All these wonderful things

The Monday Brief: MARWENCOL Victorious, Hot Docs Lineups & What to Say About Elinor Burkett, Film Critics & The Conversation

Flying back to Los Angeles from Cleveland, where locals are putting the wraps on the latest edition of their staggeringly successful regional film festival.  With jammed corridors like I’d never seen before and uniformly packed screenings (a new record of 71,000 tickets sold), the Cleveland International Film Festival has developed an exceptionally loyal and curious fan base (one that reaches far outside the Cleveland metropolitan area), resulting in a festival that sets a high benchmark on the regional circuit and…

It was in Cleveland last night where two docs stood in the spotlight.  First and foremost, Jeff Malmberg's MARWENCOL continued its hot streak, picking up its second Jury Prize in less than two weeks – it took the title at SXSW last week (see our summary of the early reviews of the film here.  The film will next go to top fests Ashland in Oregon, IFFBoston and San Francisco International.

In addition, another documentary, LOUDER THAN A BOMB, a world premiere that follows participants in a poetry slam in Chicago, took two prize in Cleveland - the coveted Audience Award as well as the Greg Gund Memorial Standing Up Prize, given to the top social justice film.

As Cleveland was wrapping, another spring festival favorite, Don Hahn’s WAKING SLEEPING BEAUTY (which screened at True/False and SXSW) kicked off its theatrical run, opening on five screens for a solid weekend estimate of $6,620 per screen.  The Disney distributed film on the fall and rise of the studio’s animation unit in the late ‘80s/early ‘90s is heading to Full Frame and Sarasota in the next few weeks.

While we've been on a bit of an extended hiatus (or at least slowdown), several top fests have posted their line-ups.  Hot Docs announced this past week that they will open with Thomas Balmès’ French doc BABIES - which was acquired by Focus Features at last year's Cannes Film Festival.  Said Focus topper James Schamus at the time:

“Seeing these little heroes during their formative moments makes Baby(ies) an extraordinarily entertaining experience, one that will appeal to any viewer of any age in any part of the world.  With this movie, Thomas is re-defining the nonfiction art form.”

Hot Docs has slated 25 films in its International Spectrum section of the festival, including festival favorites THE OATH, THE INVENTION OF DR. NAKAMATS, MARWENCOL, HIS & HERS and GASLAND.  Here's the full list:

HOT DOCS 2010
INTERNATIONAL SPECTRUM

AISHEEN (STILL ALIVE IN GAZA)
Directed by Nicolas Wadimoff (Qatar/Switzerland)

AUTUMN GOLD
Directed by Jan Tenhaven (Austria/Germany)

CHEMO
Directed by Pawel Lozinski (Poland)

DADDY'S GIRLS
Directed by Lily Sheffy (Isreal)

DAVID WANTS TO FLY
Directed by David Sieveking (Germany/Austria/Switzerland)

DISORDER
Directed by Huang Weikai (China)

FEATHERED COCAINE
Directed by Thorkell Hardarsson and Orn Marino Arnarson (Iceland)

A FILM UNFINISHED
Directed by Yael Hersonski (Isreal)

FLOWERS IN THE DESERT
Directed by José Alvarez (Mexico)

GASLAND
Directed by Josh Fox (USA)

GENERAL ORDERS NO. 9
Directed by Robert Persons (USA)

HIS & HERS
Directed by Ken Wardrop (Ireland)

I SHOT MY LOVE
Directed by Tomer Heymann (Isreal/Germany)

INTO ETERNITY
Directed by Michael Madsen (Sweden/Finland)

THE INVENTION OF DR. NAKAMATS
Directed by Kasper Astrup Schröder (Denmark)

ITO - A DIARY OF AN URBAN PRIEST
Directed by Pirjo Honkasalo (Finland)

MARWENCOL
Directed by Jeff Malmberg (USA)

THE OATH
Directed by Laura Poitras (USA)

THE PLAYER
Directed by John Appel (Netherlands)

THE REGRETTERS
Directed by Marcus Lindeen (Sweden)

SONA, THE OTHER MYSELF
Directed by Yang Yonghi (Japan/South Korea)

STEAM OF LIFE
Directed by Joonas Berghall and Mika Hotakainen (Finland)

TANKOGRAD
Directed by Boris Bertram (Denmark)

THIEVES BY LAW
Directed by Alexander Gentelev (Isreal/Germany)

WISTFUL WILDERNESS
Directed by Digma Sinke (Netherlands)

In addition to Hot Docs, IFFBoston also announced their strong line-up, including nearly 40 nonfiction features.  THE OATH, MARWENCOL and HIS & HERS will screen here as well - along with a number of other notable titles, including BANANAS!*, CASINO JACK AND THE UNITED STATES OF MONEY, COLONY, ERASING DAVID, FAMILY AFFAIR, HOW TO FOLD A FLAG, I'M DANGEROUS WITH LOVE, JOAN RIVERS: A PIECE OF WORK, SATURDAY NIGHT, WAR DON DON and our own CONVENTION.

In one more bit of spring festival news, Tribeca announced today that they will close their 2010 festival with the ensemble doc FREAKONOMICS, featuring new work from an all-star line-up of docmakers, including Morgan Spurlock, Alex Gibney, Heidi Ewing and Rachel Grady, Seth Gordon and Eugene Jarecki.

And one more thing...  Part of the reason why I’ve been so slack over the past few weeks is that I’ve been editing my new film (and I’m desperately trying to keep my priorities in order).  But another reason why I haven’t been able to muster together Monday Briefs the past three weeks is that I’ve been at somewhat of a loss to add anything of substance to the various debates du jour.  

I mean, what really is there to say about Elinor Burkett that wasn’t said by the late night comedians?  And seriously, are any of us happy that the most famous documentarian on Oscar night is a loud-mouthed punchline?  Or that after months of THE COVE’s steady march to Oscar glory, that film’s director wasn’t allowed to speak about the reason that he made the film – unfurled banner or second speaker rules be damned.

And what to add to the latest rounds of film critic wars and woes?  Armond White vs. J. Hoberman?  Glenn Kenny vs. Eric Kohn?  The pink-slipping of sometime documentarian and longtime film critic Todd McCarthy by the imploding Variety?  The cancellation of “At the Movies”, just as the series seemed to have a rebirth (and more focus on documentaries) with the hiring of the NY Times’ A.O. Scott and the Chicago Tribune’s Michael Phillips.  And the less said about Kevin Smith, the better.  All this in just three weeks. I mean, it was nearly four years ago when I wrote “Dog Days for Film Critics”, but who could imagine it would get so much worse so quickly.

Which is not to say that this stuff doesn’t matter.  It does.  It matters that the biggest platform that documentary filmmakers have all year was hijacked by a lucky-to-be-nominated producer (don’t run off at the mouth about how you don’t like the finished film and how your vision isn’t on the screen at the same time that you clutch your little gold man) and an overeager activist/show director.  Looking idiotic on television is not good for our brand, if that must be said aloud.

And the state of our film criticism union is not strong.  And that matters to us as well.  Check out Rotten Tomatoes year end lists of the best reviewed films of the year.  It’s consistently dominated by nonfiction features.  Now, as much as I love docs, I gotta admit I find it a little hard to believe that we are really that much better than narrative films, but I will take any bit of leverage I can to get our films out before an audience that needs to be convinced that we are entertaining, cinematic and theatrical.

And what to make of The Conversation, a much tweeted about gathering of the usual suspects in New York and the latest attempt to grasp hold of some sense of balance as the ground keeps shifting underneath our industry.  Maybe one day one of these events will come up with the big answers, but for now it seems like a constant cry for filmmakers to find more ways to be innovative (and spend more time marketing and promoting their films - for free, naturally) while the "industry" types pontificate.  How many of the folks speaking at The Conversation actually pay filmmakers and vendors what they say they will? And they charge filmmakers to watch this stuff?

So, alas and alack, I have thoughts but no answers.  And I'm probably as much of a usual suspect as those on the dais in New York.  But I'm quickly looking forward to some new things to have conversations about.

The Monday Brief: Awards Week in Los Angeles, Big Debut for ART OF THE STEAL & ND/NF Doubles Down on Docs

Our long national nightmare is almost over...

This year's Oscar race concludes in just under a week but first there's a long wind-up of activities in Los Angeles including a series of major awards-centric docuvents building to Friday night's Spirit Awards (in late night - or prime time if you're on the west coast) and Sunday's Academy Awards.

It all started last night with a fundraiser for Kristi Jacobson and Lori Silverbush's forthcoming documentary HUNGRY IN AMERICA at Tom Collichio's Craft LA.  Inspired in part by CBS News' groundbreaking 1968 report "Hunger in America", which led to quick, bipartisan action in Washington, the duo hope to explore and explain why hunger continues to to be an issue in this country.  The benefit also served to kick off Vanity Fair's Oscar week activities and boasted a mix of doc veterans (including RJ Cutler, Participant's Diane Weyermann and Courtney Sexton, Gucci Tribeca Fund's Ryan Harrington - an EP on the Hunger doc - and Oscar nominee Roger Ross Williams) and celebrities (Topher Grace, Marcia Cross, David Arquette, Elizabeth Berkley and Top Chef winner Michael Voltaggio).

Tuesday night, the IDA hosts a private event at the Standard Hotel.  Wednesday night, the Motion Picture Academy takes over the IDA's annual Oscar reception with their first annual Docs! night, featuring clips from all 10 Oscar nominated documentary films and panel discussions with the nominees.

Thursday night, LA's Cinefamily kicks off their new nonfiction series What's Up Docs with a rare reunion of groundbreaking comedy doc pioneers TVTV (more on this series in a later post).

Friday, the aforementioned Spirit Awards kick off the weekend with their move to downtown LA and two awards for docs - the just announced Chaz and Roger Ebert Truer Than Fiction prize (which will go to either 45365, BEETLE QUEEN CONQUERS TOKYO or EL GENERAL) and the Best Documentary Feature award, which seems likely to go to ANVIL! THE STORY OF ANVIL.  The late night party that follows will continue the nonstop revelry leading up to Sunday's Oscars.

But all the world is not the Kodak Theatre, and so...

The Top 25 Film Festivals for Documentaries, 2nd Edition - 10 More American Fests That Matter

Previously: #25. Ashland

There's a bunch of other great American film festivals that do good work for documentaries and filmmakers.  And if our Top 25 Film Festivals list was completely US-centric, the following ten film festivals would all make the list.

Here's an alphabetical list of 10 more American festivals that matter, with comments from filmmakers and industry who've attended:

AFI Fest

Selection of US films screened at 2009 festival:  THE ART OF THE STEAL, BEETLE QUEEN CONQUERS TOKYO, LA DANSE: THE PARIS OPERA BALLET, NEIL YOUNG TRUNK SHOW, REPORTER, SWEETGRASS

Our coverage of AFI Fest here.

They said:

Filmmaker:  "awesome people.  didn't get to attend, but heard good things.  have budget to fly and house filmmakers"

Filmmaker:  "Lots of glitz but not much substance, particularly for weighty films."

Industry:  "I was really impressed with the way they remade themselves this year. I'm definitely interested in returning. And yes, they paid for my flight and room."

Industry:  "Major film showcase with more than a passing nod to docs. Range of activity, organizing and facilities (up until this year). John Wildman and has staff are first rate. The many questions surrounding AFI Fest's "up-in-the-air" status the past year left attendees -- regulars, new and potential -- in a quandry: Is it or isn't it happening? The shortened program. Overall disorganization. The seeming lack of support from the institute."

Industry:  "A good screening opportunity in LA - don’t get much bang but if you can get a few journalists in to see the film, always helpful.  To be fair, the film selection gets better and better and I respect that they tried new things this year.  Don’t know how it panned out with the free public tickets, but liked the idea.  They were very accommodating in trying to travel an international filmmaker.  They offered vouchers but only out of European hubs – but appreciated the effort.  Not a lot of business happening but another good screening opportunity for those who need people (acad members) to see films on the big screen."

Industry:  "it's no longer a discovery or missed gems festival - it's just a best of the fests. They only screen one program of short films and very few docs and independent films now."

Industry:  "Can be valuable depending on the slot.  Also, the festival is changing and they seem to primarily be programming best of other festivals and less films for sale so it's a question mark going forward."

Birmingham Sidewalk Festival

Selection of US films screened at 2009 festival:  45365, BEST WORST MOVIE, BRANSON, CRUDE, FORGETTING DAD, GUEST OF CINDY SHERMAN, OFFICIAL REJECTION, SAY MY NAME, WE LIVE IN PUBLIC

Our coverage of Birmingham Sidewalk Festival here.

They said:

Filmmaker:  "You wouldn't think anything happens in Birmingham, and maybe it doesn't, but for one outstanding weekend it seems like the town was built for you.  Great hospitality.  There were field trips for filmmakers and the after parties were delightfully strange (80s hair rock bands, rappers, rooftop dance parties, arcade games…) Leisurely atmosphere with eclectic programming.  A very nice and unique regional weekend film festival."

SARASOTA 2009: WINNEBAGO MAN Wins Out on the Gulf Coast

If one needed further proof that late March/early April has become something of a hurricane's eye for film festivals, look no further than all the tweets my pals were posting on Twitter this weekend (yes, yes, we've fallen for that now too, you can follow us here). 

Over the course of three days, I was reading updates from Full Frame, Sarasota (one of our top 25 film festivals for documentary) and Ashland, which is quickly gaining a reputation for a strong doc line-up.  That swarm of activity was coming on the heels of Cleveland and AFI Dallas wrapping last weekend.

Sarasota has become something of a key stop for festival junkies, coming as it does in the wake of Austin's SXSW.  Sarasota takes a great mix of titles from Sundance and SXSW (as well as other key festivals and a handful of premieres), so it often makes for an excellent primer of the state of indie film, particularly on the narrative side - if you want to see pretty much every film that will be nominated for a Cassavetes or Someone to Watch Award at next year's Spirit Awards, you should book at flight for SRQ next year.

The documentary jury had a great line-up of films to sift through this year, including Darius Marder's LOOT, one of our favorite films of 2008.  They chose to award their Grand Jury prize to Ben Steinbauer's WINNEBAGO MAN, a film I missed at SXSW but about which I've heard great things.  I assume that I'll be seeing it soon "at a festival near you".

Doc juror Karina Longworth today posted her thoughts on six of the films she saw in competition, singling out LOOT and OVER THE HILLS AND FAR AWAY for praise.

I'm also interested in what she has to say about Samantha Buck's 21 BELOW, scheduled to officially premiere at Tribeca later this month, and comparisons to Donal Mosher and Michael Palmieri's forthcoming OCTOBER COUNTRY (which had a sneak preview at True/False and is set to premiere at a major film festival in the upcoming months):

"(T)here’s something fascinating about the fact that (21 BELOW) will be traveling the festival circuit at the same time as OCTOBER COUNTRY, a documentary...set in a similar milieu but with a very different philosophy and aesthetic results. Go back a couple of years to include BILLY THE KID (and surely other films that slip my immediate memory), and there’s a trend story in here somewhere about the American suburban family fighting against decomposition."

Festival winners at Ashland, Cleveland and AFI Dallas after the jump.

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.

Darius Goes West, Just Two Months on the Fest Circuit, Nabs 4th & 5th Audience Awards in Cleveland & Dallas

Darius Goes West - a new documentary about a teenage boy with multiple dystrophy and his journey from Georgia to Los Angeles, where he and his friends hope to convince MTV to customize Darius wheelchair on the show "Pimp My Ride" - didn't have its world premiere until February, when it screened at the Santa Barbara Film Festival.  But ever since, it's been on a hot streak, picking up five different Audience Awards, including the prize at Santa Barbara and wins last week in Cleveland and today at the inaugural AFI Dallas.

The film, directed by recent college graduate Logan Smalley, also picked up the Greg Gund Memorial Standing Up Film Prize in Cleveland - a second Audience Award for films of particular social relevance.  Ironically, the next three films in the general Audience Award competition at Cleveland were also vying for the Standing Up Prize - Mike Roth and John Henning's Saving Marriage, Ricki Stern and Annie Sundberg's veteran fest hit The Trials of Darryl Hunt and Sean Fine and Andrea Nix Fine's Sundance prize winner War/Dance.

The winner of the Documentary Film Competition in Cleveland was the German film Mr. Philipenko and His Submarine, directed by Jan Hinrik Drevs and RenZ Harder.

In Dallas, the Target Award for Best Documentary went to Socheata Poeuv's New Year Baby, a PBS-backed personal doc about the director investigating how her parents excaped the killing fields of the Khmer Rouge.

Full winners in Cleveland, including narrative and copious shorts prizes, can be found here.  My own, promised wrap-up of Cleveland due shortly.  Full winners in Dallas can be found here.

Darius Goes West is scheduled to screen at the upcoming Tribeca Film Festival later this month.

Catching Up: Jesus Camp Bloggers, Leahan's Latest, Cleveland & AFI Dallas Announce

A quick recap of some of the weeks notable nonfiction stories:

• Jesus Camp co-directors Rachel Grady and Heidi Ewing have posted an entertaining recap of their Oscar day experiences, including how they helped one of the producers of An Inconvenient Truth out of their gown over on the Tribeca Film Festival website.

• Jonny Leahan is back at Indiewire with a preview of some of the doc premieres due at three March film festivals, including SXSW, HBO Comedy Arts and True/False.  Of note is T/F programmer David Wilson's statement regarding the out-of-control requirements regarding festivals and premiere status - something that True/False has chosen to rebel against:

"(W)e feel like the attention paid to premieres and premiere status is drawing focus away from the films themselves."

• Speaking of upcoming fests, both the Cleveland Film Festival and the inaugural AFI Dallas have posted their film rosters.  Soon, the second of the year's big 3 doc fests - FullFrame in Durham, NC - will be posting its roster for this year.

2007 Preview: Major Film Festivals Jan-Jun

As we embark on the new year (without even having finished our look back at the old), it's time to preview the major film festivals on tap for the first half of 2007.  While there may be sins of omission in this list (feel free to post others in the comments), it's a good starting point of the most important festivals of the year, particularly for folks interested in nonfiction:

January
Palm Springs    January 4 -15
Sundance        January 18 - 28, 2007
Rotterdam        January 24 - February 4
Santa Barbara    January 25 - February 4

February
Berlin           February 8 - 18
Cinequest        February 28 - March 11

March
True/False        March 1 - 4
Miami            March 2 - 11
SXSW            March 9 - 17
Mar del Plata        March 8 - 18
Cleveland        March 15 - 25
Thessaloniki Documentary        March 16 - 25
New Directors New Films     March 21 - April 1
AFI Dallas        March 22 - April 1
Chicago Docu    March 30 - April 8

April
Philadelphia        April 5 - 18
Full Frame          April 12 - 15
Sarasota        April 13 - 22
Hotdocs        April 19 - 29
Tribeca        April 25 - May 6
IFF Boston        April 25 - 30
San Francisco    April 26 - May 10

May
Emerging Talent    May 12 -15
Cannes        May 16 - 27
Seattle        May 24 - June 17

June
Newport        June 5 - 10
Cinevegas        June 8 - 16
AFI Silverdocs        June 12 - 17
Provincetown    June 13 - 17
Los Angeles        June 21 - July 1