On Monday, March 15, 2010 I attended the World Premiere of Lebanon, Pa. at the SXSW Film Festival in Austin, Texas. The sold-out screening was held at the Alamo Lamar. It was featured in the Spotlight Premieres section.

For his first major feature, Philadelphian Ben Hickernell wrote, directed, produced, and edited this lush portrait of a man at the crossroads with the breathtaking backdrop of Philadelphia and its environs as its canvas. With a talented ensemble featuring Josh Hopkins, Samantha Mathis, Rachel Kitson, Mary Beth Hurt, and Hunter Gallagher, Lebanon, Pa. is simply a gem. The film begins with 35-year-old ad man Will (Hopkins) heading out of the city to bury his father in Lebanon, Pa. By the time the end credits roll his short trip will have affected the lives of a half dozen family members and friends in life-changing ways.


Shot on HDCAM, Marc Jeff Schirmer's cinematography makes full use of the shiny urban skyscrapers of the city and rolling green farms to the west. It gives Lebanon, Pa. a bright palette of primary colors where man and nature come together and blend seamlessly. There are no gritty city streets here -- beauty is everywhere, which is the very essence of Will's dilemma.

For its authentic and candid examination of the lives and loves of two families brought together by crisis, Lebanon, Pa. earns a a 5/5 and a place on my list of Top 5 Picks from the 2010 SXSW Film Festival.

Writer/director/producer/editor Ben Hickernell was joined onstage by lead actor Hunter Gallagher, producer Jason Contino, and cinematographer Marc Jeff Schirmer for a Q&A following the screening. The group then gathered outside on the red carpet for photos.

Here are some pictures I shot during the Q&A and afterward:


COMPLETE GALLERY (20 photos)

On Sunday, March 14, 2010 I attended the World Premiere of The Myth of the American Sleepover at the SXSW Film Festival in Austin, Texas. The sold-out screening was held at the Alamo Lamar. It was one of only eight films selected for the prestigious Narrative Competition.

This is writer/director David Robert Mitchell's first feature film. It was shot in the summer of 2008 in the suburbs surrounding Detroit, Michigan and, in typical indie style, it took the tenacity of the filmmakers and persistence of vision to overcome the many obstacles in bringing it to the big screen.

At first glance, The Myth of the American Sleepover might appear to be just another end of summer coming of age dramedy. However, with none of the Hollywood conventions attached, the film remains fresh and poignant. Like many SXSW selections this year, The Myth of the American Sleepover was shot with the RED One. The latest in camera technology, it's said to mimic film stock more closely than any previous digital method. Cinematographer James Laxton makes full use of the tools at his disposal but never intrudes on the action. The viewer is a fly on the wall, always observing, almost a voyeur. The end result creates a film noir, documentary feel.

The Myth of the American Sleepover snuck in under my radar and was the most unexpected surprise on my schedule this year, earning it a 5/5 and a place on my list of Top 5 Picks from the 2010 SXSW Film Festival. It also took home the Special Jury Award for Best Ensemble.

Director David Robert Mitchell was joined onstage by cast and crew following the screening.

Here are some pictures I shot during the Q&A:


COMPLETE GALLERY (13 photos)

On Monday, March 15, 2010 I attended the World Premiere of Cherry at the SXSW Film Festival in Austin, Texas. The sold-out screening was held at the Alamo Lamar. Featured in the Emerging Visions section, Cherry was a long time in the making and one of the Best Bets I selected prior to the festival. This provocative coming-of-age film far surpassed even my most optimistic expectations.

Writer/director Jeffrey Fine has an impressive track record directing and producing for television. This is his third feature film as a director and first as a writer. Matthew Fine and Sam Kitt produced. Cherry was first conceived five years ago and was shot on HDCAM in Kalamazoo, Michigan in the fall of 2008. That the film took so long to go from the page to the screen is a testament to the tenacity of the filmmakers in their insistence on remaining true to the story. This is the very definition of independent filmmaking, and a big reason I was drawn to this movie.


The cast was another. The lead actors have more film and television credits than the stars of most of the other films I saw here combined. Kyle Gallner (Aaron Milton) appeared in one of my Top Picks from the 2009 Toronto International Film Festival. His supporting role in Jennifer's Body was brief but powerful. But he was most impressive, and was brought to the attention of a much larger audience, as Matt Campbell in The Haunting in Connecticut, which actually screened at last year's SXSW Film Festival in the very same venue. He'll next be seen as Quentin in the "re-imagined" A Nightmare on Elm Street on April 30th. Britt Robertson (Beth) is already an industry veteran of both the large and small screen at only 19-years-old, and Laura Allen (Linda) is well-known to television viewers as Julia Mallory on Dirt and as Lily Moore Tyler in The 4400. Esai Morales (Wes) is one of the most prolific actors in the business. He played Lt. Tony Rodriguez on three seasons of NYPD Blue and has hundreds of other television episodes and dozens of films on his resume.

In the hands of a lesser director, Cherry might have been just another juvenile sex comedy. But Fine takes risks that can only come with a no-strings-attached production team. For pulling no punches in tackling some modern-day taboos and its rejection of typical teen fantasy in favor of an unflinching focus on adolescent reality, Cherry rates a 5/5 and earns a place on my list of Top 5 Picks from the 2010 SXSW Film Festival.

Writer/director Jeffrey Fine and producer Matthew Fine were joined onstage by stars Kyle Gallner and Britt Robertson for a Q&A following the screening. Gallner and Robertson stepped outside afterward to sign posters and soundtrack CDs. I also sat down with the two stars for in-depth interviews (to be posted later).

Here are some pictures I shot during the interview, at the Q&A, and the autograph signing following the screening:


INTERVIEW GALLERY (7 photos)

Q&A GALLERY (14 photos)

AUTOGRAPH SIGNING GALLERY (17 photos)

On Tuesday, March 16, 2010 I attended the World Premiere of Dance With The One at the SXSW Film Festival in Austin, Texas. The sold-out screening was held at the Alamo Lamar. It was one of only eight films selected for the prestigious Narrative Competition.

This is veteran actor Mike Dolan's auspicious directorial debut. Written by Smith Henderson and Jon Marc Smith, this taut thriller combines a drug crime drama with a coming of age story that owes as much to the great American Western as Law & Order's gritty urban mysteries. Shot in Texas on HDCAM, Dance With The One features locations surrounding the festival's Austin hometown.


The love story between Nate (Gabriel Luna) and Nicki (Xochitl Romero) provides heart, with Nate's boss Bobby (Paul Saucido) as the benevolent dictator running a construction firm which serves as a front to a major drug operation. Newcomer Mike Davis plays Nate's teenage brother Sitter, who is unwittingly caught in the middle of a spiral of accusations.

Director Mike Dolan was joined onstage by stars Gabriel Luna and Mike Davis for a Q&A following the screening. Lead actor Paul Saucido joined Dolan and Davis afterward for photos.

Here are some pictures I shot during the Q&A and afterward:


COMPLETE GALLERY (26 photos on 2 pages)

On Saturday, March 13, 2010 I attended the gala World Premiere of Wake at the SXSW Film Festival in Austin, Texas. The sold-out screening was held in the legendary 1200-seat Paramount Theatre, the largest venue of the festival. The movie was accompanied by the expectations and media attention that come with such a high profile event.

Wake is the directorial debut for Chad Feehan, who also wrote and produced. His name may not be that familiar to my readers but his previous production credit certainly is -- Feehan backed All the Boys Love Mandy Lane, which was one of my Top Picks from the 2006 Toronto International Film Festival and it's likely that more words have been written on this blog about that one film than any other. His track record is one reason I was drawn to this film, along with the talented ensemble cast and film's genre.


Putting his own spin on the classic motel psychological thriller, Feehan weaves a Hitchcockian tale that opens with Paul (Josh Stewart) and his girlfriend Adrienne (Jamie-Lynn Sigler) having a near-accident while practicing some extracurricular activity in their car. Shaken up, the incident convinces them to get some shuteye, and Roy's Motel looks like the perfect respite. Of course, not everything is as it seems, and the ensuing terror and mystery wowed me enough to give Wake a 5/5 and place it on my list of Top 5 Picks from the 2010 SXSW Film Festival.

Chris Hayes, Robert Maxhimer, Wade Feehan, Christopher Gessner, Angela Featherstone, Afemo Omilami, Chris Browning, and Jamie-Lynn Sigler walked the red carpet along with writer/director Chad Feehan. Star Josh Stewart joined most of the group in the Q&A.

Here are some pictures I shot as the cast & crew arrived on the red carpet and during the Q&A following the screening:


RED CARPET GALLERY (39 photos on 2 pages)

Q&A GALLERY (10 photos)

Will Canon's debut feature Brotherhood opens in a van filled with four fraternity brothers: Adam (Trevor Morgan), Frank (Jon Foster), Kevin (Lou Taylor Pucci), and Curtis (Tyler Corie). The boys are hiding behind a convenience store, faces barely lit. All we see are floating heads within the shadows of the vehicle's interior. Guns exchange hands, orders are barked, and an initiation ritual unfolds. It's clear that something is about to go horribly wrong, and the consequences will reverberate until the film's closing credits. In between, the viewer is taken on a breathless, nonstop thrill ride that fires on all cylinders. Think Altman on speed.

Co-written by Will Canon and Doug Simon, Brotherhood asks a lot of its audience but delivers largely due to masterful casting. The strength and credibility of the story rests on the shoulders of the young leads, including some of America's greatest indie actors brought together in cinematic synergy.

Jon Foster's Frank is the intellectually manic group leader, never quite in control but desperately trying to be. His powerful presence is intimidating and dominates every scene he's in. Lou Taylor Pucci is caught in the middle. Frightened and quivering, even abandoned at times by those who claim to be acting in his best interest, his Kevin is arguably the epitome of innocence and easily wins the heart of the viewer. And as the unwitting Adam, Trevor Morgan is the glue that holds the brothers together. This talented actor's wide range of emotions on display in Brotherhood is nothing short of astonishing. Then there's Arlen Escarpeta as Mike, unwittingly dragged into the brothers' downward spiraling scheme in a heartwrenching performance. There's a part of Frank, Kevin, Adam, and Mike in everyone -- sometimes scared, often confused, and ultimately alone in a crowd. Not one of them has a clue how to get out of the hole they're digging for themselves, but none will admit defeat and all will question the value of loyalty. Sympathies are torn, and it is left to the viewer to decide who are the villains and heroes.

The film's visceral visual style owes much to the veteran cinematographer Michael Fimognari, whose widescreen photography relies on a constantly moving handheld camera. His probing lens is always in the midst of the action, personally involving the viewer more as a participant than an observer. The broken-down house in Arlington, Texas that is inhabited by the fraternity is real, as was the ever-present sweat on the brothers' faces. No spray bottles were needed on this production. One can almost feel the dank, steamy air and the creaking floors reeking of stale beer. But make no mistake -- this is not Animal House. There's little to laugh at here beyond the occasional ice-breaking gallows humor. The mood is always tense and frighteningly authentic.

Canon's team works in lockstep to serve that end. The use of natural lighting and often harsh color palette gives Brotherhood a true indie look and feel. Dan Marocco's high energy score infuses the movie with a mix of heavy metal and rap which, along with Josh Schaeffer's sharp, rapid fire editing, gives the film a music video sensibility that beats with the rhythm of the testosterone-fueled action at the heart of the story.

Brotherhood is ultimately about the price we pay when the consequences of our actions are borne by others. The power of male bonding in an atmosphere where group sociology overpowers the individual's intellectual capacity to problem solve results in a domino effect that dooms all who enter. Independent filmmaking is the last bastion of emotional and thought-provoking moving images, and Brotherhood is about as good as it gets.


Click thumbnails to enlarge:

Brotherhood: Get Your Money from Will Canon on Vimeo.

Brotherhood: Fraternity Party from Will Canon on Vimeo.

Brotherhood the Movie: Help Is On the Way (Clean Version) from Will Canon on Vimeo.

The 2010 SXSW Film Festival has come to an exciting conclusion and I've returned home to take stock of my whirlwind week in Austin, Texas. The quality of the lineup was truly extraordinary, resulting in one of the most memorable experiences I've had there in the five years I've been attending.

This year's festival wowed me from the very first screening and it's never been more difficult for me to narrow down my favorites to just a few. But as in previous years, and as I do following every film festival I attend (43 since the start of 2006), this wrapup will conclude with my list of Top Picks.

First, some statistics. This year I attended a total of 15 screenings. All but three were World Premieres -- being seen by the public for the very first time. I love "foreign films," but this year only three were from other countries -- two from the UK (in English) and one from Israel (mostly in English with subtitles). The other 12 of 15 were from the United States.

One of my goals is always to catch as many competition films as possible, and this year I lucked out. I saw four of the eight films in the Narrative Feature Competition.

One thing that film festivals offer over traditional cinemas are Q&A sessions with cast and filmmakers after the screenings. Most films at SXSW have at least three showings, and Q&As traditionally wane with successive ones. But that's beginning to change. Of the nine first screenings, five second screenings, and one third screening I attended, all but two had Q&As -- every first screening and four of the five second screenings. As usual, I'll be posting pictures and video of many of the Q&As this coming week.

I spent more time south of the city than I expected to. Four of my screenings were downtown at the Paramount Theatre, only four were at the Alamo Ritz, and a surprising seven were out of town at the Alamo Lamar, including my last five in a row.

The most noticeable trend this year was how fast film stock is fading as the medium of choice. Of the 15 movies I saw, 12 were shot on HDCAM (mostly using the new RED camera). Only three used traditional 35mm film. The latest in digital technology, the RED is said to mimic film more closely than any previous digital method.

Please keep in mind that every film I saw was enjoyable. All met my expectations. Not a single one was disappointing. I'd recommend every one and most I'd see again. So I had to make some tough decisions. But following are what I consider to be the best of the best -- the ones that exceeded my expectations -- the films that I'd not only enthusiastically recommend, but also see again and rush to buy the DVD.

Here is my list of Top Picks from the 2010 SXSW Film Festival. Titles will link to their respective reviews after posted.


TOP 5 PICKS (in alphabetical order)

Brotherhood

Cherry

Lebanon, Pa.

The Myth of the American Sleepover

Wake


There are a couple of others I want to honor which didn't make the list only because I'd primarily recommend them to genre fans, but I thought Jimmy Tupper VS. The Goatman of Bowie and Outcast were excellent films. I also loved Kick-Ass but consider it to have been more of a theatrical preview than a festival film since it was already scheduled for wide release.

I should also mention that I could not consider Elektra Luxx since only a portion of the film was shown and I was not able to attend the rescheduled screening. In addition, several films were already on my lists of Top Picks from previous festivals and I did not include them for consideration: The Loved Ones, The Runaways, Skateland, When You're Strange, and The Good Heart.

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NOTE: Brotherhood went on to win the festival's Audience Award for Best Narrative Feature. The Myth of the American Sleepover won the award for Best Ensemble.

On Friday, March 12, 2010 I attended the gala World Premiere of Kick-Ass at the SXSW Film Festival in Austin, Texas. The sold-out screening was held in the legendary 1200-seat Paramount Theatre, the largest venue of the festival. As the official Opening Night Film, the Lionsgate comedy was the first SXSW selection to be announced earlier in the year and was accompanied by the expectations and media attention that come with such a high profile event.

Directed by Matthew Vaughan, who wrote the script with Jane Goldman, the film is based on the comic by Mark Millar and John S. Romita, Jr. One of today's brightest rising stars, Aaron Johnson (The Greatest, Nowhere Boy) stars as Dave Lizewski, a teenage comic-book fanboy who decides to take his obsession as inspiration to become a real-life superhero.


Along the way he inspires a subculture of copy cats, is hunted by assorted violent and unpleasant characters, and meets up with a pair of crazed vigilantes, including an 11-year-old sword-wielding dynamo, Hit Girl (Chloë Grace Moretz) and her father, Big Daddy (Nicolas Cage). Dave overcomes all obstacles to forge a friendship with another fledgling superhero, Red Mist (Christopher Mintz-Plasse). But thanks to the scheming of local mob boss Frank D’Amico (Mark Strong) that new alliance will be put to the test.

The brilliant ensemble cast of Kick-Ass also features Clark Duke, Evan Peters, Lyndsy Fonseca, Michael Rispoli, Garrett M. Brown, Xander Berkley, and Omari Hardwick. The film was produced by Matthew Vaughn, Brad Pitt, Kris Thykier, Adam Bohling, David Reid, and Tarquin Pack. Executive producers are Pierre Lagrange, Stephen Marks, Mark Millar, John S. Romita, Jr., and Jeremy Kleiner with Jane Goodman as co-producer. Kick-Ass will be released nationwide on April 16 from Lionsgate and Marv Films.

In attendance and participating in the Q&A following the screening were stars Aaron Johnson, Clark Duke, and Christopher Mintz-Plasse, along with director Matthew Vaughan and comic authors John Romita Jr. and Mark Millar.

Here are some pictures I shot during the Q&A:


COMPLETE GALLERY (48 photos on 3 pages)

The Dallas International Film Festival has announced its lineup for 2010. The 11-day event runs from April 8-18, including 153 feature films and shorts with 170 screenings. In an unusual move, the opening night will consist of eight films on all eight screens of Dallas' Angelika Film center on Thursday, April 8.

"We have worked very hard to bring films and filmmakers to Dallas that we feel the audiences here would delight in seeing and celebrating or would be thrilled to discover," said Artistic Director James Faust. "At the same time, we have sought to infuse the lineup with films that represent this city and its sensibility as well as celebrate some truly remarkable film artists."

There are seven films on the list which I've seen at recent festivals, including some of my favorites. The Loved Ones was one of my Top Picks from the 2009 Toronto International Film Festival, where I also saw The Joneses. I attended the World Premiere of Skateland, one of the eight Opening Night films, at the Sundance Film Festival in January and selected it as one of my Top Picks from that festival, where I also saw The Dry Land. And just this week, at the SXSW Film Festival, I attended the premieres of Brotherhood, Wake, and Dance With the One. Brotherhood won the Audience Award for Best Narrative Feature and is likely to make my list of Top Picks for SXSW. It's also a good bet that Wake will be on my list.


Opening Night films:

BILL CUNNINGHAM NEW YORK (representing documentaries)

Directed by Richard Press, the documentary chronicles the life of the legendary, yet enigmatic New York Times photographer. Obsessively interested in one thing – the pictures he takes that document the way people dress – Cunningham lives a monk-like existence, yet has managed to not only chronicle the intersection of fashion and society in New York over fifty years, but has long been held in the highest regard by the upper crust of New York.

MULTIPLE SARCASMS (representing narrative)

Directed by Brooks Branch, the film is a quirky relationship drama about an architect (played by Timothy Hutton), successful and in his 40s, who begins questioning his life choices and starts writing a play based on his life. As the play begins to take shape, his real life begins to unravel. The cast includes Stockard Channing, Dana Delany, Chris Sarandon, Mira Sorvino, and Mario Van Peebles.

NOSOTROS LOS POBRES (WE THE POOR) (representing Mexican cinema)

As part of a nod to the celebration of the Mexican Bicentennial, DALLAS IFF will screen this classic from 1948. Directed by Ismael Rodriguez and starring Pedro Infante, the film is widely considered to be one of the best known and beloved films from Mexico. The film attempts to depict and dignify the lives of the working-class poor in Mexico City with a slice-of-life story involving several characters that live within the same neighborhood.

SKATELAND (representing Texas made cinema)

Directed by Anthony Burns, SKATELAND is a coming-of-age film set in 1983 centering on ‘Ritchie’, a worker at Skateland, the roller rink and local hangout of a small town. With Skateland due to close, the party scene getting stale and his romantic life as cloudy as his future; Ritchie struggles to make sense of it all. When tragedy strikes his friends and family, Ritchie must face the music—and make the biggest decision of his life.


Super Saturday presentations on Saturday, April 10:

HOLD – World Premiere

Directed by Frank Mosely, the drama follows the evolution of a young couple's relationship after a home intruder has raped the wife. Displaying the isolation of a couple bound by love, but torn by circumstance, HOLD investigates the frailty of the hero complex and exposes the vulnerability that masculinity sometimes masks too well in the face of tragedy.

THE JONESES

Written and directed by Derrick Borte, the film is a serio-comic social commentary on our consumerist society about the seemingly perfect couple and their gorgeous teen-aged children. The family is the envy of their posh, suburban neighborhood filled with McMansions and all the trappings of the upper middle class. But as the neighbors try to keep up with the Joneses, none are prepared for the truth about this all-too perfect family. The film stars Demi Moore, David Duchovny, Gary Cole, Lauren Hutton and Amber Heard.

WITHOUT HER (Sin Ella) – World Premiere

Directed by Jorge Colon, WITHOUT HER (Sin Ella) is a drama about a successful reality show producer whose life and relationship with his children is turned upside down following the tragic death of his ex-wife. When she appears in his thoughts to tell him what she would have done in each situation, the two begin to relive their love story.

THUNDER SOUL

A film that was so popular at the just concluded SXSW Film Festival that several pass holders had to be turned away at the door, the film, THUNDER SOUL is a documentary that turns the camera on a reunion of the 1970’s Kashmere High School band and its director, Conrad Johnson, which became an international funk sensation at the time. Directed by Mark Landsman, the film picks things up 30 years later, as his students return to pay tribute to the man who changed their lives.

VIRSA – World Premiere

Directed by Pankaj Batra, this film out of Pakistan focuses on a man’s struggles to cohabitate with two generations of his family while the family itself faces similar difficulties assimilating to their adopted culture.

WAITING FOR FOREVER

Directed by James Keach, this Hollywood-set romance concerns a man and woman working to recapture and recover a love they had put aside when she left her home town to seek a career as a television actress. The film stars Rachel Bilson, Richard Jenkins, Blythe Danner, Nikki Blonsky and Jaime King.

WE ARE THE SEA – World Premiere

Written and directed by Neil Truglio, this drama focuses on an English teacher drifting though life and trying to make sense of the direction it has taken following his recovery from the near fatal consequences of his actions. Starring Jeff Childress and Allison Savoy, the film features the music of Iron & Wine.

Here is the complete lineup of features: TARGET NARRATIVE FEATURE COMPETITION BROTHERHOOD – DIR: Will Canon (USA) Cast: Jon Foster, Trevor Morgan, Lou Taylor Pucci COOKING WITH STELLA – DIR: Dillip Mehta (Canada) Cast: Don McKellar, Seema Biswas, Lisa Ray, Shriya Saran THE DRY LAND – DIR: Ryan Piers Williams (USA) Cast: America Ferrera, Ryan O’Nan, Wilmer Valderrama, Jason Ritter, Ethan Suplee, Melissa Leo OBSELIDIA – DIR: Diane Bell (USA) Cast: Michael Piccirilli, Gaynor Howe, Frank Hoyt Taylor SNOW AND ASHES – DIR: Charles-Olivier Michaud (Canada) Cast: Rhys Coiro, David-Alexandré Coiteux, Marina Eva WE ARE THE SEA – DIR: Neil Truglio (USA) Cast: Jeff Childress, Allison Savoy, Lauren Shealy TARGET DOCUMENTARY FEATURE COMPETITION HIS & HERS – DIR: Ken Wardrop (Ireland) KICK IN IRAN - DIR: Fatima Abdollahvan (Germany) THE LAST SURVIVOR – DIR: Michael Pertnoy, Michael Kleiman (USA) THE RED CHAPEL (Detrode kapel) – DIR: Mads Brügger (Denmark) A SURPRISE IN TEXAS – DIR: Peter Rosen (USA) THUNDER SOUL – DIR: Mark Landsman (USA) WASTE LAND – DIR: Lucy Walker (Brazil/UK) DOCUMENTARY SHOWCASE JEAN-MICHEL BASQUIAT: THE RADIANT CHILD – DIR: Tamra Davis (USA) NO CROSSOVER: THE STORY OF ALLEN IVERSON – DIR: Steve James (USA) OCTOBER COUNTRY – DIR: Michael Palmieri, Donal Mosher (USA) WAKING SLEEPING BEAUTY – DIR: Don Hahn (USA) SPECIAL PRESENTATIONS TOUCH OF EVIL (1958) – DIR: Orson Welles (USA) Cast: Orson Welles, Charlton Heston, Janet Leigh WAITING FOR FOREVER (2009) – DIR: James Keach (USA) Cast: Tom Sturridge, Rachel Bilson, Richard Jenkins, Blythe Danner, Jaime King, Nikki Blonsky, Scott Mechlowicz, Matt Davis WAKE (2010) – DIR: Chad Feehan (USA) Cast: Josh Stewart, Jamie-Lynn Sigler, Chris Browning DALLAS PREMIERE SERIES BILL CUNNINGHAM NEW YORK – DIR: Richard Press (USA) CASINO JACK AND THE UNITED STATES OF MONEY – DIR: Alex Gibney (USA) CITY OF LIFE AND DEATH (Nanjing! Nanjing!) – DIR: Lu Chuan (China/Hong Kong) Cast: Liu Ye, Gao Yuanyuan, Nakaizumi Hideo, Fan Wei CRACKS - DIR: Jordan Scott (USA) Cast: Eva Green LOVERS OF HATE – DIR: Bryan Poyser (USA) Cast: Chris Doubek, Heather Kafka, Alex Karpovsky, Zach Green SKATELAND - DIR: Anthony Burns (USA) Cast: Ashley Greene, Brett Cullen, Heath Freeman, James LeGros, A.J. Buckley WINTER’S BONE – DIR: Debra Granik (USA) Cast: Jennifer Lawrence, John Hawkes, Lauren Sweetser, Shelley Waggener TEXAS COMPETITION AMERICAN: THE BILL HICKS STORY – DIR: Matt Harlock, Paul Thomas (UK) CARRIED AWAY – DIR: Tom Huckabee (USA) Cast: Gabriel Horn, Juli Erickson DANCE WITH THE ONE – DIR: Michael Donal (USA) EARTHLING – DIR: Clay Liford (USA) Cast: William Kat, Rebecca Spence, Peter Greene HARMONY AND ME – DIR: Robert Byington (USA) Cast: Justin Rice, Kevin Corrigan, Pat Healy HOLD – DIR: Frank Mosley (USA) Cast: Robby Storey, Stephanie Rhodes SWEET SCIENCE: A BOXING DOCUMENTARY – DIR: Chris Howell (USA)

ENVIRONMENTAL VISIONS COMPETITION CLIMATE REFUGEES – DIR: Michael Nash (USA) COLONY– DIR: Ross McDonnell, Carter Gunn (Ireland) GREENLIT – DIR: Miranda Bailey (USA) ENVIRONMENTAL VISIONS SPECIAL PRESENTATION THE RIVER WHY – DIR: Matthew Leutwyler (USA) Cast: Zach Gilford, Amber Heard, William Hurt, Kathleen Quinlan, Dallas Roberts, William Devane WORLD CINEMA DISCO AND ATOMIC WAR (Disko ja Tuumasoda) – DIR: Jaak Kilmi (Estonia/Finland) DOWN TERRACE - DIR: Ben Wheatley (UK) Cast: Robin Hill, Robert Hill, Julia Deakin, Tony Way THE GOOD, THE BAD, AND THE WEIRD (Joeunnom nabbeunnom isanghannom) – DIR: Kim Jee-woon (South Korea) Cast: Kang-ho Song, Byung-hun Lee, Woo-sung Jung I AM LOVE (Io Sono l”Amore) – DIR: Luca Guadagnino (Italy) Cast: Tilda Swinton, Flavio Parenti MY TEHRAN FOR SALE – DIR: Granaz Moussavi (Australia/Iran) Cast: Marzieh Vafamehr, Amir Chegini, Asha Mehrabi SHIRLEY ADAMS – DIR: Olivier Hermanus (South Africa/USA) Cast: Denise Newman, Keenan Arrison, Theresa C. Sedras, Emily Childs, Lee-Ann van Rooi VIRSA – DIR: Pankaj Batra (Pakistan) MEXICO SPOTLIGHT BECLOUD (Vaho) – DIR: Alejandro Gerber Bicecci (Mexico) Cast: Marta Aura, Sonia Couoh, Aldo Estuardo NORTHLESS (Norteado) – DIR: Rigoberto Perezcano (Mexico/Spain) Cast: Harold Torres, Alicia Laguna WE THE POOR (Nosotros Los Pobres) Cast: Pedro Infante, Evita Muñoz WITHOUT HER (Sin Ella) – DIR: Jorge Colon (Mexico) FAMILY FRIENDLY ALABAMA MOON – DIR: Tim McCanlies (USA) Cast: Jimmy Bennett, John Goodman, Clint Howard, Gabriel Basso, Uriah Shelton UP – DIR: Pete Docter (USA) Cast: Edward Asner, Christopher Plummer, Jordan Nagai, Bob Peterson, Delroy Linddo ANIMATION COMPETITION THE ART OF DROWNING – DIR: Diego Maclean (Canada) DOCK ELLIS & THE LSD NO-NO – DIR: James Blagden (USA) FARD – DIR: David Alapont, Luis Briceno (France) LAND OF THE HEADS – DIR: Cédric Louis, Claude Barras (Canada/Switzerland) THE MOUSE THAT SOARED – DIR: Kyle Bell (USA) RUNAWAY – DIR: Cordell Barker (Canada) SAM’S HOT DOGS – DIR: David Lopez Retamero (UK) THE TERRIBLE THING OF ALPHA 9! – DIR: Jake Armstrong (USA) WISDOM TEETH – DIR: Don Hertzfeldt (USA) YOU CRIED ME – DIR: Tom Deslongchamp (USA) COMMUNITY SHOWCASE NESHOBA – DIR: Micki Dickoff, Tony Pagano (USA) PAINTING POETRY – DIR: Earl Latchley (USA) MIDNIGHT SPECIALS THE LOVED ONES – DIR: Sean Byrne (Australia) Cast: Xavier Samuel, Richard Wilson, Jessica McNamee, Victoria Thane A TOWN CALLED PANIC – DIR: Stéphane Aubier, Vincent Patar (Belgium) TUCKER & DALE VS. EVIL – DIR: Eli Craig (Canada) Cast: Katrina Bowden, Tyler Labine, Alan Tudyk

The 2010 South by Southwest (SXSW) Film Conference and Festival has been nothing short of spectacular in its first five days. Although the 10-day event is far from over, Tuesday night's Awards Ceremony signals the conclusion of the film-only portion of the week. All the competition titles have screened and both Jury as well as Audience Awards have been tabulated. Tonight, in a gala event at the Austin Convention Center, the winners were announced.

Just getting into the festival was an achievement worthy of a prize. Overall, 134 feature-length films, including 64 world premieres, were selected from a record 1,572 feature-length film submissions composed of 1,206 U.S. and 366 international feature-length films. 130 shorts were selected from 2,312 short film submissions.

"I wasn't sure how we could top or even present a program as strong as SXSW 2009, but it feels like we did," said Film Conference and Festival Producer Janet Pierson. "There are some films that are rocking crowd pleasers, some that are refining the form or finding a voice, several that are inspiring, and fortunately, a wonderful few that are truly original visions. We are thrilled to be able to celebrate those tonight."

Hopefully you've been following my Twitter at twitter.com/larry411 since Friday as I've reported live from screenings, parties, and other events. After I return home I'll be posting the many exciting interviews I did, along with the hundreds of pictures and videos from the glamorous red carpets, rockin' parties, and informative post-screening Q&As I attended. Of course, I'll make my Top Picks and review them. Hints of what films will make that list have trickled out in 140-character increments throughout the 13 screenings I've attended since Friday.

I am thrilled to report that accolades were handed out tonight to several of the movies I've been recommending, including one of the most prestigious awards to a film I singled out prior to the festival as a must-see. One month ago, on February 16, I previewed Will Canon's Brotherhood and selected it as one of my top five best bets. I first wrote about this film in the summer of 2008. Trevor Morgan and Lou Taylor Pucci, along with Jon Foster, all real-life friends who had collaborated on projects in the past, were headed to Arlington, Texas to shoot what was known at the time as the Untitled Roslyn Project. Shortly before the festival the film was officially titled Brotherhood. I'd been anxiously awaiting this premiere for quite some time and it did not disappoint. Although I'm still attending screenings, I have no doubt that this moving and powerful film will end up as one of my Top Picks from the 2010 SXSW Film Festival. Fortunately, moviegoers here agree as Brotherhood has won the Audience Award for Best Narrative Feature.

At every film festival I attend there are those unexpected little gems -- small indies which fly under the radar until audiences begin to discover them. I always hope to find a few of these and I did that with The Myth of the American Sleepover. Director David Robert Mitchell has crafted a coming-of-age story that is authentic in its depiction of teens lost between the world of childhood and adulthood, in the gray area of confusion and unspoken fears. It's rare to find a film where all actors play equally important roles in the narrative, so it was only fitting that The Myth of the American Sleepover took home the Special Jury Award for Best Ensemble.

Here are the 2010 SXSW Film Festival Award Winners:

Feature Film Jury Awards DOCUMENTARY FEATURE Winner: Marwencol Director: Jeff Malmberg Runner-up: War Don Don Director: Rebecca Richman Cohen NARRATIVE FEATURE Winner: Tiny Furniture Director: Lena Dunham Special Jury Award – Best Ensemble: Myth of the American Sleepover Director: David Robert Mitchell Special Jury Award – Best Individual Performance: Brian Hasenfus in Phillip the Fossil Director: Garth Donovan Feature Film Audience Awards DOCUMENTARY FEATURE Winner: For Once in My Life Director: Jim Bigham & Mark Moormann NARRATIVE FEATURE Winner: Brotherhood Director: Will Canon *Audience Awards for Spotlight Premieres, Emerging Visions, 24 Beats Per Second, Lone Star States, and Midnighters will be announced on Monday, March 22, 2010. Short Film Jury Awards NARRATIVE SHORTS Winner: Cigarette Candy Director: Lauren Wolkstein Runner Up: Teleglobal Dreamin' Director: Eric Flanagan DOCUMENTARY SHORTS Winner: Quadrangle Director: Amy Grappell Runner Up: White Lines and The Fever: The Death of DJ Junebug Director: Travis Senger ANIMATED SHORTS Winner: The Orange Director: Nick Fox-Gieg Runner Up: One Square Mile of Earth Director: Jeff Drew EXPERIMENTAL SHORTS Winner: Night Mayor Director: Guy Maddin Runner Up: Kids Might Fly Director: Alex Taylor

MUSIC VIDEOS Winner: Cinnamon Chasers, "Luv Deluxe" Director: Saman Keshavarz Runner Up: Grizzly Bear, "Forest" Director: Allison Schulnik TEXAS SHORTS Winner: Petting Sharks Director: Craig Elrod Runner Up: The Big Bends Director: Jason William Marlow TIME WARNER CABLE & OVATION YOUNG FILMMAKER SCHOLARSHIP for TEXAS HIGH SCHOOL SHORT Winner: Give the Dog a Bone Director: Edward Kelley Runner Up: The Sleep Project Director: Whitney Bennett & Matthew Cunningham SXSW Film Design Awards EXCELLENCE IN POSTER DESIGN Winner: Feeder Designer: Joseph Ernst Runner Up: Amer Designer: Gilles Vranckx Audience Award Winner: Richard Garriott: Man on a Mission Designer: Michael Anderson Special Jury Award: Equestrian Sexual Response Designers: Martim Vian & Zeke Hawkins EXCELLENCE IN TITLE DESIGN Winner: Zombieland Designer: Ben Conrad Runner Up: earthwork Designer: Stan Herd Audience Award Winner: earthwork Designer: Stan Herd Special Jury Award: Enter the Void Designer: Gaspar Noé and Tom Kam SXSW Special Awards SXSW WHOLPHIN AWARD Winner: Quadrangle Director: Amy Grappell SXSW CHICKEN & EGG EMERGENT NARRATIVE WOMAN DIRECTOR AWARD Winner: Lena Dunham for Tiny Furniture Special Award - The Chicken & Egg Pictures "We Believe in You" Award: Martha Stephens for Passenger Pigeons

Skateland is one of the selections in the Lone Star States section here at the 2010 SXSW Film Festival. It was shot and set in Texas. I was fortunate to have attended the World Premiere of this wonderful and evocative movie at the Sundance Film Festival.

This is Anthony Burns' feature directorial debut and is certainly a moving and emotional calling card. As acknowledged in its closing credits, it is dedicated to and owes much to the late John Hughes, who helped develop the coming-of-age genre into a true art form. Those who grew up in the 1980s, especially anyone who is fond of the era's music, will find a lot to like about this film.

I rated the film a 5/5 and selected it as one of my Top 5 Picks (see MY REVIEW and PICTURES of the Q&A).

Skateland will be shown at the Paramount Theatre tomorrow night at 9:30 PM. A party was held earlier today at Wet Bar just south of downtown Austin to celebrate the film's "hometown" premiere. Most of the cast and crew members who I met at Sundance attended the party. Also present was the one lead actor who had missed Sundance due to another film shoot, Ashley Greene. It was a pleasure to meet and speak with her today, particularly after having missed her (as did everyone) in January.

Here are some pictures I shot at the party.


COMPLETE GALLERY (29 photos)

Film festivals present unique challenges. Putting together a schedule without conflicts is like playing chess with one hand while putting together a jigsaw puzzle with the other. If you can survive the stress you just might end up with something that looks exciting. Such is the case with my 2010 SXSW Film Festival calendar which, after a great deal of hard work, is finally shaping up to be one of the best.

Scheduling always takes some sleight of hand but it begins with the "must-sees" (see previous posts) and moves on to promising little gems, fun-filled parties, in-depth interviews, and maybe a few glitzy red carpets. Such is the life of a film festival journalist and I wouldn't trade it for the world.

I'm mainly there for the movies, of course, and I'll try to see as many as possible, especially from Friday through Tuesday, the days which are devoted primarily to the Film Festival portion of SXSW. Of course, there is a basic conflict between attending screenings and being a working journalist. In previous years, seeing films would not necessarily lend itself to posting reports online (unless you bring a large staff -- it's just me, yo). I had precious little time here to blog the way I would normally like to do. Fortunately, Twitter has changed all that. Beginning with the 2009 Toronto International Film Festival last September, I began live tweeting. Not only is it more immediate, obviously, than writing articles at the end of the day, but it also allows the reader to feel as though they're right there beside me. At least that's what many have said, so it's become my reporting medium of choice. But I still do try to find the time to take pictures and video, and write reviews for the films I attend, as time permits. I'll be doing the same at SXSW on my Twitter and this blog.

At the moment I have a tentative list of 24 films I'd like to see. However, the maximum number of screenings I could possibly attend during those time slots is 21. And that's if I don't do any interviews, cover red carpets, or attend parties -- some of which are really more business-related than just "eat and get drunk" (although food may be essential) so can't just be eliminated from my schedule. In some cases the movies only have one screening so I'm obviously going to have to make some tough decisions. Most of them do show more than once while I'm there and this means that in most time slots I actually have two or three films overlapping. These options are nice to have but which ones I end up seeing will depend more on where I am at any given time and how far away I am in time and distance. Bottom line: I couldn't even tell you exactly what I'm going to see. In most cases those decisions will be made on the spot. That makes SXSW different than just about any other festival I attend because almost all of them require you to select your screenings in advance. Here we have options but it also makes life a bit more complicated. But that's what makes SXSW so much fun.

So the pre-festival coverage is over and the on-the-spot tweeting is about to begin. My heart is beating faster as I continue to prepare for my arrival in Austin, Texas tomorrow. It's hard to believe I'll be there in just 24 hours. Hopefully you'll be able to join me -- at least virtually.



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It wasn't so long ago -- December 27, to be exact -- that we had a long discussion about a trailer for The Twilight Saga: Eclipse. The question swirling around the Twiiterverse was, specifically, in regards to whether or not one existed, had been seen by a human, and/or would be officially released anytime soon. I got involved in that conversation not necessarily because I had some inside information but because I'd had experience with clips and trailers as a film journalist.

That online "conversation" continued. Fortunately, it ends today.

Here is the first official full-length trailer for The Twilight Saga: Eclipse:

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The lineup has been announced for the 15th Annual Gen Art Film Festival in New York City, April 7-13. This unique event spotlights only 7 feature-length films and 7 shorts, along with 7 premiere parties open to all who attend the screenings. The festival kicks off at the Ziegfeld Theatre at 141 West 54th Street with an after-party at The Park. The fest moves to the School of Visual Arts Theater (SVA) on West 23rd Street between 8th and 9th Avenue for the rest of the lineup.

happythankyoumoreplease will be the Opening Night film on Wednesday, April 7. Written and directed by first-time filmmaker Josh Radnor, the movie won the audience award in the U.S. Narrative category at the Sundance Film Festival in January. This will be the New York Premiere (as are all the selections) and the first time it's been shown since its debut.


The rest of the lineup includes Francesca Gregorini and Tatiana von Furstenberg's Tanner Hall, James Keach's Waiting for Forever, Alexandre Franchi's The Wild Hunt, Sebastian Gutierrez's Elektra Luxx, and Adrian Grenier's documentary Teenage Paparazzo. The festival will close with Patrick Hoelck's Mercy, which was just acquired by IFC Films for North American distribution. The picture stars writer/producer Scott Caan, Wendy Glenn, Troy Garity, and Erika Christensen. Teenage Paparazzo also premiered at Sundance while Elektra Luxx, starring Joseph Gordon-Levitt, debuts at the SXSW Film Festival next Sunday. I'll be at the screening, giving me the opportunity to "preview" the film for the Gen Art audience.

"Our programming process uncovered perhaps the most promising batch of new films in years," said Jeffrey Abramson, Film Division Senior VP. "In celebration of our 15th year, we have curated a slate that is perfect for our core Gen Art audience of young, thoughtful tastemakers who seek to satiate their hunger for culture through support of new talent. Furthermore, the feature films share a collective theme of the exploration of relatable tales of love. Whether it is falling in love for the first time, learning to love oneself, experimenting with it, fighting for it, or recognizing it has become obsessive or idolized, we are happy to see this empathetic trend kicking off a new decade of storytelling."

"Since its creation in 1996, Gen Art has had the pleasure of introducing our audience to a multitude of cutting-edge directors including Cary Fukunaga, Brad Anderson, Adrienne Shelly, Richard Shepard, The Duplass Brothers, Alex Holdridge, Brian Dannelly, Four Eyed Monsters, Azazel Jacobs, The Martini Brothers, Michael Skolnik & Paola Mendoza, Austin Chick, George Ratliff, Ari Gold, Tim Blake Nelson, Kevin Bacon, Fisher Stevens and Alan Cummin," according to the festival. "And the festival has played host to well known acting talent including Adrian Grenier, Kevin Bacon, Jennifer Love Hewitt, Christian Slater, Alec Baldwin, Adrian Brody, Kerry Washington, Kyra Sedgwick, Zoeey Deschanel, Samuel L. Jackson, Mandy Moore, Zach Braff, Colin Farrell and many others."

Gen Art truly is "the best of the best" and a must on my yearly festival calendar. I'll be in attendance and reporting live every night.

The 82nd Academy Awards have taken their place in history. Once again, independent films dominated with indie studios taking 12 of the 21 awards. The night's big winner was Summit's The Hurt Locker. The gritty independent drama about the Iraq War took home six Oscars, including Best Picture and Best Director. Kathryn Bigelow becomes the first female director to win an Academy Award. The film was also honored for Best Original Screenplay, Film Editing, Sound Editing, and Sound Mixing. The Hurt Locker won in six of the nine categories in which it was nominated, and is the lowest grossing Best Picture winner of all time. This was the 18th time in 30 years that an independent film has taken top honors.

In contrast, despite its place in history as the largest grossing movie of all time, 20th Century Fox's Avatar only managed to muster up three wins from its nine nominations. These were the less glamorous technical awards for Cinematography, Art Direction, and Visual Effects.


Three films took home two awards each. For Precious: Based on the Novel Push by Sapphire, Mo'Nique took home the statuette for Best Supporting Actress and Geoffrey Fletcher for Best Adapted Screenplay. Jeff Bridges won Best Actor for Crazy Heart, which also won for Best Original Song. Up nabbed two awards for Best Animated Feature Film and Best Score. A total of 10 films received awards.

Here is the complete list of winners of the 82nd Academy Awards (winners in bold):

Best picture: "Avatar" "The Blind Side" "District 9" "An Education" "The Hurt Locker" "Inglourious Basterds" "Precious" "A Serious Man" "Up" "Up in the Air" Best actor: Jeff Bridges, "Crazy Heart" George Clooney, "Up in the Air" Colin Firth, "A Single Man" Morgan Freeman, "Invictus" Jeremy Renner, "The Hurt Locker" Best actress: Sandra Bullock, "The Blind Side" Helen Mirren, "The Last Station" Carey Mulligan, "An Education" Gabourey Sidibe, "Precious" Meryl Streep, "Julie & Julia" Best supporting actor: Matt Damon, "Invictus" Woody Harrelson, "The Messenger" Christopher Plummer, "The Last Station" Stanley Tucci, "The Lovely Bones" Christoph Waltz, "Inglourious Basterds" Best supporting actress: Penelope Cruz, "Nine" Vera Farmiga, "Up in the Air" Maggie Gyllenhaal, "Crazy Heart" Anna Kendrick, "Up in the Air" Mo'Nique, "Precious " Best director: James Cameron, "Avatar" Kathryn Bigelow, "The Hurt Locker" Quentin Tarantino, "Inglourious Basterds" Lee Daniels, "Precious" Jason Reitman, "Up in the Air" Best foreign-language film: "Ajami" Israel "El Secreto de Sus Ojos" Argentina "The Milk of Sorrow" Peru "Un Prophete" France "The White Ribbon" Germany Best adapted screenplay: Neill Blomkamp and Terri Tatchell, "District 9" Nick Hornby, "An Education" Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche, "In the Loop" Geoffrey Fletcher, "Precious" Jason Reitman and Sheldon Turner, "Up in the Air" Best original screenplay: Mark Boal, "The Hurt Locker" Quentin Tarantino, "Inglourious Basterds" Alessandro Camon and Oren Moverman, "The Messenger" Joel Coen and Ethan Coen, "A Serious Man" Bob Peterson, Pete Docter, Tom McCarthy, "Up" Best animated feature film: "Coraline" "Fantastic Mr. Fox" "The Princess and the Frog" "The Secret of Kells" "Up" Best art direction: "Avatar" "The Imaginarium of Doctor Parnassus" "Nine" "Sherlock Holmes" "The Young Victoria" Best cinematography: "Avatar" "Harry Potter and the Half-Blood Prince" "The Hurt Locker" "Inglourious Basterds" "The White Ribbon"

Best sound mixing: "Avatar" "The Hurt Locker" "Inglourious Basterds" "Star Trek" "Transformers: Revenge of the Fallen" Best sound editing: "Avatar" "The Hurt Locker" "Inglourious Basterds" "Star Trek" "Up" Best original score: "Avatar," James Horner "Fantastic Mr. Fox," Alexandre Desplat "The Hurt Locker," Marco Beltrami and Buck Sanders "Sherlock Holmes," Hans Zimmer "Up," Michael Giacchino Best original song: "Almost There" from "The Princess and the Frog," Randy Newman "Down in New Orleans" from "The Princess and the Frog," Randy Newman "Loin de Paname" from "Paris 36," Reinhardt Wagner and Frank Thomas "Take It All" from "Nine," Maury Yeston "The Weary Kind (Theme from Crazy Heart)" from "Crazy Heart," Ryan Bingham and T Bone Burnett Best costume design: "Bright Star" "Coco Before Chanel" "The Imaginarium of Doctor Parnassus" "Nine" "The Young Victoria" Best documentary feature: "Burma VJ" "The Cove" "Food, Inc." "The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers" "Which Way Home" Best documentary short: "China's Unnatural Disaster: The Tears of Sichuan Province" "The Last Campaign of Governor Booth Gardner" "The Last Truck: Closing of a GM Plant" "Music by Prudence" "Rabbit a la Berlin" Best film editing: "Avatar" "District 9" "The Hurt Locker" "Inglourious Basterds" "Precious" Best makeup: "Il Divo" "Star Trek" "The Young Victoria" Best animated short film: "French Roast" "Granny O'Grimm's Sleeping Beauty" "The Lady and the Reaper (La Dama y la Muerte)" "Logorama" "A Matter of Loaf and Death" Best live-action short film: "The Door" "Instead of Abracadabra" "Kavi" "Miracle Fish" "The New Tenants" Best visual effects: "Avatar" "District 9" "Star Trek"