Discovery isn’t always a good thing. A pair of American indie films—the world premiere of Paul Leuer’s EDEN COURT and the San Francisco Bay Area debut of Charles Oliver’s TAKE—served as weak bookends for the 18th edition of the Cinequest Film Festival. Fortunately, there was much to celebrate between opening and closing nights during the festival’s 12-day run in downtown San Jose, California.

According to Cinequest executive director and co-founder Halfdan Hussey, approximately 80,000 movie lovers brought the festival’s attendance figures to a new high. Because festival-goers stood in line, socialized and strolled within the few blocks that connect the three Cinequest venues, they generated buzz on their favorite films like bees swarming around a hive. Everyone enjoyed basking outdoors in the beautiful weather and venturing indoors to screen over 100 first-time, emerging film artists from 34 countries that span the alphabet from A to U—from Argentina to the United Kingdom and United States.

On March 1, Michael Keaton (BEETLEJUICE, MUCH ADO ABOUT NOTHING, BATMAN) received the first Maverick Spirit Award, charming the fans that filled the 1,100-seat California Theatre. The youngest of seven children from Coraopolis, Pennsylvania, Keaton claimed that reading books influenced his decision to become an actor. He remembered often closing his eyes and trying to imagine what it felt like to be a character in one of the stories set during the Civil War or in the Wild West. Even as a kid, he hated clean cowboys. Keaton “would do a Western in a heartbeat." The accomplished horseman and avid fly fisherman spends much time in Montana. The wide-open spaces must be perfect for the former caped crusader who admitted that his claustrophobia was a challenge when wearing the Batman suit. “The key was Bruce Wayne, not Batman,” Keaton added. “He’s an interesting cat.” Keaton’s quirky, amiable sense of humor endeared him to the crowd.

The other Maverick Spirit Award recipients were screenwriter Michael Arndt (LITTLE MISS SUNSHINE), straight-talking Bobby Moresco (Academy Award-winning co-writer/producer of CRASH and co-producer of MILLION DOLLAR BABY), and Bay Area actor and activist Danny Glover (THE COLOR PURPLE, LETHAL WEAPON series, THE ROYAL TENENBAUMS).

Writer-director Alan Brown’s SUPERHEROES took the Cinequest top prize, the narrative feature Maverick Spirit Award. Starring Dash Mihok of THE THIN RED LINE and Spencer Treat Clark of MYSTIC RIVER, the sensitive drama deals with an Iraq War veteran scarred physically and emotionally by his military tour of duty (see separate Cinequest awards listing).

Similar to traditional film marketing, the titles garnering the most media attention had a hook or movie and television actors attached to them. Olivia Hussey (THREE PRIESTS), John Ratzenberger and Shelly Cole (THE VILLAGE BARBERSHOP), Christopher Masterson and Brooke Burns (THE ART OF TRAVEL), Enrico Colantoni, Michael Shulman (...)

Sunday, March 9, 2008 -- The 2008 Cinequest Juries selected winners from over 150 films from 34 countries. Cinequest Executive Director and Co-founder Halfdan Hussey read the following statement: “They discovered myriad worlds that challenged, excited and surprised. Their job to find the top films was not an easy one, and reaching a unanimous vote was nearly impossible because the films truly affected them in many ways and heated debates were sparked because of the passion each felt for the stories that were revealed.”

NARRATIVE FEATURE
SUPERHEROESMaverick Spirit Award (Cinequest's top prize)
SUPERHEROES
Director: Alan Brown (USA)

Best First Feature
IT'S BETTER IF GABRIELA DOESN'T DIE / MEJOR ES QUE GABRIELA NO SE MUERA)
Director: Sergio Umansky (Mexico)

Special Jury Award for Narrative Feature
                                                A BETTER LIFE / UNA VIDA MEJOR
                                                Director: Andrew James (United States/Mexico)

DIRECTORS AWARDS
THE TRAP / KLOPKAGlobal Visions Award
THE TRAP / KLOPKA
Director: Srdan Golubovic (Serbia)

New Visions Award
WHO IS K.K. DOWNEY?
Directors: Darren Curtis and Pat Kiely (Canada)

DOCUMENTARY FEATURES
AUTISM: THE MUSICALBest Documentary Feature
AUTISM: THE MUSICAL
Director Tricia Regan (USA)

Special Jury Award for Documentary Feature
DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER
Director: Kurt Kuenne (USA)

SHORTS
Best Student Short Film
MAMITAS
Director: Nick Ozeki (Chapman University)

Best Documentary Short Film
BROADCAST COWBOY
Director: David Washburn

Best Animated Short Film
PAPIROFLEXIA
Director: Joaquin Baldwin

Best Narrative Short Film
CENTIGRADE
Director: Colin Cunningham

AUDIENCE AWARDS
Audience Award for Best Short
PERSONAL SPECTATOR
Director: Emmanuel Jespers

Audience Award for Best Feature (tie-vote between)THE VILLAGE BARBERSHOP
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Bobby MorescoAcademy Award-winning writer Bobby Moresco received the Cinequest Maverick Spirit Award, the festival’s highest honor. The straight-talking screenwriter/producer of CRASH (2004) and co-producer of MILLION DOLLAR BABY (2004) was joined on the San Jose Repertory Theatre stage by producing partner Mark Harris (CRASH, THE BLACK DONNELLYS). The lively Q&A with moderator Robert G. Phelps and an audience sprinkled with aspiring writers was part of the Film and Technology Forum titled "Sight, Sound & The Dollar Sign - Day 2."

Moresco grew up in gritty Hell’s Kitchen, the working-class and organized crime-infested Irish American neighborhood of Manhattan that served as the setting of his 2007 television series, THE BLACK DONNELLYS. When he was 11 years old, he got his first role playing Prince Charming in a Police Athletic League production of Cinderella. The acting bug came back to bite him big time. Moresco quit school at 15 and enrolled in acting classes two years later, after deciding bartending and construction work were tough ways to make a living. He opened the Actor’s Gym in New York, and in 1978 moved the company to Los Angeles.

Those formative years inform his work. Loyalty. Integrity. Family. Living by his own code and refusing to sell out. Sticking by his guns. Moresco’s value system surfaced as he talked about his life and career—and gave advice to fledgling filmmakers.

“The day after I won the Oscar, I thought ‘Maybe I won’t have to go back to bartending anymore,’” Moresco joked about a lifetime without money and the difficulties of working in the film and television industry.

Neither he nor Paul Haggis was paid a nickel to write CRASH and MILLION DOLLAR BABY. Both were spec scripts. Both men had directed one feature film, ONE EYED KING and RED HOT, respectively, and Moresco said that “both sucked.” They had envisioned CRASH as a television mini-series, until Mark Harris convinced them the 35-page treatment should be a movie.

They wrote the script in two weeks. Harris shopped it around for six months. And two years later, the indie project was ready to go.

“I’m an obstinate kind of guy,” Harris said. “I’m from Brooklyn. Anything I love will eventually get made.”

Surprisingly, Japanese distributors put up $1 million as a pre-buy even though the Moresco-Haggis-Harris team didn’t think the urban story had international appeal. When interested parties voiced objections to having Haggis attached as director, the trio would walk out of meetings. The same loyalty extended to casting; 13 members of Moresco’s theater company got parts.

“You get the actor to get an indie film made. They don’t buy the script. They buy the actor,” Moresco insisted. “Don [Cheadle] sat down and he said, ‘I’ll do anything you want on this movie. I’ll do craft services.’”

But they wanted Cheadle as a producer, too, because of his Rolodex.

“Don is an actor magnet. Without Don, we’d have no movie,” added Moresco.

Although CRASH was in development before MILLION DOLLAR BABY, director-actor Clint Eastwood finished the female-boxer feature first and racked up Oscars for Best Picture and Best Director in 2005. Best Picture and Best Original Screenplay Academy Awards for CRASH followed in 2006. (...)

Cinequest 18 is turning out to be a particularly strong festival this year.

The quality of filmmaking on view is quite staggering, and, in this reviewer’s opinion, surpasses previous years for quality of storytelling and technical accomplishment.

Becoming John Ford – United States

I began my weekend with this well-crafted and insightful documentary by director Nick Redman. Through archival footage, interviews with the great man’s contemporaries and film clips, a multi-dimensional portrait is created of possibly America’s greatest ever director. The documentary does not shy away from the loutish side of Ford, revealing his anti-social behavior and contempt for his peers, but it also explores the beauty of his craft, ultimately painting him a true Jekyll and Hyde. A fascinating film.

The Aerial – Argentina

A visual treat awaited me in this extraordinary offering from director Esteban Sapir. In an oppressed city of workers, mind-controlled by the output of their television sets, one family makes a stand against their shadowy rulers who are not only content to steal the voices of the populace, but also their very words. Sapir’s film delighted on the visual level, but I found his heavy-handed symbolism a bit leaden, culminating in two characters (the only ones who can speak) technologically crucified on a swastika and a Star of David. The photoshopping and compositing were used effectively and humorously, and I have never before seen such an innovative use of subtitles.

AFR – Denmark

My weekend continued with this amazing mockumentary from Danish filmmaker Morten Hartz Kaplers. I have seen many fake documentaries in my time, but Kapler’ contribution to the genre stands head and shoulders above the others. His attention o detail is brilliant, and his actors are convincing. The integration of his actors and stry into real world events is seamless, and helps o sell the story of the Danish Prime Minister’s homosexual relationship with a young anarchist, the minister’s rise to power, and subsequent assassination. With so many parallels to be made with current events (Bhutto’s death, Obama’s exploited Africa photo), AFR is not only timely, but forces the audience to reconsider what they are being force-fed by their government and the media.

Sherman’s Way – United States

Cast and Crew of Sherman's Way: Photo: Neil Baker

So far during the festival, I had only been impressed by the foreign offerings I had watched, but that was until I encountered Sherman’s Way, directed by Craig Saavedra. ‘Sherman’s’ is a delightfully funny odd couple movie that stars Michael Shulman as the uptight, NY law student, Sherman, and James Le Gros, excellent in his role as a Lebowski-ish mentor and dubious role model. Somewhat of a marked improvement on other U.S. ‘comedies’, Sherman’s Way is actually funny, with engaging performances (ably supported by Enrico Colantoni and Brooke Nevin) and perfect pacing.

A (...)

Joint organizer of Cinequest 18, Jens Hussey, introduced the press conference on Saturday afternoon, noting that on the previous day, the festival had recorded its highest ever numbers for mid-week audiences. At this rate, the estimated total attendance of 80,000 people seems a strong reality.

The following segments from the 90 minute conference  should give you an overview of the talent involved in this year's festival.

Robert Peters (Director) - Half Empty

“It’s a musical filmed over eight days in Germany, and I’m very proud of it. We improvised the entire script and we did it for a reason. There’s actually an academy award category that goes unused every year because they don’t have enough films and that category is original musical. It has to be written by the same group of writers and as long as its original its eligible for that category. That was one of the reasons why we decided to make this film.”

Heather Veitch – Pussycat Preacher

 “The film follows my life as I start a missionary that reaches out to women in the sex industry. I had this concept to start going into strip clubs and start talking to strippers about God. I got so dissed and rejected by the church for this concept; I had people coming after me, death threats, people breaking into my house (over this). It turned into an interesting showdown between me and the Christian church to see if they would accept strippers and prostitutes in.”

Christopher Masterson, Brooke Burns, Tom Whelan (Director) – Art of Travel

Tom  “There were no star wagons or exclusive hotels out in the jungle, and these guys were stretched way beyond the usual contract. It took about a year to write the script. We worked with Chris on Malcolm in the Middle from  ’99 on and with Chris on board and then Brooke, it all came together quickly. We had been to Nicaragua, Bolivia and Peru and wanted to use those locations. We had considered shooting in Hawaii, but Hawaii’s really expensive. The most expensive day of the entire shoot was in LA”

Brooke “These guys (Tom and Christopher) are the real deal, they have the heart of a traveler”

Chris “When they said they had this idea I was really eager to hear all about it. The story was incredible and my first question was ‘do you know what all this entails?’ They had done so much leg work before hand that I just decided ‘alright, they can do it!’”

Craig Saavedra, Michael Shulman (Director) and Brooke Nevin – Sherman’s Way

Michael “James Le Gros was an amazing person to work with. He actually taught me to drive during the filming and how to climb a (...)

This year the Cinequest film festival offers movie lovers a festival of discovery, and thus far, they have not disappointed.

Opera – Mexico

Opera is a story divided into five acts, with each act more or less starting the same way. A girl (Magdelena Flores) wakes up, endures a boring road trip with her older lover (Arturo Rios), and we get to look at some scenery. Her lover is a writer, who scorns his novels in favor of paying gigs, such as the travel guide he is currently writing. This is ironic, as we are subject to many languid shots of countryside and buildings with no indication as to what or where we are looking at. The film moves at a snail’s pace, and I soon started to feel as bored as the young woman. With no character arcs or resolutions in sight, the film staggered to a halt.

Imagine The Brown Bunny without the interesting bits.

Konyec - Hungary

Things picked up remarkably however, when I viewed this wonderful film. Described as ‘Bonnie and Clyde – the later years’, Konyec, directed by Gabor Rohonyi, continuously moved and inspired me. Set against a backdrop of early 21st century Hungary, where the elderly have lost the respect of the young and the government, Emil (Emil Keres) and Hedi (Teri Foldi) are on the edge of poverty, barely able to meet their bill payments, and watching as elements of their lives are slowly repossessed. Emil suddenly decides to take matters into his own hands, and embarks on a crime wave that embroils his loving wife, and catches the imagination of the public. This was a thoroughly well acted and beautifully filmed film, and I would love to see it reach a wider audience (hopefully NOT via a remake).

I rounded off the day with two shorts programs for a total of 27 new shorts, some being student entries, the majority being excellent. I am a huge fan of the short format, and the quality of many of the shorts on show was exceptional, even better than previous years.

Two standout short films for me were White Vans, directed by Aren Hansen and concerning the theft of beloved bicycles and one man’s attempt to root out the perpetrators, and Mamitas, a student film made by Nick Ozeki of Chapman University which was as remarkable and uplifting as Gordo was last year.

Bitter Sweetheart - Sweden

My Friday started extremely well with this edgy, hilarious and touching film from director Hella Joof. ‘Sweetheart’ concerns the story of Lina (exquisitely portrayed by Mylain Hedreul), a 15-year-old graduate who yearns to lose her virginity, but frets about doing the deed, along with everything else in her life. The depiction of the loss of innocence, along with the repercussions, is handled sensitively and humorously, yet is open-minded enough to guarantee it cannot be seen on a US screen other than at festivals. This is a real pity as, in this age of Juno-mania, here is a film that could be considered a precursor to the current indie favorite, and yet stands head and shoulders above it.

I followed this with another round of short films, this time under the banner ‘Forward, Backward, Sideways’. The collection certainly included some skewed views of the world – most noticeably Sovereignty, a brilliant and damning portrayal of our reluctance to he (...)

Kyle GassSaturday, March 1, 2008 -- If you've heard of the band Tenacious D, you probably know it consist of the comedic Jack Black and some-other guy. That some-other guy is Kyle Gass. Kyle, a San Francisco Bay Area native, co-founded the band with Jack Black in 1994. But as the band embarks on its first world tour, Kyle gets tired of playing second fiddle.

In the documentary film "D-Tour," we ride along with Tenacious D on their tour. It’s a fun ride as the band revs up to take it to the next level. The band's over-the-top rock songs put a smile on my face. Remember the music of Spinal Tap? It's kind of similar to that: silly lyrics but it's got musical merit. And Jack's wit and animated humor kept me laughing throughout the film.

But as the tour starts rolling, the band hits a few potholes. The band's feature-film "Tenacious D in the Pick of Destiny" tanks at the box office. The demanding tour schedule also put a strain of Jack's family. And as the band tries to promote itself more, Kyle is pushed further into the shadow of Jack's spotlight. The boiling point is reached when Kyle is excluded from a Late Night show guest appearance. Jack must decide if he will cancel the interview if Kyle isn't included.

The film is well balanced with plenty of humorous moments to break up the tension that builds during the band's tour. Of the 300+ hours of raw footage shot for the film, director Jeremy Konner presenan artfully distilled 71-minute story. You don't have to be a Tenacious D fan to be entertained by this carefully constructed documentary.

--Craig vonWaaden

California TheatreHalfdan HusseyWednesday, February 27, 2008 – “I guarantee the next 12 days and nights of Cinequest will be a cabaret,” Cinequest Co-founder and Executive Director Halfdan Hussey promised upon greeting the opening night crowd.

Hussey urged festival-goers to connect with each other—and to discover films and forums that matter, Maverick legends and fun.

“A whole lot of fun, because we need that, too, as we’re stimulating our minds and our souls,” Hussey added.

More than 1,000 people flocked to the world premiere of Paul Leuer’s “Eden Court” at the gorgeous California Theatre in San Jose, California. The beautifully restored 1927 movie palace is one of three downtown venues in which audiences can experience the discovery festival. An estimated 80,000 film lovers are expected to attend the 250 screenings, representing films from 34 countries. Over 80 films will be presented with 40 making their world, North American and U.S. debuts.

Paul LeuerWhen introducing “Eden Court,” Leuer stated that most movies portray the one-in-a-million success story. The indie film that he co-produced, co-wrote and directed takes the opposite approach, focusing on one of the 999,999 who fails to realize his dreams. Although the comedy starring Thomas Lennon (“Reno 911”) and Kimberly Williams -Paisley (“Father of the Bride”) was a disappointment, it didn’t dampen the mood at the opening night gala held at the nearby Paragon Restaurant & Bar in the Hotel Montgomery.

This year’s Maverick Spirit Award recipients are actors Michael Keaton (“Batman,” “Beetlejuice”), Danny Glover (“The Royal Tenenbaums,” “To Sleep with Anger”) and John Leguizamo (“Moulin Rouge,” “E.R.,” “Ice Age”); screenwriter Michael Arndt (“Little Miss Sunshine”); and producer-screenwriter Bobby Moresco (“Million Dollar Baby,” “Crash”).

Film and Technology forums will include Day of Distribution, two days devoted to Sight, Sound & the Dollar Sign, and Day of the Writer.

Cinequest 18 will wrap on March 9 with Charles Oliver’s “Take,” a drama starring Minnie Driver (“”Grosse Pointe Blank,” “The Riches”) and Jeremy Renner (“North Country”).

--Susan Tavernetti
Photo credits: Craig vonWaaden

The 18th Cinequest opened Wednesday, February 27, with the world premiere screening of Paul Leuer's Eden Court starring Thomas Lennon (Reno 911), Kimberly Williams-Paisley (Father of the Bride, According to Jim) and Stephnie Weir (MADtv). Eden Court is a dramatic yet humorous story of a washed up baseball star living in a trailer park trying to escape his current life by running off to Australia in pursuit of his "American Dream." It's not a story where one man beats the odds to become the one-in-a-million who succeeds, but instead is about one of the 999,999 who didn't. Poignant, serious, yet at times laugh-out-loud funny, Eden Court will leave audiences pondering their own lives and where they fit on the one-in-a-million scale. Director Paul Leuer will be introduced to the stage by Scott Budman of Cinequest sponsor NBC

OPENING NIGHT Eden Court  
Wednesday, February 27, 2008.

ETE

The opening night party at Paragon Restaurant and Bar (located one block from theatre at the Hotel Montgomery, 211 S. First St., San Jose) will immediately following the screening. (Party open to ticket holders and Elite and Premiere pass holders).

FOOD

Patrons will be treated to a fabulous array of Paragon's Executive Chef Philippe Breneman's specialties including tiger prawn spring rolls in citrus shallot sauce and goat cheese and herb tarts to name but a few of the culinary choices. 

FUN

Korbel Champagne, Saaga Vodka, Stella Artois, Redwood Creek Wines, Wizard Winery and Bud Light, are all new sponsors to Cinequest and will be pouring during opening night festivities. At other Cinequest events look for Kai Vodka and Hacienda Vieja Tequila, also new sponsors to Cinequest.

MUSIC

Cinequest's Opening Night Party will feature special music guest Pamela Rose, who will enthrall and mesmerize with her soulful style. 

Pamela Rose - Having thrilled audiences locally and internationally with her swinging, soulful style, San Francisco jazz and blues vocalist Pamela Rose is that rare breed of entertainer who connects solidly with her audience by always delivering a personal and unforgettable musical experience. Her rich, warm voice and easy rapport with excellent musicians moves jazz and blues audiences of all ages.

FESTIVAL

Film festivals used to be a place to discover cinematic gems that weren't in the mainstream theatres. As more and more festivals have become vehicles for celebrity appearances and Hollywood "independent" films, Cinequest continues to focus on what its festival organizers feel is at the core of their mission - discovery. Globally unique in its concept, the eighteenth edition of the Cinequest Film Festival presents an event that goes beyond the traditional concept of "film festival," providing the world of independent and foreign filmmakers, technology innovators, students and film lovers with an opportunity to discover, empower and distribute. Cinequest Film Festival is not only a platform to premiere films and celebrate talent, but Cinequest Distribution has become a viable option to reach a worldwide audience. Cinequest was the first festival in the world to present feature films for download in DVD or HD quality. Today, through its PPV/VOD partners and DVD label, over five million people have viewed Cinequest Distribution films. During the 12 days of February 27 through March 9, over 180 films from around the world will converge in San Jose for an event that is expected to draw 80,000 attendees. This is a festival of true discovery, empowerment through knowledge and the latest in technologies, and revolutionary distribution.

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