene reports from Silver Spring, where the documentary community is beginning to gather.

But a brief word about CineVegas before I depart.  I attended the festival in 2002 with my first film, and returned in 2004, well, just because (it should be noted that CineVegas is one of only 3 out-of-town festivals that I've attended without having a film there - Sundance and True/False being the others).  And although I clearly had a great time (otherwise why go back), this year it felt like CineVegas had reached some kind of crazy new plateau for film festivals - incredibly well programmed, well-run, filmmaker friendly (more than friendly, more like filmmaker loving) and non-stop film, food, drink and enjoyment (not to mention being blasted into the air at 921 feet).  I think it's officially safe to say that it's one of my five favorite fests.  Kudos to Trevor, Mike, Morgan and all the kids at the Palms.

More to come from the AFI Silver...

This Is CineVegas. This is Newport. What Day is This?

It's Monday (would you believe that I actually typed Tuesday first) and I'm in CVHQ - the filmmaker lounge at CineVegas. I flew back to Los Angeles yesterday from an amazing weekend at the Newport Film Festival, and will be here just for a few days before I head to DC for this year's Silverdocs. Soon there will be many many pictures from Seattle and Newport (including tales of nights in random homes with fellow filmmakers Mike Tully, Craig Zobel, Annie Sundberg, Ricki Stern, Katie Brown, Lucy Walker and a cast of thousands), plus a Silverdocs preview (including, if I get the chance, a preview of my Silverdocs panel on the new Oscar rules and the revelation that my positive words for the Academy might have been premature), but for now, it's Vegas, with bottles of vodka in my filmmaker giftbag and a selection of excellent shorts (films that is) already under my belt). More to come...

indieWIRE previews the June Festival Frenzy

Eugene Hernandez and Brian Brooks have the skinny on the upcoming June Film Festival Frenzy (TM), which kicks off tomorrow with opening night at the Newport International Film Festival (that is, if you are not counting SIFF - from which I have just returned - and NewFest, both of which get a jump on things by kicking off in late May).  As noted here previously, I'm off to Newport later this week to kick off a 10 day cross country (and back and back and back again) tour that will also take me to CineVegas and AFI Silverdocs.