Overview

The Sixth Annual Los Angeles Independent Film Festival is set to open their six-day premiere indie showcase April 13-18, 2000 with a re-teaming of writer David Mamet and actor Joe Mantegna, who has this time directed Mamet's deeply moving Lakeboat, starring Charles Durning and Peter Falk.

Marking Mantegna's directorial debut, Lakeboat is an emotionally charged intimate portrayal of a young writer's experience aboard a shipping freighter traveling America's Great Lakes. Also starring Denis Leary, Jack Wallace and George Wendt, the film marks a unique collaboration between Mamet and his two brothers, Tony (Actor, Executive Producer) and Bob (Composer).

The LAIFF, which has undergone tremendous change over the past year as retiring Festival Founder and former Director Robert Faust passed the reins to new Festival Director Richard Raddon, programmed 34 features and over 40 shorts to round out their screening slate which will once again be headquartered at the DGA in Los Angeles.

"We saw 1700 films submitted to us this year," remarked Raddon, "and the quality of work was excellent-although it made for a tough time deciding. This year we also saw more regional films submitted. The strength of the films chosen could easily make this the strongest year ever in our six year history."

"Overall, I think what we tried to do is get away from programming star driven films just to get audiences to the event," explained Raddon. "This year we were able to get away from that and say let's just program quality films... step away from the star vehicles that we weren't all that excited to play and offer instead a showcase of truly unique work."

Notable among the festival line up is a much bolder filmmaking style than seen in years past, offering more cinematically complex storytelling. Several films already stand out among the list including Bruno from director Shirley MacLaine starring MacLaine, Gary Sinise, Kathy Bates, Gwen Verdon, Lainie Kazan among others in an ensemble cast; Bunny from writer/director Mia Trachinger; George Washington from writer/director David Gordon Green; I'll Take You There from writer/director Adrienne Shelly, and The Photographer from writer/director Jeremy Stein.

Approached by the then-retiring Faust after the 1999 LAIFF and asked if he knew anyone who might want to be Festival Director, Raddon (a filmmaker/producer himself-A Slipping Down Life, Sundance 1999) thought his love of independent film would suit the job description well.

"I think we've had a natural progression into a new phase of the festival," he continued. "The IFP-West came on as producing partners this year, and they bring their backbone to the event. It's allowed for the festival to be more about the films than about the profile, and I'm expecting that relationship will develop into even a greater union throughout the year."

The IFP-West will bring a general expertise and marketing savvy to the festival, while at the same time helping out with programming and sponsorship. In return, the LAIFF anticipates a greater year round presence to result.

The Festival is staying mum on its intent to make several announcements throughout the six day run to keep curiosity keen and interest running high. LAIFF has, however, confirmed a focus on digital filmmaking, although from a rather more unique perspective, says Raddon.

"We will examine digital filmmaking both aesthetically and artistically, not just from the technology aspect. We saw so many digital films that stunk-we were appalled: Everyone is touting the medium, but the reality is that the filmmaking community doesn't understand the aesthetic. We know digital can work because we all saw The Celebration, but a digital film isn't created like film, and therein lies our aesthetic platform."

The festival is playing several digital films, including a digital narrative feature which Raddon feels would not have been as powerful had it been shot on film. First, Last and Deposit from writers Peter Hyoguchi and Duffy Hecht was also directed by Hyoguchi and stars Jessica White and Sara Wilcox. A heartfelt and gripping coming of age, mother/daughter tale, First, Last and Deposit is set in the wealthy community of Santa Barbara, California where thirteen-year-old Tessa must face a harsh reality when circumstances force she and her mother to live on the streets.

In addition to the competitive feature line up, a documentary section (including the much-anticipated work-in-progress W.I.S.O.R from Jupiter's Wife director Michael Negroponte) and various seminars, the festival will also highlight shorts (both traditional and experimental) in four separate programs; a music video slate, and the well respected Craft Series which will highlight writing, acting, directing, editing and cinematography.

An expected audience of 30,000 will be mostly industry based which, reminds Raddon, is ideal if, as a filmmaker, you want to hang with people who can get you your next job. "That's the care and maintenance part of your career," he half jokes.

It remains to be seen if the often-accused jaded LA film community embraces the new dynamic of regional filmmaking. For the rest of the audience, however, the grown-up face of LAIFF potentially offers a rare opportunity to experience the re-emergence of the American independent film.

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Wrap-up

Despite some obvious disappointments in program selections and a lackluster critical audience mass, the 6th Annual Los Angeles Independent Film Festival wrapped Tuesday amid overwhelming filmmaker appreciation and a strong feel for the current state of independent film from a broad American sensibility.

The Critics Prize and Audience Award winners were unanimous in their praise for the festival that brought them into the spotlight of major Hollywood acquisitions VP's and deal makers, although for the most part, buyers weren't biting as they felt the majority of films to be not of a high enough mainstream standard to assure a healthy box office return.

Still, confident in their firm and unshakeable commitment to the art form , the no-longer fledging festival and new Festival Director Richard Raddon drew their challenge firmly in the sand as festival programmers and organizers dared the jaded LA industry to 'put up or shut up' when it came time to support the truly independent American filmmakers.

With rare exceptions, not a star nor studio backer could be found throughout the lineup, offering audience members at the very least a unique opportunity to experience the re-emergence of a cinematic voice from talented auteurs all too often caught up in the hype of their profession. And, high level development players were indeed sparked enough by the clearly apparent talent of a number of emerging filmmakers to take various meetings to discuss the next projects on the Indie slates.

William Blake Herron, accepting the Audience Award for Best Writer from the WGA, said he was deeply touched to receive the award from a festival that so obviously "appreciated the auteur and his vision. Independent filmmaking," he continued, "is a desert to cross, and a festival like LAIFF appears as if an oasis to us out there."

Also commenting on the inherent difficulties of independent filmmaking, Director Alexander Payne (Election, Citizen Ruth) spoke as he presented the award for Best Director to Hillary Birningham for What Happened to Tully. "I'm appalled," he said, "that here in this country, one of the wealthiest in the world, we don't have any government money going to funding independent films. Look at the models of other countries far less wealthy than us, particularly in Europe, and you see just how ashamed we should be. I'm so sorry you all are feeling the struggle and resentment to Indie filmmaking."

Other winners at LAIFF included the Audience Award for Best Feature Film- Bounce: Behind the Velvet Rope from Director/Producer Steven Cantor and Producer Daniel Laikind; Best Short-In God We Trust from Director Jason Reitman; Best Soundtrack-Freestyle from Producers Kevin Fitzgerald, Youree Henley and Charles Raggio. The Audience Awards were voted on by the 30,000 festival attendees and were presented, along with cash and in-kind goods, by the various festival sponsors.

The 2000 Critics Prize went to What Happened to Tully from Director/Producer Hillary Birmingham and Producer Annie Sundberg. A Special Jury Citation went to Keep the River On Your Right: A Modern Cannibal Tale from Directors David Shapiro and Laurie Gwen Shapiro. The Critics Prize was decided by Stephen Farber of Movieline Magazine; Lisa Schwarzbaum of Entertainment Weekly Magazine, and Henry Sheehan from the Orange County Register.

The films that screened well amid strong audience buzz included I'll Take You There (Director Adrienne Shelley); Bruno (Director Shirely MacLaine); Keep the River On Your Right: A Modern Cannibal Tale (Directors David Shapiro and Laurie Gwen Shapiro); Cowboys and Angels (Director Gregory C. Haynes); George Washington (Director David Gordon Green) and Amargosa (Director Todd Robinson). Other films were generally uninspiring, including the Opening Night showpiece, Lakeboat, which left one audience member standing in line murmuring, "The only people who wanted to see Lakeboat were already in it."

Veteran festival-circuit filmmakers attending LAIFF couldn't help but wonder out loud about the intrinsic difficulties of staging a film festival in Los Angeles. A general industry apathy mixed wildly with an aggressive shark-like hunger from many of the participants gave the festival an unwarranted air of elitism that didn't serve the filmmaking craft nor sense of camaraderie well. However, the strong new direction of Raddon and the extraordinary professionalism of his festival staff bode well as LAIFF pushes forward to find its own unique artistic and creative voice.

FilmFestivals.com reporter
Kathleen McInnis