Probably the most eagerly anticipated event at Austin Film Festival each year is the traditional Hair of the Dog Brunch. I'd heard talk of the brunch for years, but didn't attend until last year when I learned what all the fuss was about. Despite crowds spilling out of Ranch 616 and onto the sidewalk to eat, it's a great place to relax and enjoy great food and good company.
Every year there's a couple of people I'll continually encounter during AFF, and this year it has to be Ya'Ke Smith of Katrina's Son. I stopped to say hello and warn him that his mug would be Slackerwood's next AFF Quick Snaps. We talked about his upcoming projects, including a feature-length version of Katrina's Son. Behind him in line were more AFF 2010 award winning filmmakers -- the crew from Adios Mundo Cruel (pictured at top), including Yossy Zagha Kababie, Jack Zagha Kababie and Enrique Chmelnik. Yossy had read my review of their film, and asked me to explain who Jean-Pierre Jeunet is. They are hopeful for Adios Mundo Cruel to be picked up for distribution soon. An encore of Adios Mundo Cruel will screen tonight at the Bob Bullock Museum IMAX Theatre at 9:30pm.
Also at the brunch were some of my favorite women in the Texas film industry -- Texas Film Commission's marketing director Carla Click, another TFC staffer whose name escapes me (sorry!) and Deputy Director Carol Pirie.
Updated November 15, 2010.
Slackerwood was all over Austin Film Festival this year, from panels to brunches to script readings to parties ... oh, yes, and of course watching actual movies. We've got a lot of coverage to share and thought it would be handy to have it all in one place. The following list (after the jump) includes all our 2010 AFF coverage to date, and will be updated regularly.
After an abbreviated day yesterday, I decided to brave the Hair of the Dog Brunch, which I've never gone to before. Held at Ranch 616 on Nueces, it was simple Texas style fare, but ohhh, soo delicious. I think I found a new brunch spot. I could get addicted to their chorizo scrambled eggs and the shredded beef. Damn, that was good. And the crowds seemed happy, too, not just because staffers and volunteers were handing out Topo Chico mineral water to those waiting in line, but because as people finished eating, the musical chairs seemed to be a blessing, as people got to meet new people.
The Texas Film Commission folks were there, and I chatted with a couple of their staffers for a while, and who joined us, but Alfred Cervantes of the Houston Film commission, and then Andrew Lee and DE Ward of The Spirit Molecule. In our conversation, Andrew and I talked about indie film promotion and Andrew indicated that they hadn't worked out a complete plan on that yet for The Spirit Molecule, but just happened to mention that they had over 54,000 "likes" on ther Facebook page. I think you all would agree that if you have 54,000 fans on Facebook, you don't have to rush.
Does hanging out with "good" people make you a good person? New Low attempts to address this question. Twenty-something Wendell (played by writer/director/editor Adam Bowers) is a slacker video-store employee living in Gainesville. In his free time, he helps write stand-up material for his pal Dave (Toby Turner). He has no desire to venture into the world of stand-up himself, though. This says a lot about his character: he's lackadaisical with no forward momentum.
He meets dumpster-diving bartender Vicky (Jayme Ratzer), who on their first date points out three of Wendell's physical faults (and sleeps with him anyway). Vicky is happy to troll dumpsters for food or mooch off of free food offered at gallery openings. She appears to be stuck in a rut, but at least (we discover as the movie progresses) she does have goals as far as her art is concerned.
Joanna (Valerie Jones) -- the other woman -- is an activist/feminist who happens to be an artist as well. While Vicky is the type of gal who tosses her empty cigarette packets on the ground, Joanna is the type who picks up other people's litter, telling Wendell, "I don't understand why people insist on living in such a shitty world." She drags Wendell along to parties where he never really fits in and gifts him with a book on environmental/social action.
I took my own advice from the AFF 2010 Dining Guide and stopped in at Thai Passion for a meal before the Brother's Justice premiere at the Paramount Theatre on Sunday. Several AFF attendees were enjoying dinner at the restaurant, including UT alum and filmmaker Ya'Ke Smith. I ran into him again in front of the Paramount where I snapped the photo above. Smith has a good reason to smile. AFF announced the winners of the juried film competitions, and his short film Katrina's Son won in the narrative short category. I'd recommended Katrina's Son in the AFF 2010 Preview: Selected Shorts, and was glad to tell Smith personally how much I enjoyed his short film.
Smith just completed production on a documentary entitled Father, which addresses a domestic issue that's very personal to him -- the challenges and pain of growing up fatherless. According to a U.S. Census Bureau, 1 out of every 3 children grow up without their fathers in the home. For African-American children that number is even higher at 65%. Father focuses on five individuals who must deal not only with the absence of a male role model, but other issues in their household. One of the subjects is Lawrence, whose mother suffered from alcoholism and mental illness. You can get a glimpse at the material for Father here. I look forward to news of Father on the big screen soon.
Some people really know how to work a festival, including Slackerwood contributor Chris Holland, who also happens to be the author of Film Festival Secrets. Another person is Mark Potts, whose film S&M Lawn Care is one of several of his films that have played AFF. Mark was on the "The $2 or the $200,000 Film: What You Need to Know" panel, which I was planning on seeing and missed, but thanks to Chris's tweets, it was almost like I was there. Check out the hashtag for #lowbudgetfilm that Chris used to get the gist of the panel, at least Mark's comments.
I made it to the Showrunner panel with Noah Hawley and Peter Murrieta, which was moderated by Andy Langer. I loved the analogy that a Showrunner is like a writer who's also a manager of a 7-11. Sounds a lot like being a *gasp* manager. Only with assistants helping to avoid the other minions when you need a breather.
Austin Film Festival has announced its winners today, and with no further ado, here they are:
- Best Narrative Feature: Adios Mundo Cruel – Writers: Jack Zagha Kababie, Enrique Chmelnik
- Narrative Feature Special Jury Mention: Dog Sweat – Writers: Maryam Azadi, Hossein Keshavarz
- Best Documentary Feature: Louder Than a Bomb - Directors: Greg Jacobs, Jon Siskel
- Best Narrative Short: Katrina’s Son - Writer: Ya’Ke
- Narrative Short Special Jury Mention: The Six Dollar Fifty Man - Writers: Louis Southerland
- Best Documentary Short: Birthright – Director: Sean Mullens
- Best Animated Short: The Lost Thing - Director: Shaun Tan
- Best Narrative Student Short: Down in Number 5 - Writer: Kim Spurlock
The Festival is accredited by the Academy of Motion Picture Arts and Sciences, which means the award-winning narrative short and narrative student short films are also eligible for an Academy Award, so try to see them again in their encore screenings, and you just might have bragging rights to say "I saw it when it played AFF."
Got a late start this morning, but that happens when you go to bed at 3 am. Started it off at Frank, with the guys behind S&M Lawn Care, all spiffy in their tuxedos and ready to have corndogs. Only the flapjacket that is corndog-ish is a cornmeal-based jacket, so it didn't quite carry the corndog theme, but that didn't deter us. And amazingly, the guys did not have any unfortunate food malfunctions and not a single stain on their crisp white shirts before they had to turn off to do the tech prep for their regional premiere of S&M Lawncare. From the picture above, you can tell that was quite a feat. The guys talked a bit about their world premiere with the Friars Club, and some of the unexpected interpretations of their mower driven comedy. Pictured above are Mark Potts, Cole Selix and William Brand Rackley. I haven't seen the final edit, but the early version I saw was hilarious, so I highly recommend you go see it when it plays again at the Ritz.
University of Texas alum and writer/director Jack Zagha Kababie makes his feature film debut at the Austin Film Festival this year with Adios Mundo Cruel (Goodbye Cruel World), a delightfully understated dark comedy from Mexico. Reminiscent of Jean Pierre-Jeunet's film Micmacs, the story focuses on an individual who through an unfortunate turn of events is pulled into a ragtag group of thieves and their world of crime. However, Adios Mundo Cruel is much more subtle and accessible to audiences who are able to identify to the main character's job situation and marriage woes.
Angel (Carlos Alberto Orozco) is a hard-working, mild-mannered accountant who wants nothing more than to provide for his family. His wife Claudia (Adriana Louvier) is content to stay home and watch soap operas all day -- so much so that any news of the day is about her favorite soap's character Luis Armando (Rafael Amaya). Unfortunately Angel is laid off from his job, and is greeted at home by the news that his wife has just bought a new car that they won't be able to afford. After an unsuccessful attempt to tell her that he's lost his job, Angel endures a series of job interviews so far from his experience, including in a pet shop and as a door-to-door cosmetics salesman.
Esther (Heather del Rio) is a young woman in service to the local pastor of a fringe Christian group. She's obedient and accepting of the life her church has planned for her until an unexpected encounter leaves her cast out into the world without a home, spiritual or otherwise. When Gabriel (Dane Seth Hurlburt) and his roommate take her in, they take it upon themselves to help Esther adjust to her newfound and unwanted freedom.
Andie Redwine's script could easily have been cliché-ridden, and while there are stereotypical characters, the focus is on Esther, and her self-doubts and much as her self-discovery and she tries to find balance between the world she used to know and her predetermined path and the greater world where she must forge her own future. The initial crisis of conscience that delivers Esther from her dreary life is just the beginning; Esther is more homeless than she initially appears. verything she valued and relied upon becomes suspect, but she's not able to completely abandon all of her beliefs.