The Los Angeles Film Fest did not disappoint this year.  When all was said and done, I saw over twenty films in the course of ten days.  I’m telling you, if there’s a job for a professional film festival attendee, I’m happy to apply!  Once again, I enjoyed a variety of interesting movies – often in the company of my Los Angeles friends.  A big thanks to those of you LA angels who came out to support indie cinema with me (KS, SK, ERW, JJ, CF, MT, RA).

And now…my favorites from the 2013 LA Film Fest:

THE NEW BLACK – When legislation preventing same sex marriage passed in 2008–the same year of Barack Obama’s historic election–many pundits pointed their fingers towards the African American community’s presumed homophobia. Filmmaker Yoruba Richen questions the history and the validity of these assumptions in this frank documentary that traces the complicated and combative intersections of the African American and LBGT civil rights movements.

I still have the Los Angeles Times newspaper from Wednesday, November 5th, 2008, and its cover serves as a bittersweet reminder of what was achieved the day prior and the work still to be done.  Yes we did elect the country’s first black President, but at the same time my generally uber-progressive resident state of California was making it unlawful for my gay friends to get married.  Were the post-election assumptions true?  Did the black community that came out to vote for Barack Obama also play a significant role in voting against another disenfranchised minority seeking the same equal rights historically sought after by blacks?  I guess that’s why this documentary caught my attention.  And I appreciate that director Yoruba Richen tackles the subject in a thoughtful, objective manner.  While my liberal leanings had me cheering on the Maryland activists fighting for gay marriage, I also appreciate that the people leading the argument from the other side (namely assorted leaders in black evangelical churches) were not demonized and, in fact, given plenty of screen time to explain their beliefs.  Now that’s “fair and balanced” coverage. (And hooray to Maryland voters for voting same-sex marriage into law last November!)

AIN’T THEM BODIES SAINTS – This moody, meditative noir tells the tale of Bob and Ruth Guthrie, an outlaw couple whose crime spree comes to an end when the cops find them holed up in a house on the outskirts of town. After Ruth wounds an officer during the inevitable shootout, Bob takes the blame and lands himself in jail. After four years of longing for the love of his life, Bob breaks out of prison and sets out on a journey across Texas hill country to reunite with Ruth and the daughter he has never met.

AIN’T THEM BODIES SAINTS is an unadorned, straightforward story that derives its depth from gorgeous production values and intense, heartfelt performances.  It reminds me of a Terrence Malick film in that its one of those cinematic experiences you submit to.  Writer/Director David Lowery will certainly remain on my radar – his confidence behind the camera captures moments that are poignant, chilling, and heartbreaking.  Of course, he’s aided by powerful actors, particularly Ben Foster and the always-captivating Rooney Mara.  Another MVP for the film is composer Daniel Hart.  His affecting score includes the unique use of percussive hand-clapping, distinguishing it as one of the most original film soundtracks I’ve heard in a while.

FOREV – Pete and Sophie are somewhere on the edge of the desert when he works up the nerve to propose. The hitch being: Their whirlwind road trip from L.A. to Phoenix is the closest these neighbors have ever come to going on a date. Nevertheless, fueled by their respective fears of intimacy and low-grade self-loathing, they run with the idea, much to the annoyance of Pete’s sister Jess, who’s along for the latter half of the ride.

FOUR DOGS –  Already branded an acting school drop-out, Oliver courts further indignation by serving as his aunt’s live-in dog sitter and pool boy. Having reduced his (anti)social circle to his paranoid drug dealer and embittered best friend, Oliver is shaken from his stupor by the arrival of an alluring houseguest dealing with her own issues.

These last two ultra-low-budget films share very similar traits: each has a simple narrative that’s anchored more in real characters than in plot, yet the filmmaking voices behind these narratives is anything but simple.  In an industry where so many movies feel like generic, insert-plot-twist-here, carbon copies of one another, FOREV and FOUR DOGS are refreshingly unique in the struggling souls they choose to portray.  They remind me of my Wisconsin Film Festival favorite, ALL THE LIGHT IN THE SKY, in that they’re able to glean drama and humor from slice-of-life observations.  A successful charm is the end result, achieved through sheer authenticity.

Once again, I had the pleasure of attending two of my favorite film festivals in 2013 – The Wisconsin Film Festival and the LA Film Fest.  I have neglected to post about some of the great movies I’ve encountered at both of these events, so I figure now is as good a time as any to do so.  There’s a fair amount of ground to cover thanks to some excellent film programmers out there, so I’m going to tackle each festival in separate entries.

Let’s start with the festival of my Packer-proud home state.

MOOOOOOOOOOOOOO-VIES! (I know…I couldn’t help myself.)

It was a fast and furious fest weekend when I headed back to Wisconsin this past April.  Less than a month into my new job, I didn’t have much vacation time to spare, so I took a red-eye flight on a Thursday night (red-eye = good in theory, horrible in execution) and arrived in Madison on Friday morning.  I stopped at Mom and Dad’s for a quick shower and then I was off to see the first of four films for that day.  The multiple screenings continued through Sunday – with friends and family joining me here and there – and I absorbed the finest cinematic offerings from America’s Dairyland before flying back to Los Angeles early on Monday morning so I could report to work.  Yes, I’m getting too old for that kind of travel.

Of course, it was totally worth it, though.

In my usual laziness, I have borrowed each recommended movie’s synopsis from the respective festival’s film guide.  Fear not, though.  My deeply profound analysis is included, too.  Ready your brains.

Highlights from the 15th Annual Wisconsin Film Festival:

ALL THE LIGHT IN THE SKY – Marie is a middle-aged actress in Los Angeles with a successful enough career that allows her to have a nice apartment on the beach where she can swim and surf every day.  When she’s visited by her beloved, recently engaged niece Faye, Marie begins to reflect on her non-existent love life, her choice of remaining in an industry that has little need for actresses over 40, and even her place in the universe.

What?!?  A film featuring a lead character who is <GASP!> a WOMAN IN HER FORTIES?!?  Isn’t that an endangered creature of cinema?  Luckily for the audience, the endangered creature in co-writer/director Joe Swanberg’s lovely, subtle film is played by the wonderful actress Jane Adams (who also receives co-writing credit).  ALL THE LIGHT IN THE SKY is one of those quiet, observational films that doesn’t follow a traditional story format, but remains captivating nonetheless thanks to the intelligent, contemplative exchanges between its characters.  And, yeah, it’s refreshing to see a forty-something woman well represented – hell, represented at all! – on the big screen.

A HIJACKING – Out in the Indian Ocean, a Danish freighter is hijacked by Somali pirates.  The pirates demand a $15 million ransom from the corporation who owns the boat, launching a series of increasingly suspenseful negotiations.  The pressure mounts as days stretch into weeks, and with each foiled bargain the situation grows more volatile for the pirates, crew, and corporate lawyers alike.

Admittedly, I saw this film on Saturday night (midway through my movie marathon weekend) after an entertaining, cocktail-soaked family dinner.  In the darkened Sundance movie theatre, I may have experienced droopy eyelids every now and then.  But that is by no means a reflection of this taut, tense thriller.  With an eye for realism, writer/director Tobias Lindholm expertly captures the growing dread of both those held captive on the hijacked boat and those desperately negotiating from the boardroom.

KAUWBOY – With his country-singer mother apparently on tour in the U.S., Jojo lives alone in The Netherlands countryside with his father.  A security guard, Dad comes across as a man of few words, volatile and violent.  When Jojo discovers an abandoned baby crow in the woods, he finds solace in caring for the little bird, which is even more vulnerable than he is.  But his father has a very strict rule: Plants and animals do not belong in the house.

A Boy and his Bird

A lonely boy?  A fragile bird?  An intimidating father?  Yeah, I knew going into this film that I’d probably need an entire box of Kleenex to get through it.  And I was right. (Good thing I stuffed my purse beforehand.)  But every emotion I experienced during the movie – joy, anger, heartbreak, relief – was earned honestly by Dutch filmmaker Boudewijn Koole.  In fact, KAUWBOY is one of the most exquisite films I’ve ever witnessed, gorgeously shot and anchored by the fearless, raw performance of Rick Lens as Jojo.  It’s moving without feeling manipulative.  The film still appears to be making the festival rounds, but let’s hope it gets released soon.  In the meantime, enjoy the trailer: KAUWBOY TRAILER.

NEXT UP: The LA Film Fest!