Austin Film Society
For more than two years now, the Austin Film Society has been publishing Slackerwood. It's been an excellent relationship for everyone involved, and I've enjoyed the collaboration.
However, it's time for a change. As of September 1, 2014, I've taken over the reins again as the publisher of Slackerwood. AFS decided earlier this summer that it would make more sense for the nonprofit to pursue its own editorial voice, so we've worked out a very amicable separation.
I cannot stress enough how grateful I am to have had the Austin Film Society publishing Slackerwood for more than two years. AFS staff members have been extremely supportive and enthusiastic. In fact, I hope they'll continue to help us with previews and event coverage. I also want to thank ex-AFS-staffer Agnes Varnum, who met with me in a coffeehouse nearly three years ago to start hatching the collaborative scheme.
Now, what's on the horizon for Slackerwood? After weighing options available to me for possibly securing funding, I realized I'm first and foremost a writer. I love writing and I love editing articles to bring out the best in them -- these endeavors are an enjoyable use of some of my spare time. (And I love watching movies, but I don't have to tell you that.)
Continuing from Part One, here are detailed descriptions of more 2014 AFS Grants winners. Again, if you have info we don't, feel free to share it in the comments or drop us a line if you're involved with one of the films.
Never Goin' Back (Narrative Feature) (pictured below)
- The grant: $2,500 (AFS Grant Award) for production and $5,000 (MPS Camera Award) for camera package and equipment rentals
- The blurb: "In an attempt to get rent money and avoid eviction, high school drop outs Jessie & Angela embark on a day of adventure that includes dudes, drugs, booze and an ill-advised heist. Just another day in the life of your average 16-year-old girl."
- The filmmaker: Augustine Frizzell was born in Texas and currently lives in Dallas. She has done quite a bit of work as an actress (her credits include Ain't Them Bodies Saints and Hellion), and she also directed the short film I Was A Teenage Girl, which screened at SXSW last year (Elizabeth's interview with her).
Congratulations are in order for several Austin and Texas filmmakers, as the Austin Film Society announced its 2014 AFS Grant recipients Tuesday. This year, $115,000 will be distributed to 40 individuals to help with production and distribution costs on a combined 37 feature and short films. Each year, we at Slackerwood look forward to this announcement because it provides a nice roundup of specific movies we can look forward to seeing in the coming months.
More than half of this year's grant recipients have never before received funding from AFS, and the remaining awardees include familiar Lone Star filmmakers like Andrew Bujalski, Yen Tan and John Fiege. All but three grants (not including Travel Grants) will assist Austin-based films -- there's a lot going on around here.
Here's an overview of this year's AFS Grant recipients along with a little context and background information. Let us know if you have anything to add, and feel free to reach out if you're involved with any of these projects and want to tell us more.
James J. Bulger, aka "Whitey," was a huge force in Boston for decades. He figured largely into the city's non-mafia Winter Hill Gang, killed numerous people, and eventually landed on the FBI's Most Wanted list -- just under Osama bin Laden. Some say he was an FBI informant, but he disputes those claims in the film Whitey: United States of America v. James J. Bulger.
In Whitey, voices from Whitey's past and current life paint a certain picture of the man. Along with the multiple people Joe Berlinger interviewed (including relatives of Whitey's victims), the director inserts old surveillance video and photos from investigations, as well as passages from Bulger's 2013 racketeering trial.
While this documentary may lack a cinematic feel -- it comes off more as a longform true-crime TV special -- the movie still offers a deep look into the dealings of this criminal figure and the people who should have been working to stop him. As WBUR reporter David Boeri says in Whitey, the "real story is our government enabled killers."
We have him to thank for The Little Shop of Horrors (1960), The Trip, Bloody Mama and a half-dozen Poe adaptations. His producer credits include Piranha, Boxcar Bertha, TNT Jackson, Rock 'n' Roll High School and Sharktopus. (Perhaps best to disregard that last one.) He's notorious for shooting movies on little money in less than a week using sets from other films he'd just completed. Actors/filmmakers who worked on their earliest movies with him include Jack Nicholson, Dick Miller (pictured above in A Bucket of Blood), Robert Towne, John Sayles, Francis Ford Coppola, Joe Dante and Martin Scorsese. Roger Corman has 56 director credits and 409 producer credits on IMDb, and he's still producing.
And Austin Film Society programmer Lars Nilsen had to narrow it down to four features -- plus a bonus documentary on Dick Miller -- for the latest AFS Arthouse series: "Films of Roger Corman." The series, screening Fridays and Sundays at the Marchesa, runs August 8-31. I emailed him (Nilsen, not Corman) to find out the story behind the series. Check out our mini email interview below -- followed by a longer list of Corman films Nilsen would have loved to include, so you can have your own enhanced Roger Corman experience at home.
Slackerwood: What made you decide to pick Roger Corman for this particular series at this time?
Lars Nilsen: I think summertime is the best season for light, fun entertainment movies. I can't recall any series of Corman's directorial work here anytime recently and it seems like a good time. I also took note of the fact that this year marks Corman's 60th year in the industry. The fact that the Dick Miller film [That Guy Dick Miller] was coming out just made the whole thing seem like good timing.
If last summer's pre-code Barbara Stanwyck quartet of films left you hungry for more, you will be glad to know that additional Stanwyck movies are on the way! August's Essential Cinema series from Austin Film Society will showcase films from the prime of Stanwyck's career. AFS Programmer Lars Nilsen has included a couple of well-known favorites with two titles that may be less familiar.
I asked Nilsen why he chose to show more of this amazing actress's movies, and here's his answer:
Last year we showed the early Stanwyck. She had all the fire and personality and talent but you couldn't really call her a mature screen artist yet. The period covered here is Stanwyck as an experienced performer, fully aware of her craft and able to deploy great reserves of feeling and audience sympathy. I feel like if we had only shown the pre-Code films we would be short changing Stanwyck, who is even better in this selection of films.
Last week, Austin filmmaker Robert Rodriguez was at San Diego Comic-Con, promoting his latest movie Sin City: A Dame to Kill For with panels and parties -- even walking the convention floor in costume.
This week, the Austin Film Society has announced it will host the Texas premiere of the Sin City sequel, which will take place Wednesday, August 20 at the Paramount Theatre. The screening will be in 3D -- how many chances have you had to watch a 3D movie downtown at the Paramount?
Tickets are on sale now only for AFS members, who have until August 5 to buy tickets at a discounted rate -- as low as $20 for the balcony. On August 6, general-public tickets go on sale with no AFS member discount. Tickets include admission to an afterparty at the Rattle Inn.
Rodriguez co-directed Sin City: A Dame to Kill For with Frank Miller, who authored the original graphic novel and wrote the movie's script. Both of them also collaborated on the 2005 movie. Returning cast members include Jessica Alba, Mickey Rourke, Jaime King, Rosario Dawson and Bruce Willis. Among the movie's many other stars are Josh Brolin, Powers Boothe, Rosario Dawson, Joseph Gordon-Levitt ... and Lady Gaga.
No word yet on any special guests for the premiere, but we'll keep you posted.
And just for fun, here's a photo of Rodriguez from the Texas Film Awards earlier this year, performing with musicians Patricia Vonne (who's his sister) and Alex Ruiz.
Southern Methodist University (SMU) in Dallas owns an archive of 1930s and 1940s-era films -- shorts, newsreels and features -- made specifically for black audiences of the time. These historic reels were found in a Tyler, Texas warehouse in 1983, and the team at SMU's G. William Jones Video and Collection has restored and digitized the movies.
You can view the films online, or if you're in Austin, watch a selection that Lars Nilsen, Austin Film Society Programmer, has compiled from the collection. "The Sepia Screen" program will play at the Marchesa on Sunday, July 27 at 2 pm [tickets info].
I talked (via email) to Nilsen about this upcoming program.
Slackerwood: How did you learn about this specific archive at SMU?
Lars Nilsen: I'm a big fan of these films and I was researching them when I ran across the archive and naturally the wheels turned in my head. I contacted them last year and they told me the films were on tour in South America, but I made plans to eventually bring them here to Austin.
What are your thoughts on the cultural relevance of these forgotten works?
Nilsen: First off, they are not "art films" by and large. They are very low-budget commercial films and plot-wise, they are very similar to their mainstream B-movie counterparts. The interest and value of these films comes from the fact that they are made for black audiences. While the humor is typically quite broad, it's instantly more sophisticated because it need not be slanted to fit a white audience's preconceptions. It can be very "inside" subversive humor.
2014 marks 20 years since the Rwandan genocide. The months-long attack led by Hutus in 1994 resulted in the deaths of hundreds of thousands of Tutsis, almost 20 percent of the country's population. The 2012 documentary Sweet Dreams, screening next week for Austin Film Society's Doc Nights series, depicts a community-building program that is helping female Rwandans recover from those horrific events.
Ingoma Nshya is the first all-female drumming troupe in Rwanda, formed of Hutus and Tutsis. Some members lost family in the genocide, and some have family in jail for their participation in the mass killings. Troupe leader Kiki Katese meets some ice-cream makers from Brooklyn and is inspired to have the Rwandan women start their own shop, Inzozi Nziza (which means "sweet dreams").
Sweet Dreams has many interviews with women from the group. There's Clementine, a young woman who walks 1.5 hours to town for rehearsals. Another woman, whose parents are currently jailed, says, "If ever there's a place you can find peace, that place is Ingoma Nshya. That's where I was reborn." Co-directors Lisa and Rob Fruchtman follow the ladies through the formation of their co-op and past the troubled days leading up to the store's opening.
The next Austin Film Society Essential Cinema Series, "Liv and Ingmar," will run on Thursdays at 7:30 pm from July 3-31 at the Marchesa. The following column from programmer Chale Nafus provides some context for the films.
Marlene Dietrich and Josef von Sternberg, John Wayne and John Ford, Ingrid Bergman and Roberto Rossellini, Robert DeNiro and Martin Scorsese, Ethan Hawke and Richard Linklater. Throughout film history there have been directors who frequently work with one particular actor through whom they can realize their cinematic dreams. Familiarity with an actor's face, body, voice, mannerisms and psychological depths can provide a director a preview of how a movie might look and sound even before the cameras roll.
Such was the 12-year relationship between Norwegian actress Liv Ullmann and Swedish writer/director Ingmar Bergman. Together they made eight feature films and one television miniseries, beginning with Persona (1966) and ending with Autumn Sonata (1978). They also fell in love during the production of their first film together.
The filming of Persona (which screens July 3) took place on the remote Swedish island of Fårö, an island off the coast of an island, a place Bergman had loved ever since filming Through a Glass Darkly there in 1961. He was drawn to its solitude and stark natural beauty. It easily served as a setting that forced people to confront their own inner demons as well as those of the people around them. Such would happen with Bergman and Ullmann.