Movies

A cutting-edge film festival returns, shining a light on two lost works

BBG News

Previously, the first-ever LA Movie Festival injected a revitalizing vibe into the city, successfully blending an exclusive yet inviting ambiance.

Over four exhilarating days, from Thursday to Sunday, I’m thrilled to be part of the second installment of LAFM! We’re all set to keep the cinematic celebration going strong by showcasing over 20 films at an array of venues, all conveniently located east of Hollywood. Let’s roll with this film fest!

The upcoming festival, organized by Mezzanine and Mubi, kicks off featuring the West Coast debut of Amalia Ulman’s satirical film “Magic Farm,” starring Chloë Sevigny, Alex Wolff, Simon Rex, and Ulman herself. Additionally, a unique screening of Andrew DeYoung’s comedy “Friendship,” starring Tim Robinson and Paul Rudd, as well as the West Coast premiere of Neo Sora’s coming-of-age story “Happyend” on the closing night, are also scheduled.

The festival will feature a variety of events such as live-action short films, a fresh selection of animated shorts, discussions with notable figures like Dennis Cooper, novelist-filmmaker, in dialogue with author Tony Tulathimutte, and costume designer Shirley Kurata alongside comedian John Early. Other highlights include Grace Glowicki’s campy horror movie “Dead Lover,” Alexandra Simpson’s eerie Florida-based film “No Sleep Till,” the unconventional family tale “Room Temperature” directed by Dennis Cooper and Zac Farley, and Charlie Shackleton’s introspective documentary “Zodiac Killer Project.

According to Micah Gottlieb, who is both a co-founder and the artistic director of LAFM (Los Angeles Film Festival), we strive to honor films that carry a deeply personal touch and challenge the norms of mainstream movie-making in some fashion. This statement was communicated via email from Los Angeles.

While the festival primarily focuses on fresh creations, the inclusion of revivals in its lineup plays a significant role in shaping the overall program as well.

According to Gottlieb, by promoting the revival of these indie movies, we aim to subtly convey that they are not only remarkable examples of creative prowess under budget constraints, but also valuable additions to the larger canon of daring and visionary filmmaking.

This year’s program features special events: the West Coast debuts of restored versions from 1981 of two films, “Will” by Jessie Maple and “Nightshift” by Robina Rose. These films had limited theatrical releases previously, but these screenings will shine a light on their creators, who passed away recently and rarely had such prominent showcases during their lifetimes.

As a passionate cinephile, I’m thrilled to express that restorations play a crucial role in our cinematic journey, especially here in Los Angeles. That’s why we take great pride in showcasing a thoughtful selection as part of our broader program. This, I believe, truly underscores the essence of our festival.

Movies

A fresh event titled “Los Angeles Movie Festival” is being orchestrated by Micah Gottlieb and Sarah Winshall, specifically designed for daring, youthful spectators in the eastern part of the city.

Last year’s festival highlighted a special screening of Bridgett M. Davis’ 1996 film “Naked Acts,” a self-distributed exploration of identity and cinema. The restoration and distribution of this film were advocated by Maya Cade, founder and curator of the Black Film Archive. Cade will return to this year’s festival to introduce the screening of “Will.”

The 1996 self-distributed movie “Naked Acts” by Bridgett M. Davis was a key attraction at last year’s festival, and its restoration and release were supported by Maya Cade, the creator and curator of the Black Film Archive. Cade will be back for this year’s festival to present the screening of “Will.

In an email from LA, Cade expressed that it was a privilege for ‘Naked Acts’ to perform at LAFM last year. It seemed like we were riding a wave of breakthrough in Los Angeles’s film industry. The festival, though still in its initial phase, proved many wrong about what film events can achieve in a city known for film production and screening. Why not have a festival here too? ‘Naked Acts’ was well-received because the festival valued revivals as much as contemporary films, pushing us towards exciting new cinematic horizons.

In 2023, Maple – a pioneer being the first Black woman to join the cinematographers union in New York and one of the initial Black women to direct an independent feature film titled “Will” – passed away at the age of 86. This poignant film, set in Harlem, chronicles the profound emotional journey of a former all-American basketball player (Obaka Adedunyo) grappling with drug addiction. His wife (Loretta Devine, making her cinematic debut) stands by him steadfastly, and they take in a street boy (Robert Dean), whom he endearingly calls “Little Brother.

E. Danielle Butler served as Maple’s assistant and collaborator during the later stages of her life and jointly penned Maple’s 2019 memoir titled “The Maple Crew.” Butler believes that Maple would be delighted to see her movie resonating with a fresh, younger demographic.

In a phone call from Atlanta, Butler commented, “Many of our discussions during her later years revolved around legacy – what does it mean today? I think that although she’s not here to witness it, I am convinced that she would be delighted to know that another generation, a new one, has the chance to contribute to it.

In simple terms, Tony Best serves as an archivist and freelancer for the Academy of Motion Picture Arts and Sciences. He had a one-on-one interview with Maple as part of the Academy’s oral history project in early 2020, and since then, he has continued to be associated with her social circle.

Maple’s work and life were characterized by a strong DIY spirit. To fund her films, she established a coffee shop and bakery. When there were no suitable venues for her work, she transformed her Harlem brownstone into a movie theater, which later became the well-known 20 West venue. It also served as part of a distribution network and a small archive for other filmmakers.

Best stated from LA, ‘Given that 20 West functions as its own mini-theater or community cinema, it’s intriguing that her films are being shown there now.’ Best also shared that she would be thrilled about this at LAFM, as she strongly supported the community and believed in the power of filmmaking to unite people.

The “Will” movie’s 4K restoration is a team effort between the Black Film Center/Archive at Indiana University and the Smithsonian National Museum of African American History and Culture, while the 4K restoration of “Nightshift” was carried out in partnership by the Lightbox Film Center, the British Film Institute, and Cinenova.

In a more conversational tone, “Nightshift” is a movie that subtly stirs emotions, situated in a realm that blurs the lines between wakefulness, slumber, and nightmares. It’s direct yet enigmatic, reflecting practical realities while also exploring dreamscapes.

The movie charts the course of a hotel clerk named Jordan, who is well-known in London’s punk scene, as he navigates an exceptionally busy night filled with intrigue. This narrative delves into a dreamlike realm that appears to act as a gateway for a diverse array of guests during the night – from punks, businessmen, and even magicians, showcasing their peculiar actions.

In January, Rose, aged 75, who passed away, held a job at the Portobello Hotel situated in West London. As the hotel shut down during Christmas, the production team was granted access from Monday mornings until Saturday mornings. Filmmaker Jon Jost, who served as the project’s cinematographer, lent his 16mm camera to the production and provided a cache of high-contrast reversal film stock he had acquired at a heavily discounted price, contributing significantly to the movie’s unique, dreamlike aesthetic.

Jost noted during a phone conversation from India, where he currently resides and works, that the movie film perfectly matched the unique, slightly vintage ambiance of that peculiar boutique hotel. The hotel stood out due to its reputation as a one-of-a-kind establishment offering individually themed rooms, making it ideal for our shoot. The film stock might have added to this whimsical charm by emphasizing the fantasy-like quality of each room.

In 2018, Charlotte Procter, who is associated with feminist distribution and preservation organization known as the Cinenova Working Group, had her initial encounter with Rose. This meeting took place during a screening of Rose’s 1977 film “Birth Rites”. Later on, Charlotte remembered Rose as someone who was quick-witted, sharp, and slightly rebellious.

Procter pointed out that, according to an entry from 1983 in Derek Jarman’s journals, many British avant-garde filmmakers were not widely recognized compared to their European counterparts. Notably, he mentioned himself and Rose as exceptions to this rule.

In his statement from London, Procter mentioned that the cinematic works he’s referring to are intensely personal, molded by firsthand experiences, frequently disregarded by mainstream cinema. The films of Robina reflect this essence – they’re unique, captivating, and many times created in partnership with those surrounding her.

The movie additionally provides a glimpse into the vibrant creative spirit of the early ’80s London scene. People like Jost, co-writer Nicola Lane, Jordan (who also starred in Jarman’s “Jubilee”), filmmaker Anne Rees-Mogg, philosopher-activist Mike Lesser, writer Max Handley, and poet Heathcote Williams were part of this counterculture movement and either contributed to or made an appearance in the movie.

Restoring both “Will” and “Nightshift” harmoniously complement LAFM’s overall scheme, offering a historical perspective that enriches the collection of newer films which dominate the festival. This unique sense of discovering something novel is instrumental to the event’s triumph, exuding an atmosphere of innovation and disclosure.

Last year, Winshall expressed gratitude for debuting the festival with such an audacious lineup. For this year’s planning, we’ve utilized some strategies from last year, focusing on premieres appealing to our local crowd, ensuring a mix of diverse content, and sourcing films from numerous resources. Our curatorial instincts guided us throughout, resulting in a program brimming with surprises – movies that were new to us even after programming them.

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2025-04-03 00:01

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