Category Archives: SIFF Preview

The 2024 SIFF Preview

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 4, 2024)

The 50th Seattle International Film Festival opens May 9th and runs through May 19th. This year’s SIFF features a total of 207 shorts, documentaries, and narrative films from 84 countries. The brick-and-mortar event will be immediately followed by a week of select virtual screenings from this year’s catalog (April 20-27) on the SIFF Channel.

SIFF has certainly grown exponentially since its first incarnation in 1976 (in case the math is making you crazy, festival organizers “skipped” the 13th event; you know how superstitious show people get about Scottish kings and such). Compare the numbers: In 1976, the Festival boasted a whopping 19 films from 9 countries, with one lone venue (the venerable Egyptian Theater, pictured at the top of the post). This year, there are 8 venues. Then again, there were only 13 people on the staff in 1976 (compared with 110 now).

Regardless of how large or small the staff, the one constant over the decades has been the quality of the curation. Long before “sharing files” (or even making mix tapes) was a thing, SIFF’s annual lineup reflected that sense of joy in turning friends on to something new and exciting; instilling the sense there was a tangible film lover’s community (others who enjoyed being alone together, out there in the dark).

The first SIFF event I ever attended was a screening of Richard Linklater’s Dazed and Confused, in 1993. Linklater was there for a Q&A session afterwards. That was the first time I’d ever had a chance to ask the director of a film a question right after the credits rolled (I wasn’t writing about film yet-just a movie geek). I can’t remember what I asked (some dopey query about the 70s soundtrack), but I thought that was so fucking cool (I’d recently moved to Seattle after living in a cultural vacuum for a decade-what can I say?). Another memorable event I attended that year was a tribute to John Schlesinger (with the director on hand).

In honor of the 50th anniversary, SIFF has launched the SIFF Archives-explained thusly in a press release:

The SIFF Archives are the culmination of nearly two years of compiling, digitizing, and organizing materials from SIFF’s past. You’ll find interactive flipbooks of each Festival’s catalog, photo and video assets, full lists of the feature films that we played each year, and other highlights. Learning about the history of Seattle’s film scene has never been easier, and it’s all publicly available—for researchers and the casually interested alike.

It is a fascinating archive to peruse; I especially enjoyed the poster gallery. Some faves:

Whoa. I just realized that this will be the 32nd SIFF I’ve attended (in one form or the other). As (an alleged) film critic, I have been covering SIFF for Hullabaloo now for 18 years (since 2007), but as always, the looming question is – where to begin? I’ve found the trick to navigating festivals is developing a 6th sense for films in your wheelhouse (so I embrace my OCD and channel it like a cinematic dowser).

Let’s dive in!

This years Opening Night Gala selection is Thelma (USA). Described as an action comedy, the film (directed by Josh Margolin) stars June Squibb, who will be presented with the 2024 Golden Space Needle Award for Outstanding Contribution to Cinema in a separate event on May 11th. Squibb has had a 70-year career on stage, TV and the big screen (she was nominated for a Best Supporting Actress Oscar for her role in the 2013 film Nebraska).

Politics, politics. I’m intrigued to see Bonjour, Switzerland (Switzerland) a “…socially conscious slapstick political comedy about multilingualism [in which] a Swiss referendum leaves the country with only one official language—French—much to the chagrin of the German- and Italian-speaking citizens.” The documentary The Battle for Laikipia (Kenya) looks at a long-standing “and increasingly deadly” battle over land rights in a region of Kenya between indigenous peoples and ranchers of European descent. And Before It Ends (Denmark) is a drama set near the end of WW2 about a Danish school principal facing a moral dilemma over civilian refugees who have been housed at his school by Nazi military directive.

Speaking of Nazis…Hitchcock’s Pro-Nazi Film? (France) offers a challenging reappraisal of Alfred Hitchcock’s 1944 WW2 drama, Lifeboat. Now for something completely different…Rainier: A Beer Odyssey (USA) is a behind-the-scenes look at the marvelously inventive (and frequently hilarious) Rainier Beer TV ad campaigns that ran through the 70s and 80s. I’m a sucker for nature docs, so I am hoping to get a peek at Songs of Earth (Norway), described as a “breathtaking and immersive nature documentary, and Norway’s official Oscar submission”, the film was co-exec produced by Wim Wenders and Liv Ullman.

Always with the drama: I’m pretty jazzed to see Close Your Eyes (Spain), which is the first film in 30 years from heralded director Victor Erice (Spirit of the Beehive). From another venerable international filmmaker: In Our Day (South Korea) is auteur Hong Sang-soo’s 30th feature, described as “two parallel stories thematically link together—an actress unsure of her future, and an aging poet unsure of his past.” The New Boy (Australia) features the ever-versatile Cate Blanchett as a nun in the Outback charged with schooling a young Aboriginal orphan who may harbor supernatural powers.

Come on Otto, let’s do some crimes: Scorched Earth (Germany) promises to be a “…tense, tight-lipped art-house thriller that recalls the work of Jean-Pierre Melville and Michael Mann, [in which] a criminal returns to Berlin for a big-time art heist, only for Murphy’s Law to take effect.” Right in my wheelhouse. Lies We Tell (Ireland) is described as a “…smart modern reworking of Sheridan Le Fanu’s gothic novel Uncle Silas“, and The Extortion (Argentina) concerns an airline pilot with a potentially career-jeopardizing secret who becomes embroiled in a “…world of intrigue and corruption.” Fasten your seat-belts!

I always especially look forward to SIFF’s music-related fare. Here are several I’m keen on…the doc Luther: Never Too Much (USA) examines the life and career of the late great singer-songwriter Luther Vandross; Scala! (UK) takes a butcher’s at “…a repertory house of ill repute with enough nose-thumbing alternative programming, midnight madness, illicit pornography, and transgressive politics that it would make Margaret Thatcher’s head explode”, and Saturn Return (Spain) is a biopic about Granada indie music group Los Planetas.

Obviously, I’ve barely scratched the surface. I’ll be plowing through the catalog and sharing reviews with you beginning next Saturday. In the meantime, visit the SIFF site for full details on the films, event screenings, special guests, panel discussions and more.


The 2023 SIFF Preview

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 6, 2023)

The 49th Seattle International Film Festival (May 11-21)  opens next week, featuring 264 shorts, docs, and narrative films from 74 countries. As always, the looming question is – where to begin? I’ve found the trick to navigating festivals is developing a 6th sense for films in your wheelhouse (so I embrace my OCD and channel it like a cinematic dowser).

(deep breath) Let’s dive in.

This year’s Opening Night Gala selection is Past Lives (USA/Korea), the latest offering from A24 (Ex Machina, Ladybird, Moonlight, Everything Everywhere All at Once, Billed as “a heartrending modern romance”, the drama was written and directed by Celine Song, who will be attending and participating in a Q&A following the screening.

Always with the personal drama: Dean Kavanagh’s Hole in the Head (Ireland) is a character study about a mute projectionist who uses the tools of his trade as a conduit for coming to terms with long-repressed memories. Adolfo (Mexico, U.S. premiere) is first-time writer-director Sofia Auza’s tale of two twentysomething strangers who form a close bond over the course of one fateful evening (possible shades of Before Sunrise).

Utilizing the backdrop of late-80s Thatcherism, Georgia Oakley’s debut feature Blue Jean (U.K.) concerns a P.E. teacher entering her first queer relationship just as the British government passes The Local Government Act-which (among other things) prohibited local authorities from promoting homosexuality (timely, considering recent legislation here in the colonies).

Another period drama with political undercurrents is Chile ’76 (Chile/Argentine/Qatar). During Chile’s oppressive Pinochet era, an upper-class doctor’s wife is unexpectedly recruited by her local priest to nurse a wounded anti-government fugitive back to health. The film marks the directing debut for actress Manuella Martelli.

That’s showbiz: several backstage docs intrigue me, including Becoming Mary Tyler Moore (USA) James Adolphus’ portrait of the pioneering actress, producer, and activist. A Disturbance in the Force (USA) really sounds fun-it tells the origin story of the “unhinged” 1978 CBS TV special “The Star Wars Holiday Special”-which redefined the meaning of “WTF?!” for franchise fans (directed by Jeremy Coon and Steve Kozak).

Some wordy film titles double as a synopsis…e.g., Chicory Wees’ Circus of the Scars – The Insider Odyssey of the Jim Rose Circus Sideshow (USA), an overdue history of the unique Seattle-based troupe. It’s sure to be a piercing study (sorry). Speaking of bad puns (and as a shameless practitioner of same), I’m really looking forward to groaning through another Seattle-based doc, Punderneath it All (USA). Director Abby Hagan explores “…the wonderfully whimsical world of 15 regional pun competitions across the U.S.”.

Movie movie: Roman Hüben’s Douglas Sirk – Hope as in Despair (Switzerland) is a documentary portrait of the prolific German director known for technicolor 50s melodramas like Written on the Wind and Imitation of Life. Pigeonholed at the time as “women’s weepies”, Sirk’s oeuvre has since gained more critical appreciation, as well as influencing filmmakers like Pedro Almodóvar, John Waters, and Rainer Werner Fassbinder. And Nancy Buirski’s Desperate Souls, Dark City, and the Legend of Midnight Cowboy (USA) zeroes in on John Schlesinger’s groundbreaking 1969 drama.

Speaking of which, Midnight Cowboy (which I wrote about here) is one of several special archival presentations at this year’s SIFF. Also showing: Akira Kurosawa’s The Seven Samurai, and Jack Arnold’s 1957 cult favorite The Incredible Shrinking Man (which I wrote about here). This is a rare opportunity to see these gems on the big screen.

Behind the music: All hail the Queen of Disco! Love to Love You, Donna Summer (USA) promises to be an intimate portrait of the late pop diva, co-directed by Brooklyn Sudano and Roger Ross Williams. Sam Pollard and Ben Shapiro’s Max Roach: The Drum Also Waltzes (USA) examines the life of the great jazz player and cultural activist.

Pacific Northwest music connections are well-represented this year; I’m particularly intrigued by Even Hell Has its Heroes (USA), a documentary by Seattle multimedia transgender artist Clyde Petersen about Earth (“the slowest metal band on the planet”). And Casey Affleck stars as a washed-up folk singer looking for a comeback in Dreamin’ Wild (USA). The drama was shot in Spokane and is written and directed by Bill Pohlad.

Family friendly: I’m a big anime fan, so I’m looking forward to catching Keiichi Hara’s fantasy adventure Lonely Castle in the Mirror (Japan), described as “a magical realism story about struggling with mental health and how friendships can help you overcome your despair.” Another promising animated feature is Ernest & Celestine: A Trip to Gibberitia (France). Co-directed by Jean-Christophe Roger and Julien Chheng, it’s the belated sequel to the charming 2014 film Ernest & Célestine (my original  SIFF review).

Odds ‘n’ sods: Next Sohee (Korea) is a crime thriller with a compelling setup- “A vivacious high schooler is placed in a job training program at a call center and is slowly cut down to nothing until she commits suicide, galvanizing a police detective to peel back layer upon layer of exploitation to get to the bottom of her death.”

Directed by C.J. “Fiery” Obasi, Mami Wata- A West Afrikan Folklore (Nigeria) “follows the citizens of a fictional West African village as their faith in a water deity is challenged by forces from without and within.” And Marie Alice Wolfszahn’s Mother Superior (Austria) is “a gothic occult thriller set in 1970s Austria, in which a “woman born under sinister circumstances takes a job as an eccentric Baroness’ nurse to solve the mystery of her own parentage.” OK then.

Obviously, I’ve barely scratched the surface. I’ll be plowing through the catalog and sharing reviews with you beginning next Saturday. In the meantime, visit the SIFF site for full details on the films, event screenings, special guests, panel discussions and more.

SIFF-ting through cinema: Week 1

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 16, 2022)

The 2022 Seattle International Film Festival celebrated its opening night on April 14th. This year’s SIFF is a “hybrid experience”, combining virtual access to many selections with a return to in-person screenings.  SIFF is showing 262 shorts, features and docs from 80 countries. The Festival runs now through April 24th, so let’s just dive right in…

SIFF is showcasing 41 documentaries this year, and many look intriguing. Sweetheart Deal (USA) is billed as an “unflinchingly honest” portrait of 4 heroin-addicted sex workers struggling for survival along Seattle’s infamous Aurora Avenue. Riotsville, USA (USA) tells the story of a government-funded fake town built on a military installation in the late 60s for practicing crowd-control against “Black Panther agitators” (the exercises were filmed and distributed for police training purposes).

On the meditative side: Filmed over 6 years, Dark Red Forest (China) is a verité reflection on the “mysterious daily life” of Buddhist nuns, documenting an annual retreat attended by thousands at the Yarchen Gar Monastery in Tibet. River (Australia) is being compared to the Qatsi trilogy, with “soothing, poetic narration by Willem Dafoe” and a “haunting score by Radiohead’s Johnny Greenwood and more”. They had me at “Qatsi”.

Pop culture docs: Only in Theaters (USA) is billed as “an ode” to a venerable LA-based art house theater chain run by the Laemmle family. Several promising music docs are also on my “too see” list, including a profile of Sinéad O’Connor called Nothing Compares (Ireland), Jazz Fest: A New Orleans Story (USA), which takes a look back at 50 years of the New Orleans Jazz and Heritage Festival, and Bernstein’s Wall (USA) which blends “TV interviews, home movies, and excerpts from sexually frank letters” to construct an (assumingly) intimate portrait of iconic composer and conductor Leonard Bernstein.

Always with the drama: Warm Blood (USA) is set in the 1980s, and described as a “grungy, politically subversive mix of narrative, documentary, and trash B-movies about the underbelly of America”…right in my wheelhouse. Drunken Birds (Canada/Quebec) concerns a Mexican drug cartel worker who finds seasonal migrant work in Quebec while searching for his long-lost love. The trailer suggests a Terrence Malick-style visual palette. Ali & Eva (UK) is a cross-cultural “middle-age lonely-hearts” romance that its director calls “a diegetic musical” (a middlebrow’s confession: I had look up “diegetic”).

Lightening the mood: “Imagine if Ealing Studios and ESPN teamed up to co-produce a film.” I imagine I’ll find out, as the dramedy Phantom of the Open (UK) is on my list. Also from the UK, The Duke is a dramedy based on the 1961 heist of a Goya portrait of from London’s National Gallery, conducted by an unlikely culprit (Jim Broadbent and Helen Mirren are the primary draw for me). Cha Cha Real Smooth (USA) is a dramedy about “a bar mitzvah party host who makes friends with a mother and her autistic daughter” (it earned the U.S. Dramatic Audience Award earlier this year at Sundance).

“Funny” how? Celts (Serbia) is a dark comedy about “a harried and undersexed mother” in 1993 Belgrade who slips out of her 8 year-old daughter’s sleepover party for a little partying of her own during a politically tumultuous era (I’m sensing echoes of Milos Forman’s The Firemen’s Ball). Barbarian Invasion (Malaysia) is “an empowering show-biz satire” about an actress and single mom who has been on hiatus for 10 years taking care of her son. She lands the lead in a surefire-hit action film, with one caveat: she’s required to do her own martial arts stunts. Cop Secret (France/Iceland) is an Icelandic action comedy that goofs on the buddy-cop genre (with a hint of Nordic noir, perhaps?).

Let’s go do some crimes: Hinterland (Germany) is a period thriller set in post WWI Vienna, described as “an expressionist crime thriller, filmed entirely on blue-screen”. The Man in the Basement (France) is a “neighbor from hell” thriller starring one of my favorite contemporary French actors, François Cluzet. A man purchases a basement from a well-off couple as a storage space …but then moves in. In the psychological thriller Out of Sync (Spain), “time, space, and sound fall hopelessly out of sync” for a Foley artist.

Odds and ends: Billed as “an outback Western”, The Legend of Molly Johnson (Australia) was written and directed by star Leah Purcell. The film is a reworking of Henry Lawson’s 1892 colonial classic. Inu-oh (Japan) is an anime fictionalizing “the collaboration between Inu-kong, a 14th-century masked performer, and a blind biwa player.” And 2551.01 (Austria) is “an experimental, punk-style interpretation of Charlie Chaplin’s The Kid—with elements of Guy Maddin, Freaks, the Brothers Quay, David Lynch, and Titicut Follies” …which suggests I picked a bad week to give up doing mushrooms.

Obviously, I’ve barely scratched the surface. I’ll be plowing through the catalog and sharing reviews with you beginning next Saturday (check out my Twitter feed @denofcinema5 for capsule reviews). In the meantime, visit the SIFF site for full details on film schedules, virtual viewing options, event screenings, special guests, and more.

A peek at Oscar’s shorts (and a SIFF preview)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 3, 2021)

Here’s a lament I’ve been hearing more often than not: “I can’t find anything new and exciting to watch on “_____” (insert the digital streaming platform that you have developed a deep and abiding love/hate relationship with during the pandemic).

Buck up, little camper…there are so many new and exciting things you can watch over the next several weeks (in the comfort of your living room) it will make your head spin.

At the risk of having my critic’s license revoked, I confess in front of God and all 6 of my readers that I have only seen 3 of this year’s 8 Best Picture nominees. Then again, the Academy and I rarely see eye-to-eye. Apparently, I’m not alone these days:

When this year’s Oscars best picture envelope is opened, viewers might not be on the edge of their seat to see if “Nomadland,” “Mank” or “Promising Young Woman” — or another contender — is named. Instead, they might be scratching their heads. Although the pandemic has left households paying for more streaming services than ever, the majority of the best picture nominees at the Oscars are unknown to entertainment consumers.

Over the years, this has been a recurring problem for the Oscars, which is one reason why, in 2010, the Academy expanded the best picture race to up to 10 nominees to allow for more populist titles to enter the mix. But this year’s lack of awareness comes with a perplexing twist. Since the pandemic has shut down most movie theaters, the majority of the best picture Oscar contenders — including “Sound of Metal,” “The Trial of the Chicago 7” and “Minari” — are currently available to rent or stream on Netflix, Amazon and other platforms. […]

Beyond the lack of consumer awareness, there are other hurdles for the Oscar telecast this year, including a mandate that nominees must show up in person, causing concern among executives, publicists and talent who are still cautious about the pandemic. Despite the challenges, this year’s nominees are the most diverse class ever, with 70 women receiving a total of 76 nominations, and nine of the 20 acting nominations going to people of color.

Here’s hoping the industry sorts itself out. I am happy to report that I have seen the Oscar nominees for Best Short Film-Animation and Best Short Film-Live Action. And as of this weekend, you can catch them via Shorts TV’s presentation of the Live Action, Animation and Documentary Oscar Nominated Short Film Category nominees (in theaters and virtual). From their press release:

The program will be available in over 200 screens across 50+ theatrical markets including New York and Los Angeles and due to theaters being directly affected by the COVID-19 pandemic, through virtual cinematic releases with a portion of proceeds benefiting the local theaters that are unable to be open during the release. This is the only opportunity for audiences to watch the short film nominees in theaters before the Academy Awards ceremony on Sunday, April 25, 2021.

I would advise parents that the animated program is a mixed bag that includes several selections that are not suitable for young children. I have not had time to preview the documentaries, but here are my reviews of this year’s Live Action nominees:,h_563,al_c,q_90,usm_0.66_1.00_0.01/e914b8_3bef2f5f858e48eda591230607ff0ba7~mv2.jpg?ssl=1

Feeling Through **** (USA, 19 mins) – This beautifully acted “after hours” piece concerns a troubled NYC teenager (Steven Prescod) looking for a place to sleep after staying out late partying with his buds. He encounters a deaf-blind man (Robert Tarango) standing on a deserted street holding up a sign asking for help. Hesitant at first, the teen agrees to help the man get to a bus stop. As the evening progresses the pair develop an unexpectedly deep bond. A moving treatise on empathy and compassion. Written and directed by Doug Roland.

The Letter Room **½ (USA, 33 mins) – Oscar Isaac (Inside Llewyn Davis, Ex Machina) stars in this character study about a lonely prison guard who is transferred to the “communications” division of the facility, where he screens inmate mail. Despite being told by his supervisor to skim for red flags and not dwell on personal details, the guard becomes fixated on one woman’s deeply passionate letters to her boyfriend who sits on Death Row yet never writes in return. The premise is interesting, and the acting is fine, but the film meanders and has a weak ending. Written and directed by Elvira Lind.

The Present ***½ (Palestine, 25 mins) – The premise is simple: As a surprise gift for his wife on their anniversary, a man goes shopping for a new fridge with his adorable young daughter in tow. If this were a sitcom, my next line would be “unexpected hi-jinks ensue” …but as the man and his daughter are Palestinians living in the West Bank, they must navigate heavily guarded checkpoints, segregated roads and moody, unpredictable soldiers who essentially treat them like suspected terrorists at every turn. And as writer-director Farah Nabulsi deftly illustrates in her affecting allegory, there is nothing funny about the seemingly unsolvable impasse in the region.

Two Distant Strangers ***½ (USA, 29 mins) – A cartoonist (Joey Bada$$) hooks up with a beautiful woman (Zaria Simone). In the morning, he awakens and heads for his own apartment to tend to his dog but is asphyxiated while being restrained by a racist cop (Andrew Howard) who has wrongly accused him of theft. Not a spoiler…because he reawakens in the woman’s apartment, sets off as before and ends up getting killed again in a slightly different scenario…but by the same cop. The cycle repeats, over and over. Will he ever make it home? Co-directors Travon Free and Martin Desmond Roe’s riff on Groundhog Day is an obvious allusion to the impetus behind the Black Lives Matter movement (reinforced by a heartbreaking roll call in the credits).

White Eye *** Israel, 20 mins) – Writer-director Tomar Shushan’s drama centers on an Israeli man who espies his recently stolen bicycle one evening, locked up outside of a meat processing plant. He calls the police, who tell him that unless he can provide proof of ownership, like a purchase receipt (he can’t), they are not authorized to cut the lock. They suggest he wait around and see if “the thief” shows up, then call them back. The man finds out that the bike belongs to an employee at the plant, an Eritrean immigrant who insists he bought the bike fair and square (although he cannot produce a receipt either). A well-constructed Solomon-like parable about judgement and empathy.

For more info on ways to view the Short Film programs, check out the ShortsTV website.

…and one more thing

Like many organizers of brick-and-mortar events that were scheduled for 2020, the staff of the Seattle International Film Festival (which usually opens mid-May and runs 3 weeks) were caught short by the pandemic last year and faced with some tough decisions:

That was then, this is now: The good news is, over the past year SIFF has rallied and curated its first-ever virtual festival for 2021, which runs from April 8th to April 18th (via the SIFF Channel, available on Roku, Fire TV, Android TV and Apple TV—or online at The slate features a grand total of 219 films, including 93 feature length films from 69 countries. Additionally, SIFF will be streaming 126 short films. Beginning with next week’s post, I’ll be sharing highlights as I plow in! For info on tickets and more, visit the SIFF website.

The 2019 SIFF preview

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 11, 2019)

It’s nearly time for the 44th Seattle International Film Festival (May 16th to June 9th). SIFF is showing 410 shorts, features and docs from 86 countries. Navigating festivals takes skill; the trick is developing a sense for films in your wheelhouse (I embrace my OCD and channel it like a cinematic dowser). Here are some intriguing possibilities on my list after obsessively combing through the 2019 SIFF catalog (so you don’t have to).

Let’s dive in, shall we? SIFF is featuring a number of documentaries and feature films with a sociopolitical bent. The documentary Cold Case Hammarsjkold (Denmark) follows intriguing new leads regarding the mysterious 1961 plane crash in Zambia that took the life of UN Secretary-General Dag Hammarsjkold.

Werner Herzog meets one-on-one with the eponymous former leader of the Soviet Union in Meeting Gorbachev (UK/USA). Russia, Russia, Russia…Putin’s Witnesses (Latvia) is filmmaker/Russian ex-patriate Vitaly Mansky’s unblinking look behind the scenes of Putin’s election in 2000.

Keira Knightly stars in Official Secrets (USA), the true story of a whistle-blower prosecuted in 2004 under the UK’s Official Secrets Act after she exposed U.S. espionage shenanigans designed to drum up support for invading Iraq. Raise Hell: The Life and Time of Molly Ivins (USA) profiles the late, great, and fearless political writer who suffered no fools gladly on either side of the aisle. The Fall of the American Empire (Canada) is the bookend to Quebecois director Dennys Arcand’s trilogy of sociopolitical satires, preceded by The Decline of the American Empire and The Barbarian Invasions.

Thinking green: 2040 (Australia) is a hybrid eco-doc that speculates on a *possible* utopic future for the planet…if “we” get our act together. The eco-doc Anthropocene: The Human Epoch (Canada) is a “timely meditation” regarding modern civilization’s impact on the Earth’s environment (looks to be along the lines of Koyaanisqatsi). The Wild (USA) is filmmaker Mark Titus’ update to his 2014 eco-doc The Breach, which studied the threat to Bristol Bay, Alaska’s salmon industry posed by local copper mining.

Too much cold reality for you? How about a little levity, then? The Death of Dick Long (USA) is a self-proclaimed “ridiculous comedy” about “two idiots in small-town Alabama” (sounds about my speed) who bungle through a hasty cover-up after a mutual pal meets an untimely end while they’re all out partying together (good times!).

Support the Girls (USA) is a day-in-the-life “working-class comedy” from Andrew Bujalski (Computer Chess) starring Regina King as the harried manager of a Texas-based “breastaurant”. Emma Peeters (Belgium) concerns a struggling thespian who decides to end it all on her imminent 35th birthday (according to her, “the expiry date for actresses”).

Dramadies: Sword of Trust (USA) is this year’s Opening Night film at SIFF and the latest from Seattle-based director Lynn Shelton, wherein two young women encounter the conspiracy-laced worldview of a crotchety pawnshop owner (Marc Maron). Winter Flies (Czech Republic) is a road movie about the misadventures of two Czech teens as they joyride a stolen car through “the dramatic backroads of northern Bohemia”.

Go Back to China (China) is a family dramedy about a young woman living high off her trust fund in L.A. who gets cut off by her prosperous dad in China. If she wants back on the gravy train, he demands she must first come back to China for a year to work at his toy factory.

Pure drama: This is Not Berlin (Mexico) is a coming-of-age tale with an ensemble cast, set against the 80s new wave music and art scene in Mexico City. A 12-year-old girl deals with growing pains and tensions brewing at school between white and First Nations students in A Colony (Quebec). Alice (Australia) is a woman left high and dry by her husband who becomes a sex worker in desperation yet finds it unexpectedly empowering.

Burning Cane (USA) is the buzz-generating debut from 18-year-old director Phillip Youmans, set in rural Louisiana. Monos (Columbia) is an uncompromising war drama about 8 teenage guerilla fighters who go rogue in a dense South American jungle, with a female American hostage in tow.

Piranhas (Italy) is “a harrowing tale of gang violence” set in the Neopolitan crime world, adapted from a Roberto Saviano novel. The Ground Beneath My Feet (Austria) is a psychodrama about a workaholic facing mounting pressures in her personal and professional life that are nudging her closer to a breakdown.

Okay, enough with the drama, already. I wanna dance. Alt-rocker PJ Harvey literally travelled the world to find inspiration for her latest album, and her journey is documented in A Dog Called Money (Ireland). Yes, he’s still alive, and doing well, thank you-David Crosby: Remember My Name (USA) is “an aggressively honest portrait” of the rock icon, produced by Cameron Crowe. Miles Davis: Birth of the Cool (USA) sounds…cool.

And the hits just keep coming…Pavarotti (USA/UK) looks to be a full-scale (sorry) portrait of the late opera star from veteran director Ron Howard. The Apollo (USA) mixes archival stage (and backstage) footage with contemporary perspectives to reflect on the past, present and future of Harlem’s iconic performance venue. The rock ‘n’ roll comedy Yesterday (UK) sounds like a potential crowd-pleaser, considering it’s a Beatles-inspired musical fantasy that features the never-a-dull-moment Danny Boyle at the helm.

From the crime/mystery/thriller files: I’m a “Nordic noir” aficionado, so I hope to catch An Affair (Norway) wherein a disenchanted housewife being stalked by a “hunky young man” becomes the stalker herself when he tires of the chase and moves on.  Conviction (France) is a true crime legal thriller promising to be “a crackling nail-biter”. In Stray Dolls (USA), a South Asian immigrant woman fresh to the U.S. takes a job at “a seedy” New Jersey motel, then gets dragged into an ill-advised scheme by a fellow housekeeper.

Forays into sci-fi and fantasy beckon: Cities of Last Things (Taiwan), “a sci-fi-tinged noir” looks like it could be a mindblower, with three actors in separate vignettes all playing one character-a tortured Taiwanese police detective navigating one long dark night of his soul (or something to that effect). Sons of Denmark (Denmark) is a dystopian political thriller set in 2025, when an underground group desperately fights to stop a fast-rising ultra-nationalist, anti-immigrant party from taking power in Denmark (seems rather timely).

I’m intrigued to see As the Earth Turns (USA), a 1938 silent film shot in Seattle and recently discovered at the home of director Richard Lyford. Restored and featuring a new score by Seattle composer Ed Hartman, it is described as “a sci-fi thriller that cleverly foreshadows many things still relevant to us.” What an amazing find!

Fear not, midnight movie and/or horror fans-SIFF has not forsaken thee: The Legend of the Stardust Brothers (Japan) is “a lost gem of 1980s Japanese cinema” that I somehow missed on its first go-around. Looks like this will be my chance to catch the revival of this “Rocky Horror meets Hard Day’s Night” hybrid and report back to you. Ghost Town Anthology (Quebec) is a film “shot on grainy, 16mm stock” about a sleepy Quebecois hamlet that “has a ghost problem” (I’m scared already).

Last but not least…I don’t know what took him so long-but the maestro of deadpan cinema Jim Jarmusch has finally got around to making a zombie flick: SIFF just announced the late (but very welcome) addition of The Dead Don’t Die (USA) to the schedule (with Bill Murray, Adam Driver, and Chloe Savigny!).

Obviously, I’ve barely scratched the surface. I’ll be plowing through the catalog and sharing reviews with you beginning next Saturday. In the meantime, visit the SIFF site for full details on the films, event screenings, special guests, panel discussions and more.

The 2018 SIFF Preview

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 12, 2018)

It’s nearly time for the 44th Seattle International Film Festival (May 17th to June 10th). SIFF is showing 433 shorts, features and docs from 90 countries. Navigating festivals takes skill; the trick is developing a sense for films in your wheelhouse (I embrace my OCD and channel it like a cinematic dowser). Here are some intriguing possibilities on my list after obsessively combing through the 2018 SIFF catalog (so you don’t have to).

Let’s dive in, shall we? SIFF is featuring a number of documentaries and feature films with a socio-political bent. After the War (France) is a drama about an Italian insurgent living in France with his teenaged daughter. When he loses his asylum status, his radicalized past comes back to haunt him and his family. The Swedish doc A Good Week for Democracy looks at an annual political free-for-all that gives thousands of lobbyists, politicians a chance and voters to get up close and personal. Crime + Punishment (USA) is a doc examining the NYPD’s quota-based practices, focusing on a group of minority police officers bravely willing to risk their careers by helping expose systemic corruption.

I’m always up for a music doc or biopic. Industrial Accident: The Story of Wax Trax! Records (USA) is about the eponymous Chicago record store-turned underground record label that spearheaded the 80s industrial music scene by nurturing acts like Ministry and My Life with the Thrill Kill Kult. I’m intrigued by The King (USA), in which director Eugene Jarecki gets behind the wheel of Elvis Presley’s 1963 Rolls-Royce and goes on a cross-country trek to paint an analogous portrait of both America and Presley’s rise and erm, fall. Ryuichi Sakamoto: Coda (Japan) profiles the Oscar-winning composer and activist, who returns to the recording studio after a lengthy hiatus due to his health issues.

Docs and biopics about women we love: Nico, 1988 (Italy) dramatizes the final years of the Warhol Factory alum and Velvet Underground singer as she traverses Europe, finding her voice as a solo act and battling addiction. Westwood: Punk, Icon, Activist (U.K.) takes a look at iconoclastic fashion designer Vivienne Westwood and her considerable influence on punk and alternative fashion couture. Love, Gilda (USA) uses newly discovered audio tapes and rare home movies to tell the story of SNL icon Gilda Radner.

A couple of intriguing movies about the movies are on this year’s schedule. I’m pretty jazzed to check out Godard Mon Amour (France) as it is the newest film from the always wonderful Michel Hazanavicius (The Artist, OSS 117: Cairo, Nest of Spies).  The film dramatizes the 1968 romance between director Jean-Luc Godard and his acting muse Anne Wiazemsky. One of my favorite directors is profiled in Hal (USA), a doc about the late great Hal Ashby (The Last Detail, Harold and Maude, Shampoo, etc.). SIFF is also serving up a special archival presentation of Ashby’s 1979 classic, Being There.

There are thrillers, mysteries and crime dramas aplenty to keep you on the edge of your seat. Bloody Milk (France) is a psychological thriller about a paranoid dairy farmer who buys into a YouTube conspiracy theory about a deadly bovine disease and “recklessly sacrifices one of his cows and then goes to extreme lengths to cover up his tracks”. From Denmark, The Guilty promises to be an “innovative, claustrophobic thriller” about an ex-street cop turned emergency center dispatcher who becomes a caller’s only hope for survival. The Third Murder (Japan) is a courtroom drama about a career defense lawyer having an existential crisis over what he does for a living (shades of And Justice for All).

In the drama department: This year’s Opening Night Gala film, The Bookshop (U.K) stars Emily Mortimer as a widow who opens a bookstore in a provincial village on the English coast in 1959 and finds herself at odds with the chary locals. From Canada, the Quebecois film Fake Tattoos digs into the relationship that develops between an introverted 18 year-old punk rocker with a troubled past and a free-spirited young woman after they meet at a concert. I’m very interested to see Let the Sunshine In (France) for two reasons: Juliet Binoche (one of the best actresses strolling the Earth) and director Claire Denis (Chocolat, Beau travail, White Material, etc.). Who cares what it’s “about”?

Funny stuff: Sorry to Bother You (USA) is this year’s Centerpiece Gala film; billed as “an off-the-wall, neon, drug-fueled black comedy” executed with “surrealist fanaticism”. Right in my proverbial wheelhouse. Don’t disappoint me, Centerpiece Gala selection. I’m getting an Amy Schumer vibe from Hot Mess (Australia), which follows the romantic travails of a young woman who is “a budding playwright, a college drop-out, and a complete screw-up” who likes to write “songs about toxic shock syndrome”. I’m there!

One of the most anticipated films this year is the Closing Night Gala pick, Gus van Sant’s Don’t Worry, He Won’t Get Far on Foot. Joaquin Phoenix stars in this biopic about cartoonist John Callahan, who became a quadriplegic following an automobile accident.

Midnight movies! In Praise of Nothing (Serbia) is a “satirical story time parable for adults” based on Erasmus’ 1511 essay “In Praise of Folly”. A “personification” of a character named Nothing (voiced by Iggy Pop!) narrates in simple rhyme, with globe-trotting footage from 62 cinematographers (who were instructed by the director to “shoot nothing”). Wow. Sounds like The Blair Witch Project meets Koyannisqatsi.

If horror is your thing, The Field Guide to Evil (Austria) could be the ticket. It’s an anthology based on dark folk tales from around the world. And there’s already some “buzz” from Seattle’s over-the-counter culture regarding the Austrian film “ * ” (star symbol), a collage of starry footage, assembled from all of film history, in chronological order. Vape pen on standby!

Obviously, I’ve barely scratched the surface. I’ll be plowing through the catalog and sharing reviews with you beginning next Saturday. In the meantime, visit the SIFF site for full details on the films, event screenings, special guests, panel discussions and more.

The 2017 SIFF Preview

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 13, 2017)

It’s nearly time for the Seattle International Film Festival (May 18th to June 11th). SIFF is showing 400 shorts, features and docs from 80 countries. Navigating festivals takes skill; the trick is developing a sense for films in your wheelhouse (I embrace my OCD and channel it like a cinematic dowser). Here are some intriguing possibilities on my list after obsessively combing through the 2017 SIFF catalog (so you don’t have to).

Let’s dive in, shall we? SIFF is featuring a number of documentaries and feature films with a sociopolitical bent. Dolores (USA) is a documentary about influential American labor & civil rights activist Dolores Huerta, who has been given short shrift by the history books. Another political doc, The Reagan Show (USA) assembles archival footage to illustrate how the “original” showbiz president sparked the transformation of American politics into the post-modern theater of the absurd we’re watching now on the nightly news. White Sun (Nepal/USA/Qatar) is a drama set against the backdrop of post-civil war Nepal about a Maoist rebel trying to reconnect with his politically antithetical family.

More politics…The Young Karl Marx (France/Germany/Belgium; North American Premiere) is a promising biopic focusing on the early days of Marx and Engels. Nocturama (France/Belgium/Germany) is a drama about “a group of young, multiracial radicals with no stated ideology” who hole up for the night in a mall after committing terrorist attacks in Paris (The Breakfast Club meets Fassbinder’s The Third Generation?).

I’m especially interested in seeing This is Our Land (France), which involves an idealistic nurse who is approached by a far-right party to run for mayor. Claiming to be a study on “…how populist ideology can quietly but decisively contaminate ‘good’ people”, the main character is also said to be based on Marine Le Pen. Talk about timely!

I’m always on the lookout for a good music documentary, and SIFF offers an eclectic assortment to pick from this year. Bill Frisell, A Portrait (Australia) takes a look at the elusive, genre-defying Seattle-based “guitarist’s guitarist”, one of those artists who most people have never heard of, yet (paradoxically) has worked with seemingly every recording artist that everybody has heard of (in addition to releasing 35 of his own albums to date). I am intrigued by Chavela (USA), as I admit to being previously unaware of Mexican “rabble-rousing, cigar-smoking lesbian iconoclast” Chavela Vargas.

More music: A Life in Waves (USA) is the first feature-length doc to profile the esoteric yet wildly successful electronica/New Age music pioneer and entrepreneur Suzanne Ciani. Rumble: the Indians Who Rocked the World (Canada) purports to be exactly what its title infers; a celebration of Native Americans (Link Wray, Robbie Robertson, Buffy Sainte-Marie and many others) who have left an indelible mark on modern music.

Speaking of indigenous peoples, SIFF is spotlighting several more indigenous-centric films this year. Angry Inuk (Canada) looks to be conversation-starting documentary that gives a voice to the Inuit side of the controversies that have been raging for years regarding subsistence seal hunting (the director herself is an Inuit activist).

Searchers (Canada) is “an indigenous take” on John Ford’s revenge tale The Searchers, centering on an Inuk hunter’s pursuit of a band of marauders who have taken his family (Inuk hunters have a very specialized set of skills!). The icy north also figures into the doc Dawson City: Frozen Time (USA), billed as “a haunting chronicle of the transformations in a Yukon Territory Gold Rush town” (I spent 2 weeks there one night on an Alcan trip).

I have a soft spot for road movies, and several have caught my eye. American Folk (USA) is a drama starring two real-life folk singers as “two strangers who take an impromptu, cross-country road trip in the days after 9/11” (I’m getting a Once vibe). I’m eager to see Weirdos (Canada), the latest from my favorite Canadian director Bruce McDonald (Roadkill, Highway 61, Hard Core Logo), a “sparkling coming-of-age road journey” set in 1976.

The Trip to Spain (UK) reunites director Michael Winterbottom with stars Steve Coogan and Rob Brydon, as they bring their patented brand of whining and dining back to the table. Borders (Burkina Faso) is a drama examining a burgeoning friendship between four women from different regions as they cross West Africa by bus.

More African cinema! The action-comedy Bad Black (Uganda) comes straight outta the no-budget “Wakaliwood” studio, and has been a hit with audiences at other festivals. It promises to deliver “ass-kicking commando vengeance unlike anything you have seen before.” Looks like a lot of fun…I’m in! On what I would assume to be a much lighter note, The Wedding Party (Nigeria) offers up “a fresh, female take on Nigerian culture.”

There are thrillers, mysteries and crime dramas aplenty to keep you on the edge of your seat. Bad Day for the Cut (Ireland) pits a “seemingly” mild-mannered Irish farmer against thugs who have killed his ma, and features what is touted as “a career-making lead performance from Nigel O’Neill.” Godspeed (Taiwan) is a crime thriller centering on a down-and-out taxi driver who “accidentally picks up a drug mule” one fateful night (echoes of Michael Mann’s Collateral).

Here’s a twist on the hit man genre: Kills on Wheels (Hungary) follows the travails of two handicapped young men who cross paths with “a wheelchair-bound hit man who seems to come straight out of a comic book.” Oy.

Funny stuff: Ears (Italy) is a B&W surrealist tragi-comedy about a man who wakes up with a ringing in his ears and a “cryptic note on his fridge” that jumpstarts what looks to be a pretty weird day. Free and Easy (China) concerns a “soap-peddling shyster” who picks the wrong isolated mountain town to drift into…it’s agog with “idiosyncratic con artists” (I sense irony).

Gook (USA) is said to be a mashup of Kevin Smith’s Clerks with Spike Lee’s social commentary sensibilities. It’s a day in the life of two Korean brothers hanging out in their dad’s South Central shoe store-on the first day of the 1992 L.A. riots.

I never miss a chance to get my fantasy/sci-fi/midnight movie fix. Where to start? The Door (China) is a sci-fi mindbender about an auto mechanic who stumbles onto a magic door that leads to an alternate reality (as one does). Also from China: Have a Nice Day, “a grim, animated noir” with “Tarantino-esque dialog” (you had me at “animated noir”).

Infinity Baby (USA) is billed as an “absurdist, droll black comedy” concerning “a company who farms out three month-old babies who will never age due to a freak pharmaceutical side effect.” More nightmare fuel: Meatball Machine Kodoku (Japan), is an “utterly insane, blood-and-guts-soaked, action-packed cyber-punk comedy.” OK then.

Obviously, I’ve barely scratched the surface of the catalog. I’ll be plowing through screeners and sharing reviews with you starting next Saturday. In the meantime, visit the SIFF website for the full film roster, and info about event screenings and special guests.

2016 SIFF Preview

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 7, 2016)

It’s nearly time again for the Seattle International Film Festival (May 19th through June 12th). SIFF is showing 421 shorts, features and docs from 85 countries. Navigating festivals takes skill; the trick is developing a sense for films in your wheelhouse (as for me, I embrace my OCD and channel it like a cinematic dowser). Here are some intriguing possibilities I have gleaned after obsessively combing through every capsule description.*

(*Someday, I’ll get a life. I promise. After I watch this movie. Oh, and these movies…)

Let’s dive in, shall we? SIFF is featuring a number of documentaries with a socio-political bent. Action Commandante (South Africa) is a profile of anti-apartheid activist Ashley Kriel, who was gunned down by police in 1987 (at age 20) and name-checked by Nelson Mandela in his 1990 post-prison release speech. Ovarian Psycos profiles the eponymous East L.A. community activist group (young women of color who have formed their own “cycle brigade”.)

The Lovers and the Despot (UK) claims to be a “real life espionage thriller”, about the daring escape of a South Korean film director and his actress wife who were kidnapped at the behest of North Korean leader Kim Jong-il and forced to become his “personal filmmakers” (you can’t make this shit up).

And a little closer to home: Weiner (USA) is a frank (sorry!) behind the scenes look at Anthony Weiner’s “audacious, ill-fated comeback campaign” for NYC Mayor in 2013. Of course, in light of the current campaign cycle, it may all seem pretty tame now.

Two docs take a hard look at the ripple effects of high technology. Death by Design (China) looks to give you nightmares about how that little smartphone you’re holding in your hands right now is playing no small part in destroying our planet. Werner Herzog’s Lo and Behold, Reveries of the Connected World takes a more existential approach (doesn’t he always?), using “a series of vignettes tracing the past, present, and possible future of the internet.” If Herzog throws in a chicken dancing on a hotplate, act surprised.

Showbiz docs always fascinate me; there are a number of good possibilities this year. 1,000 Eyes of Dr. Maddin (France) is a rare profile of the somewhat elusive avant-garde Canadian filmmaker Guy Maddin (I’ve hardly even seen a photograph of the guy). Norman Lear: Just Another Version of You (USA) seems self-explanatory

. Bang! The Bert Berns Story (USA) is a timely release, as the largely unheralded songwriter/record producer of 51 pop/R&B chart singles during the 1960s was recently inducted into The Rock and Roll Hall of Fame. We Are X (USA) profiles 80s rockers X Japan, “the most successful rock band in Japanese history” that we have never heard of. I am prepared to be enlightened.

The most intriguing “behind the music” entry this year is Red Gringo (Chile), the story of how U.S.-born Dean Reed became a huge pop star in South America in the early 1960s, then eventually…a “Communist icon” (Reds meets Jailhouse Rock?).

Turning to ha-ha funny: From director Jose Luis Guernin, The Academy of Muses (Spain) concerns a professor who “uses high-minded academic discourse in the pursuit of more carnal longings”. He gets called out by his wife, who sees through his chat-up routine…sparking “an improbable romantic comedy, dense with ideas yet lighthearted throughout.” Doesn’t that describe nearly every Woody Allen film since Annie Hall?

Speaking of whom, SIFF has snagged the Woodman’s Café Society for this year’s Opening Night Gala (it’s also the North American premiere). The romantic comedy is set in 1930s Hollywood, and stars Kristen Stewart and Jesse Eisenberg. I’m looking forward to Wiener-Dog, the latest cringe comedy from the always provocative Todd Solondz; a series of character vignettes filtered “…through the eyes of an adorable dachshund.” Arf.

Speaking of adorable lap animals, SIFF has both dog and cat lovers covered this year. Kedi (Turkey/Germany/USA) explores the unique relationship between human and feline residents of Istanbul, where cats are revered as deeply spiritual creatures (I’m guessing we’re going to see a lot of footage, of a lot of cats, doing a lot of cat stuff…pretty much wherever they want). Then there’s the doggie doc Searchdog (USA), showing how a K9 Search and Rescue Specialist goes about turning his raw recruits into four-legged heroes.

More selections in the “family-friendly” realm that have potential: The adventure comedy Hunt for the Wilder People (New Zealand) stars Sam Neill as “a cantankerous new guardian” to an ornery foster child; the two trigger a manhunt after they get themselves lost in the boonies. Keeping in the “incredible journey” vein, Long Way North (France/Denmark) is an animated adventure following a 15 year old Russian aristocrat on her quest to the North Pole to find her missing explorer grandfather (shades of Tin-Tin).

In case you don’t have enough drama in your life: Before the Streets (Quebec) is a redemption story of a young man who returns to the traditions of his Atikamekw community in the wake of a tragedy. Similar cultural themes are explored in Mekko (USA), a drama set in Tulsa about a Muscogee Indian trying to get his life back on track following his release from prison.

And if costume dramas are your thing, the droll Whit Stillman has adapted Jane Austen’s novella Love & Friendship for the screen, re-uniting his The Last Days of Disco co-stars Kate Beckinsdale and Chloe Sevigny (with big hats!).

I’m always a sucker for a good noir/crime/mystery thriller. Frank & Lola (USA) features Michael Shannon and Imogen Poots in a neo-noir revenge tale set in Las Vegas. A couple of “conspiracy a-go-go” political potboilers look interesting: If There’s a Hell Below (filmed in Eastern Washington) offers a Snowden-type of scenario involving “an ambitious journalist and a nervous whistle-blower” meeting up in the middle of nowhere to exchange information.

Our Kind of Traitor (USA) stars Ewan McGregor and Naomie Harris in Susanna White’s adaptation of a John Le Carre novel. And the “Czar of Noir”, Eddie Mueller will be in the house to introduce The Bitter Stems, the latest treasure to be restored in 35mm by his Film Noir Foundation. It’s a rarely seen 1956 Argentinian film about a fallen journalist struggling with conscience after committing the “perfect crime”.

There’s another special revival presentation at this year’s SIFF that will surely make action fans plotz…that would be the 4K restoration of King Hu’s highly stylized and hugely influential 1967 wuxia classic, Dragon Inn (without which we never would have had a Crouching Tiger, Hidden Dragon).

More action: The Last King (Norway), set in a wintry 11th-Century Scandinavia, is billed as “Game of Thrones on skis.” Arriving on the spurs of The Hateful Eight, we have In a Valley of Violence, with Ethan Hawke as a cowboy with a collie at loggerheads with a corrupt sheriff (John Travolta, who I’m guessing chews all the tumbleweed and cacti). It wouldn’t be a proper SIFF without at least one pulpy, Hong Kong-produced gangster flick…and The Mobfather looks to be it.

I always try to leave enough room on my plate to tuck into some sci-fi and fantasy. The Battledream Chronicle, which has the distinction of being the first feature-length animation film from the island of Martinique, is set in a futuristic world where humans have become virtual reality slaves (how is that different from now?).

In the live-action sci-fi drama Equals, Kirsten Stewart and Nicholas Hoult star as law-breaking lovers in an ultra-conformist “utopia” where heightened emotions have been genetically eradicated (looks like a cross between Logan’s Run and THX-1138). And steam punks finally get their own documentary…Vintage Tomorrows, which examines their unique sub-culture.

Obviously, I’ve barely scratched the surface of the catalog. I’ll be plowing through screeners and sharing reviews with you starting next Saturday. In the meantime, visit the SIFF website for the full film roster, and info about event screenings and special guests.