October 11-18, 2007
Atlanta, Georgia

• Attendance
• Opening Night
• The Films
• Projection Problems
• Closing Night
• Awards

by Jay Blodgett

 The Films

As the week progressed, the festival featured "Centerpiece Films," both gay and lesbian themed, as well as a number of films either regionally produced or with strong regional ties. There was also a panel regarding the state of gay/lesbian cinema. Closing night featured RuPaul and his latest film.

The "Lesbian Centerpiece" film was ITTY BITTY TITTY COMMITTEE (dir. Jamie Babbit, US, 2007, 87 mins.) The film starts with a musical screech! I think the term is 'riot gurls', though I feel OLD even trying to guess!

The soundtrack is pretty hard core punk, but it is actually a bit out of sync with the film, which has a more sensitively portrayed ensemble of women, who are members of a self-made anarchist feminist movement. The ironies of political ideals that are so closely held as to rival religiosity is played out with such sincerity as to go unnoticed by the cast.

There is also a fine line of slapstick and farce that it broaches, without sacrificing its progressive message. The cast is appealing and genuine, though a few are called upon to play to stereotypes. However, Melonie Diaz ably delivers her character arc from 'baby lezzie' to full blooded revolutionary. Nicole Vicius plays her ambivalent love interest with enough teasing charm to keep the audience guessing as to what their final outcome will be. (There are also notable 'cameos' from Melanie Lynskey (Heavenly Creatures) and, if you don't blink, Cady Huffman (The Producers on broadway).)

The dialog is almost too clever; however, given the outrageousness of the climax, it lends a balance to the reality and fantasy that is within the film, and given director Jamie Babbit's track record (But I'm A Cheerleader and a SLEW of television episodes!), she is able to take a sit-com and give it some feature length heart. It is well shot, paced and edited. The sound was a bit harsh, but I believe that might be the fault of the projection or theater, as was evidenced by later screenings.

The "Gay Centerpiece" film was THE HOUSEBOY (dir. Spencer Schilly, US, 2007, 80 mins.) Georgia State alum Spencer Schilly wrote, directed, and acted in this hot boy flick. Spencer Schilly's film is sexually titillating, but the fleshy parts are completely integral to the plot and the arc of his main character: a lost boy of sorts, who is emotionally adrift and alone in New York City, beautifully played by Nick May.

May brings a Dickensian weariness to his portrayal. The cast of men that he hooks up with are all well defined characters, even in the few minutes of screen time they are given, which is a tribute to Schilly's screenplay and direction. The pacing and editing are never slack and there are no wasted or unnecessary moments. The nearly surreal week that May's character spends before Christmas is not unlike any lonely, holiday nightmare any one might have spent. (Or perhaps I was just over identifying at one point?) Be that as it may, I truly admired and enjoyed this experience, even if I did not stay for the Q&A with Schilly and May after the screening (this was its World Premiere).

On Day 3, a panel on the state of queer film was hosted at Outwrite Bookstore & Coffeehouse and featured a cross section of filmmakers on the panel: narrative feature director Richard LeMay (Whirlwind), documentary feature director Kelly Rouse (The Year of the Paper), short narrative director Lauren Wolkstein (Dandelion Fall) and producer and screenwriter Jason Brown (Whirlwind). The panel was moderated by Cindy Abel from Atlantis Moon Productions.

The session had to be cut short, since Rouse's documentary was scheduled to screen only an hour later. However, the 45 minutes or so of discussion was a pleasant primer into the business of getting a gay-themed film financed and made. Nothing really 'new' or any nasty gossip was shared, but it was a pleasant way to start the morning. (Also, a latte and quiche were available!) We all scurried from Outwrite to the Landmark for Rouse's documentary.

THE YEAR OF THE PAPER (dirs. Kelly Rouse, Nikki Parker, USA, 2007, 91 min.) Though I was initially hesitant to see 'another gay marriage' documentary, this fit so easily into my schedule, and director Kelly Rouse was such an appealing presence on the filmmakers panel, I went ahead and dove in. What sets this one a bit apart from previous pieces is Rouse and Parker's format: three couples (lesbian, gay and straight) are followed during the first year of their marriages. In so doing, the film details the ceremonies, the changes a wedding made to the relationships, and the 'fallout' of their first anniversaries.

The three couples do appear to maintain the 'honeymoon stage' through out the project, even though the lesbian and gay couples had been together for many years before the opportunity of being married occurred. There really isn't much drama within the relationships as there is conflict between the couples and the surrounding society, with the exception of the straight couple, whose world is presented fairly idyllically, with the exception of an obsessed mother of the groom!

The film also intersperses commentary from different sociological experts and political figures on both sides of the issue of gay marriage, as well as historical background on the institution itself. The directors have cleverly edited these commentaries together to form something of a debate, as well as clearly providing evidence in the argument for gay marriage. I was really pleased to finally see 'another gay marriage' documentary that focused on the civil liberties and legal issues involved and not on seeking societal validation.

Panelists LeMay and Brown's film screened the night before the panel, and received an encore screening later in the week.

WHIRLWIND (dir. Richard LeMay, USA, 99 mins.) A small posse of 30-somethings allow trouble to enter their tight circle in the form of a handsome libertine, who shakes up their world. I think we've all been there. Or at least I have, to the point that I found the script by Richard LeMay and Jason Brown to be almost embarrassingly direct and honest. I was squirming in my seat during the film, first from the nearly invasive nature of the all too recognizable situation, and later, from the wincingly simplistic confrontations and resolutions.

What began as a complex deconstruction of a small group's dynamics turned to simplistic "I love yous" to resolve their conflicts. The sociopath that throws the group into turmoil becomes just that: a villain whom we want to see hurt. Deeply. The black and white distinction between good and bad treads the fine line of soap opera.

The cast gives oddly uneven performances. Since the ensemble is continually in different one-on-one's with each other, it is difficult to tell (on a single screening) whether there is a lack of chemistry or rehearsal that makes some scenes click, as well as scenes that fall flat. Overall, they are an appealing bunch of guys who are quite quick with the one-liners. I began to believe that as the script became more simplistic that the cast began to emotionally step away and allow the words to carry the scenes. Considering the emotional catharsis that each one is faced with, there are no tears, yelling or gnashing of teeth, which would have sent it over the top. However, had the characters been allowed to physically perform, I think the script would have been revised for more subtle verbalization.

With all that carping aside, the first two-thirds thrilled me and the final third made me wince, in that way that Boys in the Band does. That said, I will definitely add this to my collection once it is released on DVD to screen for MY posse!

The production values appeared to be fine, given that it was projected in the WRONG aspect ratio! argh! Which brings me to the subject of the short subjects programs and the Projection Problems ...

 Read on for more about the Projection Problems! >>