In
my last column I discussed the importance of film
festivals to attract the attention of distributors,
and how the Sundance Film Festival has become an
important part of the independent film world. In this
column I will review several other important
festivals.
Slamdance
Slamdance
was established in 1995 by several disgruntled
filmmakers who decided to launch their own festival
after being rejected by Sundance. They called their
festival “Slamdance 95, Anarchy in Utah — The
First Annual Guerilla International Film Festival,”
with the motto: “By Filmmakers, For Filmmakers.”
The festival takes place in Park City at the same time
as the Sundance festival. Most years the festival has
exhibited its films at the Treasure Mountain Inn in
makeshift theaters that are barely tolerable. While
the films vary widely in quality, some agents
and distributors do attend the screenings. In
2005 the opening night movie MAD HOT BALLROOM was sold
to Paramount Classics, and another film, ILL FATED,
was picked up by THINKFilm, a distributor based in
Canada.
Telluride
This
is a film lover’s festival. Films are selected
solely on artistic merit. It does not matter if the
films are independently made or major studio fare.
Telluride is not obsessed with premieres, although
there are many. The goal is just to show great films.
The festival does not attempt to be a publicity event.
While the media are allowed to attend, they must
purchase a pass like everyone else. This greatly
reduces their presence. Indeed, paparazzi are
discouraged. Many movie stars and directors attend,
and they appreciate the fact that they can stroll
about town without a dozen photographers in their
face.
This
is a very well-organized event. You can buy a pass for
$650 that provides
admission to all events, including the Opening Night
Feed and Labor Day Picnic, and admission to any
screening just by showing up 30 minutes before show
time. Numbers are passed out so you do not have to
remain in line to maintain your place. You can sit at
a nearby cafe and sip a cappuccino until it is time to
enter the theater. Popular movies are scheduled for
additional screenings. The venues are all within easy
walking distance of the hospitality center. Badges are
mailed weeks before, so you do not have to wait in
long lines to register.
Unlike
most festivals, the films that are shown at Telluride
are not announced beforehand. Participants show up on
the strength of the festival’s reputation for
selecting interesting films. Telluride has a great
track record for picking pictures that have gone on to
receive critical acclaim.
Telluride
itself is a charming town, and the residents and
festival staff are cheerful and helpful. You really
feel welcome here. Indeed, the town closes down the
main thoroughfare for the opening night food feed. Of
course, with only 5000 participants, this festival
does not have to deal with the overwhelming logistical
problems Sundance confronts.
Cannes
This
is one of the most glamorous, and perhaps the most
important festival in the world. It takes place on the
French Riviera in May and is the occasion for numerous
parties and gala premieres. The French take film very
seriously, and this is one of the few festivals for
which you should bring a tuxedo or formal gown. In the
evening, stars walk up a red carpet while the
photographers snap their pictures.
The
festival is divided into sections. The main
competition and Un
Certain Regard operate under the auspices of the
official festival. Two important sidebars are the
films in the Director’s Fortnight, which are
selected by the Société des Réalisateurs de Films
(Film Directors’ Society), and the films shown in
the Semaine de
la Critique (French Critics’ Week) which are
selected by the Syndicat Français de la Critique de
Cinéma (French Union of Movie Critics). There are
relatively few U.S. films. Those selected tend to be
independent films from favored auteurs and a few major
studio features accompanied by big stars. The
programmers favor diversity and will program a
mediocre Mongolian film rather than another solid
American one.
The
Cannes market runs alongside the festival. The market
is comprised of distributors conducting business from
booths in the Palais (the exhibit hall), or hotel
rooms on the Croisette (the seafront main road). While
the festival focuses on the art of film, the market is
mostly commerce, and the films exhibited tend to be
quite different from those in the festival.
Berlin
Of
the major European festivals, the Berlin International
Film Festival (the Berlinale) is the most arty. Berlin
does not have the glitz and glamour of Cannes, nor the
heritage of the Venice Film Festival, but it is a very
important event, especially for art-house fare. 3500
journalists from 70 countries attend. The European
Film Market runs alongside the festival, providing an
opportunity for buyers and sellers to conduct
business. With AFM recently vacating its February slot
to move to the fall, and with Cannes in May,
attendance at the Berlinale has soared.
Toronto
Toronto
is generally considered the top Canadian festival and
one of the most important North American festivals. It
has become a critical venue for acquisition
executives, and many films are screened. There are
separate industry/press screenings, and the festival
is accommodating to independent filmmakers as well as
industry bigwigs. This is a well-organized event that
offers a wide variety of fare as well as seminars and
roundtable discussions. Screenings are attended by
enthusiastic audiences in this cosmopolitan city known
for its film fans.
Mark
Litwak is a veteran entertainment attorney and
producer’s rep based in Beverly Hills, California.
He is a friend of IMAGINE and a regular contributor.
He is
the
author of six books, including
the recently published Risky Business, Financing and Distributing
Independent Film
(Silman-James, 2004). He is the author of the CD-ROM
program Movie Magic Contracts.
He can be reached at law@marklitwak.com
