Well, it’s my favorite time of year again. Time for the LA Film Festival. And this year, all the action is based in Westwood. Running from July 22 to July 2, 2006, LAFF is a celebration of the independent film and a true showcase of untapped excellence with everything from studio backed, star power productions like THE DEVIL WEARS PRADA to some real grass roots movie-making with competition films like HEAD TRAUMA, SWEDISH AUTO and even Al Gore’s AN INCONVENIENT TRUTH. Unlike most festivals, what sets LAFF apart is that it is open to the public. Tickets are available for the majority of the films -both those in competition and those just being offered as previews of upcoming releases – not to mention one of my favorite parts of the festival, Family Day. Last year’s festival debuted gems like “Transamerica” with Oscar nominee Felicity Huffman, Gus Van Sant’s “Last Days”, “Happy Endings”, “June Bug” which garnered an Oscar nomination for Amy Adams, “Me and You and Everyone We Know” and my favorite (and it looks like most of the planet’s as well), Best Oscar Winner for a Documentary Feature, “March of the Penguins.” What holds for this year remains to be seen, but based on some of the screenings I have already seen, this looks to be another golden year. So, with tickets still available and the Festival just starting, let’s take a look at some of my Not-To-Be-Missed Films at LAFF 2006.
First and foremost, you think of a festival, you think fun. And the funniest (and funniest) film I have seen to date is BOYS & GIRLS GUIDE TO GETTING DOWN. Premiering in the Guilty Pleasures category, hands down, absolutely, no holds barred, beyond a shadow of a doubt, this will be the sleeper cult favorite to come from LAFF. Set today, in the fast paced club district of Cahuenga (as in Boulevard), BGGGD is a handy dandy visual guide that provides the how-to’s and do’s and don’t of clubbing in 21st Century LA, presented in the form of a study conducted by the Heizakeit Institute. Perfectly spoofing those old 1950’s Army training films and those God-awful health class films of the 50’s and 60’s, you’ll learn things like “How to Tip”, “How to Become a Regular”, “How to Get Into A Private Party or Club”, “Drug Dealer Time vs. Real Time” , “How to Silence a Non-Stop Talking Date” and one of my favorites, “Alcohol – From Clumsy to Retarded.” As an added bonus, we even find BGGGD “Hip Tips” scattered throughout the film! Of course, there are some very stimulating educational facts provided as well. Do you know the difference between the male and female brain? (Okay – don’t get me started, but let’s just say that Heizakeit studies reveal that the male brain places much less emphasis on higher life functions.)
Written and directed by Paul Sapiano, the film was shot over a period of seven weeks last year from August to October. With a pitch perfect blend of “animation”, live action and narration, Sapiano wields rapier wit with the ease and fluidity of a Jedi light saber battle. Kudos to him for also being semi-socially responsible when it comes to things like casual sex, drugs, and the all important – friends arrive together, friends leave together mantra. With over 180 speaking roles, the film incorporates real bartenders, real clubbers, real musicians along with some familiar faces (you know the ones – know the face but not the name) like Steve Monroe. Best known as Frank Tobin in “Miss Congeniality”, Steve is a scream here as the dufus trying to be cool, Bryce. Cricket Leigh, Katie Gilbert and Leyla Milani will also be easily recognizable but it’s newcomer CC Sheffield who makes a real splash.
Although depicting 20-30 somethings today, it speaks to all generations (and I know people in their 40’s who are doing the same stuff) and is FUNNY FUNNY FUNNY but at the same time, actually does provide some good information and does tastefully and tactfully address the downside of alcohol, drugs and casual sex. There is someone for everyone to relate to in the film, and the surprise appearance at the end of everyone’s favorite principal Dennis Haskins aka Mr. Belding, is just icing on the cake.
Turning to the more serious side, in the narrative competition arena we have SWEDISH AUTO. An absolutely charming small town character study, this is a true piece of Americana. Carter is a quiet, hard working mechanic. A loner, he works day in, day out, never deviating from his routine. Always a cheeseburger and fries guy, he spends his nights voyerusitically watching and listening to a violin virtuoso who lives in town. Hidden in the shadows, he comes a part of the night, almost invisible; that is until he finds an astronomy book mysteriously placed outside his apartment with his name scrawled on a page with the stars. Realizing that he is not alone and that someone else lives the same life as him, Carter embarks on a new quest to discover who it is and what makes them tick.
January Jones steals the film as Darla and Lukas Haas is ideal as Carter. Ever since he broke onto the scene as Samuel Boch in “Witness” he has always been the perfect loner with an expressive wide-eyed wonder and purveying sadness, and as Carter he exemplifies this. A festival favorite and fast becoming a fixture, Lukas was amazing in last year’s “Last Days” by Gus Van Sant and is even more impressive here. I first took notice of January Jones in “The Three Burials of Meliquiades Estrada” at AFI in November, but the confident, vulnerable yet wise girl she plays here shows a wider breadth of her talent. She exudes a sweetness that softens and brightens the entire film like a sun-kissed morning.
Written and directed by Derek Sieg, there is an overall sweetness to the film that softens some of the harder, more disturbing edges of the story, leaving you with a bright, hopeful and endearing ending. It also leaves some wide open questions ripe for exploration in a subsequent film. A bit slow in parts, Sieg nevertheless manages to draw you back in to the story with some amazing use of shadow and sunlight and some beautiful cinematography from Richard Lopez. The placement of the RC Cola machine and gorgeous open country of Virginia is certainly not lost on me and does wonders for the overall story with time and place. And the minimalist dialogue – sooooooo small town, country, southern USA. Tacit perfection!
I don’t know how this film will stand up in the Narrative Competition at LAFF as the myriad of entries in the category are like comparing apples to oranges, but if I were voting, SWEDISH AUTO would get my vote. But, based on what I’ve seen so far, I think its biggest Festival competition will come from CHALK.
And let’s take a quick look at CHALK. Think of a teachers version of “Fast Times At Ridgemont High” – humorous with a serious undertone about the teaching profession. Directed by Mike Akel and written by Akel and Chris Mass, the film is an invigorating and “educational” look into the school year of one Texas high school. Punctuated with those all important classroom milestones, the prom, homecoming, vacation, long weekends, pep rallies, parent teacher conferences, how many weeks left until summer, vacation (bears repeating), we get insight into the myriad types of teachers out there and what makes them tick. Should I be a good teacher or a nice guy? Lesson plans or loafing? Homework or house party? A purveying irony threads throughout that affords an appreciable level of humor without turning the film or teachers into a mockery. A common ground for all to relate, I guarantee there’s a teacher here that will touch a chord in each and everyone of you. Nicely done. Give this one an “A.”
In the Dark Wave category we have an interesting film by my fellow Philadelphian Lance Weiler. HEAD TRAUMA is the story of transient George Walker. Returning to the home he knew as a child after a 20 year absence, George finds everything changed. Abandoned, dirty, boarded up and ready for demolition (gotta love Philly’s refurbishing programs right now), George decides to fix up the house, sell it and get off the streets. Unfortunately, he suffers a head injury which leaves him with paralyzing nightmares; in particular – a murder.
Based on Weiler’s own experiences following a head on vehicular collision, HEAD TRAUMA explores the psyche and post-traumatic stress, giving this film a chill and thrill factor of 8 to 10.
On a side note, Weiler checked out over 60 abandoned houses before selecting the Prescott House. Although chosen for its creepiness, the primary reason for its selection was that “it didn’t smell as bad as most of the other houses.” Look for more on HEAD TRAUMA in the coming weeks and my interview with Lance Weiler.
And then there’s SP!T. A film that I typically wouldn’t go out to see, I was hooked at the opening thanks to some clever writing by Rotimi Rainwater and punctuated narration by Rosario Dawson. SP!T is a story about Slam Poetry and in particular, the road to the National Championships. (Yes, just like a spelling bee, there is a Slam Championship.) For those of you that aren’t familiar with the concept, Slam Poetry stems from hip hop and is a vital, thriving, energetic form of artistic expression in the raw form of the spoken word fused with a little “street performance.” It comes from the heart. It comes from the gut. It comes from life. Starting on the street and moving into clubs with Open Mike Nights and eventually onto Regionals and the Albuquerque Nationals (which get oh so ugly!!) , SP!T is a fascinating and interesting ride.
Directed by Rotimi Rainwater, the content and familiarization with Slam Poetry is done without being preachy or lecturing and eases one in to the “slam world”. Concentrating on the stories of Slam Master Shihan Van Clief (who now serves as emcee and coach at performances and competitions), Oveous Maximus, Al Black and Mollie Angelheart, and the LA versus NY Slam, we discover the driving forces behind each and this art form as a whole. And I gotta say, damn, these people are cut throat in competition!!!!! A well-done score interlacing nicely with the editing is especially effective during “episode” segues. A lot of hand held camera work also goes great lengths to convey the gutsy intensity of the art.
Although you need a tough skin to handle alot of the content itself as well as the physical actions of the poets, this is a real gem for the right audience. I have to say, though, the comedic and familial side of Shihan is the best part of the film, while the story of Oveous is extremely inspiring. The downside is what I believe is over-attention to poet Mollie Angelheart. A white girl who comes across as trying to be Black with her actions and words, she drives you to the point of annoyance as she whines on losing a competition and then completely pushes you over the edge when she goes into a manic dialogue on how her rate goes up another $1,000.00 thanks to appearing on a tv show. From the Maybelline blue eye-shadow to French-tipped nails and constant hair tossing, if anything, her performance only goes to show that anyone can try Slam – be it good, bad or indifferent.
Interesting and edgy, SP!T is definitely a must see alternative to mainstream Festival selection.
Wow! With over 250 feature films and shorts, plus Coffee Talks, Poolside Chats and star-studded premiers, I’ve barely scratched the surface! For a complete Festival line-up and to purchase tickets, check out the Los Angeles Film Festival at www.lafilmfest.com. And check back here and on my website www.moviesharkdeblore.com in the coming weeks and months for exclusive Festival photos, one on one director interviews and in-depth reviews. Who knows, maybe one of your Festival favorites will walk away with Oscar gold – again!
