Latest news with #SlamdanceFilmFestival
Yahoo
25-02-2025
- Entertainment
- Yahoo
Wrestling champion with Crouzon syndrome looks back on his 'hero's journey' in new documentary: 'The real flex' is 'being able to stand out'
For Ben Kjar, his unlikely path to wrestling glory while living with Crouzon syndrome was what he called a 'hero's journey.' Kjar, who was born with the genetic disorder that affects the growth of bones in the skull and results in a craniofacial difference, is the subject of the new documentary Standout: The Ben Kjar Story by director Tanner Christensen. The film premiered at the Slamdance Film Festival in Los Angeles on Feb. 23. The Utah-born athlete, 41, didn't always know he would be able to join a sport, much less become a state champion three times over and an NCAA Division I All-American. The fourth of seven children, Kjar was born 'almost lifeless,' his father Scott said in the film. See for yourself — The Yodel is the go-to source for daily news, entertainment and feel-good stories. By signing up, you agree to our Terms and Privacy Policy. 'He was struggling very hard for every breath,' his mother, Stana, said. Christensen, who grew up in the same small Utah town as Ben, documented the athlete's life in the film, which includes interviews as well as personal photos and home videos showing everything from a young Ben post-surgery to his struggle on the wrestling mat. 'He told the real story,' Ben told Yahoo Entertainment. 'What we see on social media are the highlights a lot of times, and we don't see the lowlights.' To maintain that authenticity, Christensen showed Ben's confidence being built up and knocked down throughout the documentary. Anything else would have 'just seemed manipulative.' Christensen also said he 'didn't want to get preachy with it.' So Christensen told the story chronologically, from Ben's difficult birth to where he is now — a happily married father of three. At 9 months old, Ben had his first surgery to make room for his growing brain. It was scheduled to take 10 to 12 hours. Stana thought this would be a 'breakdown moment,' one where she wouldn't be able to care for her son. Instead, she said in the film, 'I had just a blanket of warmth fall over me. Every day that he is with us, we'll do everything we can for him.' That's exactly what the Kjar family did. Instead of treating Ben like a delicate object who couldn't lead a normal life, they treated him like anyone else in the family — which included a supportive set of aunts, uncles and cousins who 'didn't recognize that he was different at all.' However, once they started noticing the looks from other kids and adults — and how it started to affect Ben — they realized they needed to find a way to build his self-confidence. 'You feel like you just want to fit in,' Ben told Yahoo Entertainment. 'For the majority of my life, I just wanted to be normal.' His parents enrolled him in everything from piano lessons to dance to a children's singing group. While they didn't put Ben in a corner or wrap him in bubble wrap, what they did avoid was sports. Doctors had warned them against contact sports, specifically because of potential head injuries. However, that's the path Ben ultimately wanted to take. When he accompanied his older brother to a wrestling tournament for middle-school-and-younger kids, Ben couldn't stay out of the action. While not officially in the tournament, Ben pulled kids from the sidelines and wrestled 'eight to 10' of them, according to the coach, who appears in the film. For that, Ben earned a special medal for wrestling the most people that night. 'And that gave me a sample of what it was like to feel just like noticed,' Ben said in the film. His parents eventually relented and allowed Ben to wrestle, acknowledging how it positively affected his confidence. The film chronicles just how hard he had to work at first to simply keep up. What the film also tackles, aside from sports, is the emotional trauma Ben had to endure as a child. To show that, Ben and Christensen made the choice to hire Colton Fielding, a child actor with Crouzon syndrome who both looked like Ben and had the same character and energy. 'You see him walking down the elementary [school] hall, we were just supposed to give a high-five,' Ben explained of his younger self in the documentary, 'and he gives a wind-up slam-dunk high-five.' Ben even sat down with Fielding's parents to say that his role was important 'to make a real impact.' The documentary would be filmed in such a way that the scenes wouldn't be at the expense of emotionally 'hurting your boy,' he told the actor's parents. There are heartbreaking moments of Fielding as a young Ben enduring bullying at school, and also from a father and two kids at the grocery store. At one point, he goes into his bathroom at home wanting to 'take his face off.' Ben said that to film the bullying scenes, they shot the angles separately, with the bullies' dialogue and actions being shot at a different time as Fielding's scenes. 'That's when Colton, the little Ben, was in another room so he wouldn't have to hear that and have that impact him,' Ben said. 'Secondly, the two kids — both the boy and the girl in the marketplace — are his blood brother and sister.' The film follows a 'hungry' Ben as he trains to be a middle school and high school wrestler despite his disadvantages: He was shorter than almost every opponent, small hands, short limbs, his uncle and coach Shandell Smoot say in the film. But Ben persisted, even saying in his sophomore year of high school that he would win the state championship three times. (He had a '3XSC' patch made for his letter jacket before he even won a single one.) Recruited by multiple schools, he eventually enrolled at Utah Valley University, where he won multiple victories and saw his face on banners around campus. It's where he also met fellow student Lacol Grant, who eventually became his girlfriend and then his wife. Their relationship was not without challenges, however. Through tears, Grant describes her mother's negative reaction when she and Ben told her parents they were getting married — a decision the family eventually accepted. Despite these struggles, Ben appreciates all the wins he's logged throughout his self-described 'hero's journey.' For him, what started out as wanting to be somebody else eventually became the pride in accepting his 'best self' and how he stood out. 'For the majority of my life, I literally just wanted to be normal. I just wanted to fit in,' Ben said. 'And if that isn't my biggest pet peeve today.' Today, as a motivational speaker, Ben has turned his attention to the 'unique individuals out there that are just praying and wishing that if your difference was just gone — like I was, like the little boy in the bathroom, if I could just take my face off — if that difference could just go away, then life would be better.' But, he asked, 'What if that wasn't the answer?' 'What's the real flex today?' he continued. 'The real flex is being 'you version 1.0,' having the internal peace, and then being able to stand out in your own right.'
Yahoo
21-02-2025
- Entertainment
- Yahoo
'Coroner to the stars' Dr. Thomas Noguchi oversaw the autopsies of Marilyn Monroe, Robert F. Kennedy and more. Not everyone liked what he had to say.
He performed autopsies on some of Hollywood's biggest stars. But many don't know the behind-the-scenes struggles the so-called coroner to the stars faced as he navigated handling celebrity deaths in the public eye. Dr. Thomas Noguchi, 98, a Japanese immigrant who served as the Los Angeles County chief medical examiner-coroner from 1967 to 1982, is the subject of Coroner to the Stars, a new documentary premiering at the Slamdance Film Festival in Los Angeles on Feb. 23. Directed by Ben Hethcoat and Keita Ideno and executive produced by George Takei, the film explores not only Noguchi's rise to the high-profile position but also how he became the subject of criticism and racial targeting after his medical conclusions — as well as how much he revealed about these deaths — angered a public he was meant to serve. See for yourself — The Yodel is the go-to source for daily news, entertainment and feel-good stories. By signing up, you agree to our Terms and Privacy Policy. Presiding over a series of celebrity deaths as tabloid media was on the rise, Noguchi was suddenly thrust into the spotlight soon after he joined the office — often balancing what he could and could not say with what stars' adoring fans, and their protective family and friends, were comfortable with being publicized. Discovering Noguchi's story through the former medical examiner's 1983 memoir, Coroner, Hethcoat told Yahoo Entertainment that he was initially 'intrigued by the celebrity of it all.' 'You think of these celebrity cases, these high-profile cases, many of which have come to have their own sort of folklore about them, right?' he said. 'The death of Marilyn Monroe, or the conspiracies surrounding Robert Kennedy's assassination or Natalie Wood.' Hethcoat said that, alongside his co-director and producer, 'I got to know the man, and the man behind or beyond the person who sat in front of the press.' What he and his team wanted to explore was a deeper element to Noguchi, someone beyond the forensics and science who was battling his own struggles as well — not only the precariousness of his job but also his experience as a Japanese American and the death of his wife, Hisako. 'The way in which he dealt with that personal grief and loss is in such contrast to the way in which he had to answer questions from the press after, say, William Holden or Natalie Wood passed away,' Hethcoat said, 'and I think that's just a real humanizing element of the film.' The documentary also explores the question of whether Noguchi was becoming seduced by his own growing fame. Soon after he joined the office of the Chief Medical Examiner-Coroner for the County of Los Angeles in 1961 as a deputy medical examiner, Noguchi was confronted with the first of many closely examined cases — the August 1962 death of Marilyn Monroe. Monroe's case 'really helped create our public relationship with death investigations,' Hethcoat explained. Through archival footage and interviews, the documentary delves into Noguchi's meticulous process, conducting the movie star's postmortem but also examining her psychological state just before her death. He and his supervisor eventually ruled the Some Like It Hot actress's barbiturate overdose a suicide, confounding a largely disbelieving public. 'That's hard for us to understand — how somebody with so much fame and fortune and public regard could want to commit suicide,' Hethcoat said. 'And if we're not happy with the answer, we begin to change it or come to our own conclusions.' Noguchi rose through the ranks and, in 1967, was appointed to the chief medical examiner position by the L.A. County Board of Supervisors — an extraordinary feat at the time for someone not born in the country. His next and arguably most high-profile case was that of the 1968 assassination of then-presidential candidate Sen. Robert F. Kennedy at the Ambassador Hotel in Los Angeles. Detailing in a staggering 63-page autopsy report, Noguchi concluded controversially that the fatal bullet came from behind the politician rather than in front of him, which is where the convicted shooter, Sirhan Sirhan, was standing. 'Sirhan Sirhan was charged with the murder of Robert Kennedy because it was his act that started this chain of events,' Hethcoat explained, 'but the truth of the matter is, according to Dr. Noguchi's autopsy report, which was the most detailed, thorough, meticulous, complete medical legal autopsy in all of history ... the shot that killed Robert Kennedy was fired from behind the ear.' 'In my business, tell it like it is,' Noguchi says in the documentary. Following the case, Noguchi allegedly 'embarrassed' Lindon Hollinger, the chief administrative officer of L.A. County, when he went over his head to request more funding for the department. Shortly thereafter, Noguchi came under scrutiny for his handling of the RFK case and had more than 60 charges filed against him by Hollinger's office that were called 'wild' at the time. Noguchi was accused of showboating and celebrating Kennedy's death as a way to become more famous. He was also called out for inappropriate humor while in his position, something his defenders said wasn't unique to a person dealing with the 'horrors' of what was seen in daily work life. The film explores the reaction from not only Noguchi and his wife, who accused the all-white L.A. County Board of Supervisors of racial discrimination for unfairly targeting her husband, but also his supporters. From that dispute, the organization Japanese United in the Search for Truth (JUST), whose members included Star Trek actor George Takei, was born and took up the mantle of supporting Noguchi and using their voice to combat the 'perpetual foreigner' and 'model minority' stereotypes. 'It's a very important part of the story,' Hethcoat said, crediting Ideno, who is Japanese American, for bringing that 'cultural experience and perspective to the film.' During his research, Hethcoat had serendipitously found a 1968 letter from Takei to then-Board Supervisor Kenneth Hahn (whose daughter, Janice Hahn, a member of the L.A. County Board of Supervisors, appears in the film) expressing outrage that the county would go after such a 'well-respected, world-renown coroner.' 'George really helped bring together this community of Japanese Americans who felt that Dr. Noguchi was being mistreated by the county,' Hethcoat said, 'and it's really through that community that Dr. Noguchi was able to overcome these charges and this attempt by the Board of Supervisors to fire him.' Noguchi was exonerated and reinstated with full back pay. His experience just over 10 years later, however, was a different story. This time it was superstar Frank Sinatra, instead of a local government official, who was calling Noguchi's work into question. After Noguchi, who became the inspiration behind the popular TV series Quincy, made a public statement about Sunset Boulevard star William Holden's blood alcohol level at the time of his accidental death in 1981, Sinatra called for the medical examiner to be fired. Mere weeks later, actress Natalie Wood died off the coast of Catalina Island, and Noguchi's statements about her cause of death were also questioned. The Board of Supervisors suspended Noguchi for alleged mismanagement and 'sensationalized' statements about his celebrity cases. He also faced a possible criminal investigation after accusations of misplaced evidence and looting within the medical examiner's office surfaced in an investigation by the Los Angeles Times. Hahn said the suspension was a reaction to Sinatra and others' criticisms. Noguchi's lawyer called it 'sabotage.' Noguchi was subsequently demoted from his position of chief medical examiner-coroner to physician-specialist. While the documentary explores Noguchi's successes and obstacles, it leaves some questions to the audience. 'I think to be in that role, to be in that position, you need some level of a healthy ego if you are going to be the spokesperson for the dead. So, do I think he has an ego? I think he has a healthy ego,' Hethcoat said. 'But as far as craving the spotlight or being a media hound, I personally do not think that was ever Dr. Noguchi's objective.' As to whether the director wants viewers to question Noguchi's own relationship with fame, 'I think that makes the story more interesting if the audience can come to their own conclusion,' he said.
Los Angeles Times
21-02-2025
- Entertainment
- Los Angeles Times
Charles Burnett on his lost ‘Fish,' plus the week's best films in L.A.
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. The Slamdance Film Festival is currently underway, taking place for the first time in Los Angeles. Originally started in 1995 by a group of filmmakers rejected by the Sundance Film Festival, Slamdance established its own identity as a community of artists pulling together for themselves. The in-person event will run though Feb. 26, and a virtual program will be accessible to streaming viewers from Feb. 24 through March 7 at 'On one hand, it's business as usual with the discovery of new filmmakers, launching careers and new ideas in filmmaking,' said Peter Baxter, Slamdance president and co-founder, of the festival's move to Los Angeles. 'But then on the other hand, it's a chance for our organization to grow in other ways, to fulfill on that potential, the idea here of a rising tide can float all boats in the world of independent filmmaking.' Following its premiere at the 1999 Toronto International Film Festival, 'The Annihilation of Fish' was never picked up for distribution, in part due to a particularly disastrous review in Variety. Directed by Charles Burnett from a screenplay by Anthony C. Winkler, the film follows two damaged, eccentric adults, Obediah 'Fish' Johnson and Flower 'Poinsettia' Cummings, as they meet at a Los Angeles boarding house and begin an unlikely romance. Starring James Earl Jones and Lynn Redgrave as Fish and Poinsettia, the cast also includes Margot Kidder as Mrs. Muldroone, who runs the boarding house. A delicately touching story of people abandoned by society finding a way to care for each other, the film is enjoying audiences at last, as a new 4K restoration of the film playing around the country is currently having a limited run at the Los Feliz 3 and could add more L.A. dates. A new 4K restoration of Burnett's landmark debut feature, 1977's 'Killer of Sheep' will also be released later this year. Burnett, whose other films include 'To Sleep With Anger' and 'The Glass Shield,' received an honorary Academy Award in 2017. Now 80, the filmmaker got on the phone earlier this week from his home in L.A.'s Baldwin Hills to talk about the rediscovery of 'The Annihilation of Fish.' Has it always bothered you that the movie was lost, that it hadn't been released? Charles Burnett: I didn't feel like it was a lost film, for some reason. A lot of good people were involved in trying to get it out and I had confidence in them, so I really wasn't too worried. Maybe I should have been, but I wasn't. But anyway, those things happen. I'm just lucky to get it out now. I can't complain. A lot of worse things can happen. What attracted you to the project in the first place? Burnett: I think it was the writing of Anthony Winkler. It was a challenge. It was sort of a comedy and it wasn't quite a comedy as such, but it was about human beings trying to find a sense of belonging. They didn't want to miss the opportunity to have a relationship, to experience life in its fullness. And everyone had their own particular problems that they had to overcome. These people coming together made it happen for each other. They were marginalized because of their conditions, their mental condition, but they were basically just like everybody else. Looking to complete their dreams and to find romance and find companionship in this lonely world. Even with 'The Annihilation of Fish,' as whimsical as it can be, you still feel for these characters and become invested in their lives. Has it always been important to you that your films remain connected to the real world? Burnett: It costs so much to make a film, you have to ask, 'What is the best place to put this money? How can I do the most good with this money?' It's not enough just to have people be amused. When I came up, you felt that the civil rights movement and everything, you were part of making a change. And so I sort of kept that. And that's the only way I can justify spending whatever it costs to make a film, to make it relevant. Because it has to. It's not that people say, 'I like your film,' but when they come back and say, 'I saw your film and it changed my life,' you can't ask for anything better than that. That's what I live for. What has it meant to you to have 'The Annihilation of Fish' come out at last and be received so well? Burnett: When the film came out, we had Margot Kidder, James Earl Jones and Lynn Redgrave and they have all passed on now. James Earl Jones particularly, he passed just recently, so he got a chance to maybe hear some of the reviews or something. But I'm glad that at least their families — I mean, James Earl Jones' son came up and said he was very happy and had seen the film three or four times. And he really loved it. And that was really important to me. And it makes it all worthwhile that the length that it took to get it out and people got the good reviews. And I just wish that people like Lynn Redgrave would've been here to enjoy the response. And that makes it worthwhile. To mark the film's 40th anniversary, the American Cinematheque will screen Paul Schrader's 1985 'Mishima: A Life in Four Chapters' on Saturday at the Egyptian Theatre. A deeply stylized portrait of the Japanese author Yukio Mishima (played by Ken Ogata), the film features sets and costumes designed by Eiko Ishioka. In reviewing the film, Sheila Benson wrote, 'The greatest problem is that for all its correctness and all the beauty of its production (Philip Glass' shimmering music, John Bailey's exquisite camerawork), 'Mishima' remains as tantalizing as that Golden Pavilion and as impossible to enter (almost impossible, too, to discuss in limited space). You may not be able to take your eyes from the screen, yet I suspect that comes as much from the filmmakers' passionate conviction that Mishima is a fascinating man than from anything they have told us about him.' In a 1985 interview with The Times' Jack Matthews, Schrader said, 'I've always been interested in people who sort of feel uncomfortable in their own skins, who feel limited by physical existence itself and try to get out. Mishima was certainly one of those people.' Michelle Parkerson at UCLA The UCLA Film and Television Archive will host a two-day series, 'Documenting Michelle Parkerson,' in tribute to the filmmaker whose career spans five decades. As Beandrea July's program notes put it, 'When one immerses themself in Parkerson's work, there is a sense of freedom and an unapologetic pursuit of ideas by a careful hand. … Filmmaker Yvonne Welbon captures the weight of Parkerson's considerable influence: 'For many Black lesbian media makers, Parkerson was our Spike Lee. She was the first Black lesbian filmmaker, and sometimes also the first Black woman filmmaker that we knew. She was an out Black lesbian making movies and she had been doing so for a long time. Because of her, so many of us believed that we too could become filmmakers.'' Saturday's program includes 1993's 'Odds and Ends,' a narrative short made while Parkerson was studying at the AFI's Directing Workshop for Women, along with 1987's 'Stormé: The Lady of the Jewel Box,' about America's first integrated female impersonation show and its first male impersonator, and 1995's 'A Litany for Survival: The Life and Work of Audre Lorde,' a portrait of the poet and activist. Parkerson is scheduled to attend, along with 'A Litany for Survival' co-director-producer Ada Gay Griffin and 'Odds and Ends' associate producer Felecia Howell. Sunday's program will feature 1980's '… But Then, She's Betty Carter,' a portrait of the jazz singer, along with 1983's 'Gotta Make This Journey: Sweet Honey in the Rock,' about the a cappella group. The evening will also include Parkerson's most recent documentary, 2021's 'Fierceness Served! The ENIKAlley Coffeehouse,' about a Black LGBTQ+ performing arts space in mid-1980s Washington, D.C. Parkerson is again scheduled to be in attendance. 'Swept Away' in 4K A new 4K restoration of Italian filmmaker Lina Wertmüller's 1974 film 'Swept Away' will begin a run at the Laemmle Glendale. The film stars Mariangela Melato and Giancarlo Giannini as a wealthy woman and a deckhand, respectively, on her yacht who find themselves unexpectedly thrown together when they become stranded on a remote island. Aside from taking in the beauty of the locations and her actors, Wertmüller wrings the story for political nuances of class and gender. Reviewing the film in 1975, Kevin Thomas said that the film combines elements of 'The Taming of the Shrew' and 'Robinson Crusoe' before adding, 'Miss Wertmuller in her wisdom looks beyond her beautifully orchestrated interplay between the eternal battle of the sexes and equally chronic class warfare to express a philosophical sense of life's absurdities and to attack specifically society's unrelenting tendency to alienate people rather than to bring them together.' 'Looking for Mr. Goodbar' in 35mm Playing in 35mm as part of the Cinematic Void series at the Los Feliz 3, 1977's 'Looking for Mr. Goodbar' stars Diane Keaton as a single woman who teaches deaf children by day and cruises singles bars for hook-ups by night, with her encounters becoming increasingly risky. Directed by Richard Brooks, the film is rife with internal conflicts, as if it wants to revel in a younger generation's freedoms while also feeling a moralistic reluctance to fully give over to something new. The film inspired Times critic Charles Champlin to write about it twice, one a review in October 1977 and the other a reappraisal based on audiences' reactions to the film just a month later. In his initial review, in which he lauded Keaton's performance as among the best of the year, he noted, ' 'Mr. Goodbar' is powerful, sincere and overlong, and if it raises questions about itself it is also thought-provoking. It is a new-fashioned world seen in a rather traditional handling, and its realism is still of the soundstage rather than the documentary. And finally one admires the dedication and integrity with which difficult material was handled, without that satisfaction of feeling (as I think one did after [Brooks'] 'In Cold Blood') that the unthinkable has been made comprehensible.' Big changes for James Bond Ryan Faughnder reported on the news that Barbara Broccoli and Michael G. Wilson, the half-siblings who have long presided over the James Bond franchise, have ceded creative control to Amazon MGM Studios. Though Broccoli and Wilson will remain co-owners, this ends some 60 years of one of the world's best-known film series being overseen by a single family. The most recent Bond film, 2021's 'No Time to Die,' brought to an end Daniel Craig's tenure in the role and the future of the series has been a source of speculation ever since.
Los Angeles Times
20-02-2025
- Entertainment
- Los Angeles Times
A relocated Slamdance Film Festival launches its first edition in Los Angeles
This year's edition of the Slamdance Film Festival launches Thursday night, taking place for the first time in Los Angeles. The festival has long had its offices here, but the event itself had taken place in Park City, Utah, concurrent with the Sundance Film Festival. 'On one hand, it's business as usual with the discovery of new filmmakers, launching careers and new ideas in filmmaking,' said Peter Baxter, Slamdance president and co-founder, of the relocation, announced last April. 'But then on the other hand, it's a chance for our organization to grow in other ways, to fulfill on that potential, the idea here of a rising tide can float all boats in the world of independent filmmaking.' Originally started in 1995 by a group of filmmakers rejected by Sundance, Slamdance established its own identity as a community of artists pulling together for themselves. The programming for the festival is done by alumni of the event. Among filmmakers who had their early work shown at the festival are Christopher Nolan, Sean Baker, Rian Johnson, Lynn Shelton, Lena Dunham, Joe and Anthony Russo, Bong Joon Ho and Gina Prince-Bythewood. 'There's that saying that it's not the place — it's the people,' said Taylor Miller, festival director, in an interview alongside Baxter earlier this week. Referring to the recent Los Angeles wildfires, Miller added, 'There's a need right now for this in a way that feels much more critical. And I couldn't think of a better place for people to be together right now.' The festival's opening-night selection, screening at Hollywood's Egyptian Theatre, is 'Out of Plain Sight,' directed by Daniel Straub and Rosanna Xia. Co-produced by L.A. Times Studios, the documentary is based on Xia's reporting for The Times about the dumping of DDT waste in the waters off the coast of Southern California — reporting for which she was named a Pulitzer Prize finalist. The film recently won the audience award at the Santa Barbara International Film Festival. (L.A. Times Studios, an affiliate of the Los Angeles Times, is also a sponsor of Slamdance.) Other L.A.-themed docs in the program include Sue Carpenter's '40 Watts From Nowhere,' about a pirate radio station, and Matthew Siretta's 'DeBarge,' about the post-fame life of the family of musicians who rose toward the top of the charts in the '80s with 'Rhythm of the Night.' Ben Hethcoat and Keita Ideno's 'Coroner to the Stars' focuses on famed L.A. County Medical Examiner Dr. Thomas Noguchi, while David Markey's 'The Secret Lives of Bill Bartell' is a portrait of a notorious, enigmatic star of the local punk scene. 'Premiering this documentary at Slamdance feels fitting, given the festival's bold, independent spirit — so much like Dr. Noguchi's,' said Hethcoat via email. 'And the situational irony of the 'Coroner to the Stars' attending his own Hollywood premiere, complete with a red carpet, is not lost on me.' Slamdance will run in person through Feb. 26, while a virtual program will be accessible to streaming viewers from Feb. 24 through March 7 at Aside from the Egyptian, some events will take place at the Directors Guild Theater Complex and Landmark Sunset, while the bulk of the festival's screenings and events will be at Quixote Studios in West Hollywood. From the time the festival's move was announced last year, the idea of bringing the festival to Los Angeles has been met with a welcoming response from the Slamdance community. 'Just every single response was embracing and like, let's go,' said Miller. 'And the amazing other part of this is so many people were like, 'I've never been able to go and now I'm going to go.'' Regarding every issue of putting on a festival — from the pricing of admission to the programming and venues — Slamdance's organizers attempt to give intentional consideration on issues of accessibility. Slamdance places particular emphasis on its Unstoppable program, a showcase for films made by filmmakers with visible and nonvisible disabilities. Among the Unstoppable films in this year's program are Phil Moniz and Kevin Claydon's sports comedy 'Racewalkers,' Andrew Abrahams' pediatric healthcare doc 'Complicated,' Cameron S. Mitchell's historical investigative doc 'Disposable Humanity' and Alexander Freeman's 'My Own Normal,' a portrait of his own life with cerebral palsy. Other highlights from the program at large include Rory Mitchell's 'The Tent,' showing as part of the festival's Digital, Interactive and Gaming Program (known as DIG), Woody Bess' horror story 'Portal to Hell' and Richard Hunter's dark comedy 'Foul Evil Deeds.' Madeleine Farley's doc 'Fist Bump' explores disability and social justice initiatives. Elijah Sullivan's doc 'The Hole Story' explores the implications of a 60-foot hole that appears on Mt. Shasta. Erica Xia-Hou's fiction feature 'Banr' is about an elderly couple facing one partner's struggles with Alzheimer's. Ntare Guma Mbaho Mwine's 'Memories of Love Returned,' a documentary on Ugandan photographer Kibaate Aloysius Ssalongo, features longtime Slamdance supporter Steven Soderbergh among its producers. Edson Jean's 'Know Me' stars the filmmaker in the story of a man trying to clear his brother's name. The festival's move to a new home also comes at a time when the industry itself seems to be undergoing seismic change. 'There's all kinds of plate-shifting going on in the entertainment industry right now and in the media industry,' said Baxter, 'but if we look at the Slamdance submissions and the interest and feedback that we're getting, the sense of creativity here from the grassroots of filmmaking, especially here in L.A., it's palpable. 'We'll see what happens in the next few days,' he added. 'Taylor and I were laughing about it — would we have an audience of one? I think we have worked hard to really bring this L.A. film community together. And not only did we get this huge amount of enthusiasm from filmmakers, but as importantly, we just got this huge amount of interest from when we reached out to community partners and to sponsors who wanted to be a part of what we're doing, because they saw in us a way to also express what they're doing.' 'We do not take any of it for granted,' said Miller. 'We've never had a film festival in this city and we have to bring it on every single level. And our dedication must never be confused. It's for the community, by the community.' With their new location and venues, as well as a renewed sense of purpose, the organizers of the Slamdance Film Festival are continuing to look ahead to the future of both their event and independent filmmaking more broadly. 'Usually the direction of a festival, understandably, is that it's focusing on the films and the filmmakers,' said Baxter. 'But for us, it's also looking at how we can nurture, how we can make stronger the ecosystem for others in the next generation to come. That is our responsibility, not just during the festival here in L.A. but also now year-round in Los Angeles.'
Yahoo
16-02-2025
- Entertainment
- Yahoo
Indie Cinema's Best-Kept Secret Brings 30 Years of Experimental Film to L.A.
Thirty years ago,Peter Baxter and his group of young filmmakers were rejected by Robert Redford's prestigious Sundance Film Festival and launched their own celebration of experimental movies. They described their new Slamdance Film Festival as 'by filmmakers for filmmakers' and set up shop right down the street in Park City, Utah. 'We had never been to a film fest,' Baxter says. 'Let alone organized one.'This month, Slamdance relocates to Los Angeles as part of its mission to bring independent movies to a wider audience and to help expand the community of filmmakers working outside the big studios and streamers. The festival will run Feb. 20 to 26 at the Egyptian Theatre, Quixote Studios and the DGA Theater Complex, with passes starting at $50. Organizers want to bring the show closer to the heart of the film industry, engage underrepresented communities and keep ticket prices low to allow more first-timers to be part of the action. 'A festival should be connecting all the fragmented audiences and developing engagement,' Baxter says. 'The diverse communities here are the joy and celebration of Los Angeles.'Whether from the grand Hollywood Boulevard movie palaces or a grungy revival house in Gardena, it's hard to go a day in L.A. without the opportunity to see filmmakers speak about their art. When Quentin Tarantino took over the Vista Theater, he added a smaller auditorium to show rare original 16 mm and VHS oddities from his personal collection. Angelenos have been in love with the movies since the beginning. A hundred years ago, curious tourists paid 25 cents to watch silent films being made at Universal Studios. In 1923, studios set up displays near the L.A. Coliseum while stars mingled alongside stunt performers, Japanese vaudeville stars and wrestlers. Debating contests were a fixture at that first Motion Picture Exposition and Baxter hopes audiences will linger to discuss films after Slamdance. He notes, 'Whether they're part of the entertainment industry or just fans, they can share thoughts about filmmaking and storytelling.'The festival has long been a launching pad for celebrated filmmakers, including Lena Dunham, Christopher Nolan, the Safdie brothers and Bong Joon-ho — the Oscar-winning director of Parasite. This year's vast offerings include Portal to Hell, about a demon who lives at the laundromat; Coroner to the Stars, a documentary about medical examiner Thomas Noguchi; and DeBarge, a look at the '80s musical family who gave the world 'Rhythm of the Night.'
