The British film The Infidel just reached American shores this week at the Tribeca Film Festival here in New York City. The irreverent comedy is about a Muslim who learns he is adopted and his parents are in fact Jewish. What ensues is a delightful comedy of errors that delves into the murkier depths of religious and ethnic stereotypes. You can read my full review over at Heeb Magazine.
I was able to get some face time with four people connected to the film. Josh Appignanesi is the film’s director and David Baddiel wrote the script. The two offered up some deadpan wisdom on the weighty subject their film deals with. The bulk of my questions (as you’ll hear) focus on reactions to the film and whether or not it is controversial. Both Baddiel and Appignanesi are passionate about their creative choices and the power of comedy in the most uncomfortable of social conversations. They say it better, so definitely check it out.
Omid Djalili and Richard Schiff, the film’s stars, are similarly serious when it comes to discussing The Infidel. Schiff, who is most well known in the states for his role as Toby Ziegler on The West Wing, takes particular offense at having any of his roles, including that of Lenny in The Infidel, labeled as stereotypically Jewish. The two exhude a comic energy that made it difficult for me to keep a straight face while chatting them up. Especially at the end of our talk, the two go off on the provenance of a few racial epithets. It is quite hilarious.
As always, I’ve said too much. Just click play already.
How can I explain what the New York Sephardic Jewish Film Festival is? It’s very name is so local and yet its scope is entirely global. I suppose I could start by explaining what is meant by “Sephardic.” Allow me to generalize. Here in New York City it is pretty common to boil Jews down to one of two stereotypes: the Orthodox and the nebbish. These are Ashkenazi Jews who, thanks to a sordid history of European emigration, took root here en masse around the turn of the 20th century. Ashkenazim are basically the shtetl Jews; the Fiddler on the Roof Jews.
That film is perhaps the ultimate Hollywood pontification on the Jew, an image of a people that is, for better or worse, an accepted truth. Sephardic Jewry, who hail from Spain, Northern Africa and the Fertile Crescent (among other places), have almost no image in American cinema. In fact, in America, little is known of this “other” kind of Jew outside the confines of the Jewish community. Sephardim observe different dietary laws (sometimes), speak a different dialect of Hebrew, observe different customs and have a rich history of art and literature that is speckled with influence from the various cultures in which they have existed. How fitting it is then, that there should be a New York Sephardic Jewish Film Festival, to both celebrate and educate us on these Jews who perhaps don’t fit the mold of the mainstream. A festival for the other other. Read on…
I am excited to announce that the candler blog is going to cover the 2010 SXSW (South by Southwest, for the uninitiated) Film Conference and Festival in Austin, Texas. With a shiny press badge and a dream in tow, I’ll be bringing you all the news and reviews from Austin, and I couldn’t be more excited.
Of course, trips like these are quite an expensive endeavor for a blog, so I’m asking for your help in getting to Austin. Please click through to my Kickstarter Project, where I am trying to raise $500 to defray the costs of the trip. You will find a longer explanation over at kickstarter (and in the video above), but this money will essentially cover approximately half of the expenses for the trip. The candler blog is (and shall remain) a free publication, but as you may guess it’s not free to operate. Any help you can offer is extremely appreciated.
I don’t expect you to give me something for nothing. Besides the coverage on the candler blog you’ll be getting, there are also some pretty nice rewards for different levels of giving. Everyone who donates $5 or more will be included in a “Thank You” post listing his/her name and a link to the website/charity of his/her choosing. Up the donation to $10 and you will get your name and link put in the candler blog’s blogroll, which runs up the side of the home page, for 6 months. For $50 or more, you can get a 30-day 200×200 ad on the candler blog that will run during SXSW. I can tell you that traffic will be significantly higher than usual during the festival, so this is a great opportunity to reach an extremely diverse, motivated audience.
I skipped a price on purpose. For $25 or more, you get a 2 DVD collection of all 8 published Candlercasts at CD Quality (I’ll mail you the discs with the files on them). When the podcast goes on the site it is in a highly compressed audio format so it can stream easily and download straight to your iPod/iPhone with ease. These master recordings are crystal clear, and really sound nothing like what is on the web. Maybe that’s not enough for you? On the second disc, you will get the full, unedited, epic Bests of the Decade podcast that I recorded with Sunrise Tippeconnie. Originally published as 4 trimmed down podcasts, this lengthy discussion features clips that were never broadcast online. Please check out the full roster of Candlercasts on the site to see what you’ll be getting.
Nothing has been more exciting for me than watching the candler blog grow over the last year. At this time last year, I never would have dreamed I’d be able to waltz into a fest like SXSW with a press pass in tow. But here I am. None of it could have been possible without you, the readers. I thank you for your visits, your comments, and your support. 2010 is off to an exciting start, and I can’t wait to bring all kinds of great content this year.
The comedy short has a long and illustrious history in cinema. In modern times, the art is still alive but exhibition spaces are limited. As a result, film festivals have become the number one destination for these little films. deadCENTER has its share of shorts programs, but I was only able to check out the comedy section because I needed a laugh. Did I get one? Let’s take a look.
Ten For Grandpa — dir. Doug Karr
This slick little short follows a man wondering who his departed grandfather really was. The camera flows between scenes, across time, and across rooms to create the illusion of fluidity. This is extremely well executed, but I do wonder how much of this film actually qualifies as comedy. If anything is a joke, it seems to be the efforts the filmmakers went to to pull off these shots. Every time we enter a new space we are supposed to be wowed into a laugh; the form is so over the top for such a little film. The choice of the 2.35:1 aspect ratio seems like an arbitrary choice; the piece may be funnier with more vertical space. Of course, we would lose that slickness. Ten for Grandpa is tight, well executed, wellacted, and fully realized.Overall, it is a very strong piece and I want to see more from all involved.
The Last Page — dir. Kevin Acevedo
The best part of this short is the Dodge College opening logo. Its self-assuredness provided me the biggest laugh all day, but sadly, all logos must end. The film goes on to depict the terribly tired premise of a writer envisioning the final page of his novel. The writer goes for a walk ends in him getting into all kinds of “wacky trouble”. I realize this is a student film, but still, it is fraught with problems. Again we have an unjustified 2.35:1 aspect ratio. The biggest issue of all is the runtime. At 22 minutes, the piece is more than twice as long as there is story. Most offensively, the laughs are unexplained. Why, Mr. Acevedo, is it funny when a rotund woman grabs the writer’s crotch? If you are out there, defend your joke. And to the professors at Dodge College at Chapman University, please guide your students to kill their favorite babies and cut their pieces down to size.
The SPAM Job — dir. Padraic Culham
Stone faced after the last bit of drek, I was determined not to laugh once through this cheap-looking documentary, but it wore me down over time. I couldn’t help but chuckle by the end. Through interviews and photos, the story of one prankster’s stolen spam becomes clearer and clearer. It sounds dumb and that is the point. The joke here seems to be on us for making it through the whole damn story. This “cheap” feeling I mentioned only adds to the charm of the piece, you simply don’t expect how far they are willing to take this joke about a can of spam ending up in different locales across the globe. The piece is a little fat, could be cut down to size. I could see this as a sketch on a late-night comedy show, that is if Mr. Culham and friends have any other notes up their sleeves.
Cherchez la femme — dir. Idit Dvir
Comedy has a darker side that is briefly explored in this short. A man dressed like a taco wants to kill himself over a woman until he finds a friend in another suicidal man with far different love troubles. Slowly we learn that the man’s wife cheats on him while he is home, so the taco concocts a plot to kill her off. The film takes too long to get to very little payoff, though one of the purest laughs during the shorts program came out of the film. Once the murder is imminent, the murderer must continue having sex with his victim through tears. As an audience, we are left with no emotional output except laughter because our other options simply won’t do given the rest of the film. This one laugh is impressive, but it doesn’t make up for the slow pace of the rest of the film, not to mention the pre-required misogyny one needs to find humor throughout. Ms. Dvir assumes a lot about her audience’s beliefs: that walking tacos are funny, that promiscuous women are sluts, and that murder is a natural progression from anger. Focusing in on these muddled corners will help to make better work in the future.
Tom’s Day Off — dir. Justin Stanley
Sigh. I believe in film criticism as a tool to help filmmakers better their work over time, but when I am given nothing to work with I feel there is nothing I can offer. This is how I feel about Tom’s Day Off. It’s such a mess that I would rather the filmmaker, Justin Stanley, go make something else and bring it back so I can actually give some critique. Apparently, after being dumped a lanky bank employee chooses to rob his place of business. Then he ends up in the back seat of a student driver’s vehicle with no plan. There are no laughs, no plot, no aesthetic quality to speak of. Mr. Stanley probably thinks he’s a genius with his use of an inner monologue interspersed with diegetic dialogue. The bigger question is what place this film has in any film festival. The 10 minutes of space this took up could have been used so much better.
Miracle Investigators — dir. Jeremy Dehn
The program finished off with this crowd pleaser. Overall, this is a lame mashup of kung fu action and outdated church humor. Still, the laughs are there, and that is respectable for a student film thrown into this mix. The film follows two priests charged with meting out justice against perpetrators of false miracles. Unfortunately, this goofy premise never really comes to fruition. The film bumbles along from joke to joke with a plot that hardly makes any sense. It seems that it didn’t matter since the laughs were there. The makers of this film would do better to cut it down to about a 5 minute sketch and really focus in on each joke. Nonetheless, a valiant effort.
Hot off the presses! Here are the winnered of the 9th Annual deadCENTER Film Festival. I was only able to review two of these films here, but hopefully I will get to see/review the rest at a later date.
Screenplay: Laura Looks Up by Keri Schreiner, Los Angeles, CA
Narrative Feature: Weather Girl directed by Blayne Weaver, Los Angeles, CA
Documentary Feature: Official Rejection directed by Paul Osborne, Los Angeles, CA
Narrative Short: Gaining Ground directed by Marc Brummen, Germany
Documentary Short: Forced into ‘Comfort’, Fighting for Apology directed by Theo Lipfert, Bozeman, MT
Animation: I’m So Proud Of You directed by Don Herzfeld, Santa Barbara, CA
Student Film: Science Fair directed by Dean Fleischer-Camp, Brooklyn, NY
Oklahoma Feature: Barking Water directed by Sterlin Harjo, Tulsa, OK
Oklahoma Short: Starvation Doctrine directed by Zac Davis, OKC, OK
Grand Jury Narrative Feature: Yvette, directed by Rogelio Almeida, Duncan, OK
Grand Jury Narrative Documentary: The Day After Peace directed by Jeremy Gilley, London, UK
I feel inclined to like Paul Osborne’s Official Rejection, but not because it is a good film. As a film critic, I am drawn to any movie whose premise is that we (filmmakers, critics, distributors, audience members, etc.) are all complicit in a broken system. The film, which follows a number of filmmakers around the festival circuit during the course of a year, is seemingly propagandizing the concept that big name festivals are a scourge on independent filmmaking. They take your hopes and dreams and money and make you feel like shit when they reject you without cause or justifiation.
So yes, I liked it, because its heart. Mr. Osborne and his dedicated team traverse the North American festival wasteland in search of fame and fortune, but moreso recognition of any sort. A key player here is director Scott Storm, whose film, Ten ‘Til Noon, is the main focus of the festival hopping. (Paul Osborne also wrote that film) Broken up into segments which parallel the process of distributing a film via the festival pipe, Official Rejection is tight, funny and generally easy on the eyes. The film is mostly successful as an educational tool for young filmmakers. It demystifies many of the paradigms that they may think they understand, particularly the idea that a screening at a festival is the first step to getting noticed, getting riches, getting famous, etc.
Also, the filmmakers call attention to the importance of the camaraderie that has become the lifeblood of many festivals. When you throw a bunch of creatives into the same volatile foxhole, you are bound to hit on something exciting, something electric. New relationships are forged, new perspectives are discovered, and people come together in ways that they may never have done under other circumstances.
Which brings us to the film’s greatest weakness: while trying to deconstruct the horrors of the North American film festivals, Mr. Osborne and friends become smitten with them. Their hatred of the majors brings them even closer to the minor festivals, though I should say that Chicago’s IndieFest gets the rawest deal of any of them in the film. I could amend that to say that feature director Blayne Weaver gets the rawest deal, but you’ll have to see the film to understand that reference. Nevertheless, no matter how much the filmmakers tell us that the festival system is broken, they keep returning to it as the same solution.
In my opinion (and you asked for it, that’s why you’re here), there must be a better way to get your films out there, to reach an audience, than the same old ways that we have relied on for decades. There is also no historical frame of reference in this movie. It should be noted that as long as there has been art, there have been critics; as long as there have been fests, there have been anti-fests. This is not a new phenomenon, just one that has been amplified by the prevalence of the equipment required to make a film. It is so funny that the same people who wish to democratize cinema (filmmakers) will end up getting burned by the inundation of new work being created faster, quicker, and cheaper every single day. We want everyone to make a movie, just not while we’re trying to sell ours.
All that ranting and raving aside, Official Rejection is a solid film that all film enthusiasts should see. If you are not in the mood for a discussion on the current state of cinema distribution, there is plenty for you to love here. And if you are on the inside and you absolutely hate this film, well, at least Paul Osborne has opened up the conversation.
I landed at Will Rogers Aiport here in Oklahoma City at around 10:00pm last night, which was just late enough for me to miss the outdoor screening of Bradley Beesley’s Sweethearts of the Prison Rodeo. We pulled up to a closed off street in downtown Oklahoma City. People in lawn chairs listened attentively as Mr. Beesley, a local filmmaker, answered questions alongside his the stars of the documentary. It was a crowd hit, and the party that followed was abuzz with praise. I won’t be able to see it until tomorrow evening, but I am very excited to check it out.
Most of today has been spent driving around in search or Route 66 which seems to have eluded myself and my gracious host. I’m told that the infamous interstate is known to do this, showing itself only when needed. That photograph of a Colorado ad taped over with the word Oklahoma, was taken on the set of The Killer Inside Me, a new Michael Winterbottom film being shot here. The sticker, which is on the back of a lighting truck, somewhat sums up the kind of film community that thrives out here. Oklahoma has a long history of not being other places. While sipping a Maker’s and soda at a cigar bar, a local told me that Oklahomans are much like salmon: they always come back home eventually.
Last night, I had a nice little chat with Paul Osborne, director of the film Official Rejection. He told me that deadCENTER really is the fest to be at, and this would be the guy to ask. He assured me that while this may not be a farm for “the next big thing” in Hollywood, it is the place to see some really great filmmakers getting exposure. Since I haven’t seen any films, I can’t tell you if I agree or not, but the vibe is electric so far. There is a lot of excitement over the local films that are playing here, which really is the next big American film movement. Local films are really the “way of the future”, to quote a DiCaprio’d Howard Hughes.
I’ve got a great deal of work to do. I will probably see 3 films this evening, and of course let you know all about them. I’m not positive which one’s I’ll hit, but I will definitely have to miss a few films I really want to see; there are just so many on the schedule. Keep checking back for more deadCENTER coverage than you can shake a roll of gaff tape at. Official Rejection trailer below.
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The British film The Infidel just reached American shores this week at the Tribeca Film Festival here in New York City. The irreverent comedy is about a Muslim who learns he is adopted and his parents are in fact Jewish. What ensues is a delightful comedy of errors that delves into the murkier depths of religious and ethnic stereotypes. You can read my full review over at Heeb Magazine.
This slick little short follows a man wondering who his departed grandfather really was. The camera flows between scenes, across time, and across rooms to create the illusion of fluidity. This is extremely well executed, but I do wonder how much of this film actually qualifies as comedy. If anything is a joke, it seems to be the efforts the filmmakers went to to pull off these shots. Every time we enter a new space we are supposed to be wowed into a laugh; the form is so over the top for such a little film. The choice of the 2.35:1 aspect ratio seems like an arbitrary choice; the piece may be funnier with more vertical space. Of course, we would lose that slickness. Ten for Grandpa is tight, well executed, well acted, and fully realized. Overall, it is a very strong piece and I want to see more from all involved.
The best part of this short is the Dodge College opening logo. Its self-assuredness provided me the biggest laugh all day, but sadly, all logos must end. The film goes on to depict the terribly tired premise of a writer envisioning the final page of his novel. The writer goes for a walk ends in him getting into all kinds of “wacky trouble”. I realize this is a student film, but still, it is fraught with problems. Again we have an unjustified 2.35:1 aspect ratio. The biggest issue of all is the runtime. At 22 minutes, the piece is more than twice as long as there is story. Most offensively, the laughs are unexplained. Why, Mr. Acevedo, is it funny when a rotund woman grabs the writer’s crotch? If you are out there, defend your joke. And to the professors at Dodge College at Chapman University, please guide your students to kill their favorite babies and cut their pieces down to size.
Stone faced after the last bit of drek, I was determined not to laugh once through this cheap-looking documentary, but it wore me down over time. I couldn’t help but chuckle by the end. Through interviews and photos, the story of one prankster’s stolen spam becomes clearer and clearer. It sounds dumb and that is the point. The joke here seems to be on us for making it through the whole damn story. This “cheap” feeling I mentioned only adds to the charm of the piece, you simply don’t expect how far they are willing to take this joke about a can of spam ending up in different locales across the globe. The piece is a little fat, could be cut down to size. I could see this as a sketch on a late-night comedy show, that is if Mr. Culham and friends have any other notes up their sleeves.
Comedy has a darker side that is briefly explored in this short. A man dressed like a taco wants to kill himself over a woman until he finds a friend in another suicidal man with far different love troubles. Slowly we learn that the man’s wife cheats on him while he is home, so the taco concocts a plot to kill her off. The film takes too long to get to very little payoff, though one of the purest laughs during the shorts program came out of the film. Once the murder is imminent, the murderer must continue having sex with his victim through tears. As an audience, we are left with no emotional output except laughter because our other options simply won’t do given the rest of the film. This one laugh is impressive, but it doesn’t make up for the slow pace of the rest of the film, not to mention the pre-required misogyny one needs to find humor throughout. Ms. Dvir assumes a lot about her audience’s beliefs: that walking tacos are funny, that promiscuous women are sluts, and that murder is a natural progression from anger. Focusing in on these muddled corners will help to make better work in the future.
The program finished off with this crowd pleaser. Overall, this is a lame mashup of kung fu action and outdated church humor. Still, the laughs are there, and that is respectable for a student film thrown into this mix. The film follows two priests charged with meting out justice against perpetrators of false miracles. Unfortunately, this goofy premise never really comes to fruition. The film bumbles along from joke to joke with a plot that hardly makes any sense. It seems that it didn’t matter since the laughs were there. The makers of this film would do better to cut it down to about a 5 minute sketch and really focus in on each joke. Nonetheless, a valiant effort.
I feel inclined to like Paul Osborne’s Official Rejection, but not because it is a good film. As a film critic, I am drawn to any movie whose premise is that we (filmmakers, critics, distributors, audience members, etc.) are all complicit in a broken system. The film, which follows a number of filmmakers around the festival circuit during the course of a year, is seemingly propagandizing the concept that big name festivals are a scourge on independent filmmaking. They take your hopes and dreams and money and make you feel like shit when they reject you without cause or justifiation.
I landed at Will Rogers Aiport here in Oklahoma City at around 10:00pm last night, which was just late enough for me to miss the outdoor screening of Bradley Beesley’s Sweethearts of the Prison Rodeo. We pulled up to a closed off street in downtown Oklahoma City. People in lawn chairs listened attentively as Mr. Beesley, a local filmmaker, answered questions alongside his the stars of the documentary. It was a crowd hit, and the party that followed was abuzz with praise. I won’t be able to see it until tomorrow evening, but I am very excited to check it out.