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FESTIVALS: True/False 2012, Day Four: Destroy Your Safe and Happy Lives

The movies I saw on the last day of True/False continued to intersect with the other movies I've seen this weekend. The festival taken as a whole functions as a kind of mosaic, in which the individual pieces add up to a larger whole. This is the first year I've really noticed this, even though I'm sure that past festivals have been similarly constructed. I just never saw enough movies in past years to get the full effect. I saw thirteen movies this year, counting Secret Screenings. My second favorite film of the festival was secret. So was the lone film I didn't really like. It's probably just as well that I don't get to write about that one.
  • By Christianne Benedict
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  • March 6, 2012 2:11 PM
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  • 0 Comments

FESTIVALS: True/False 2012, Day Three: Strange Intersections

There's a strange sense of connectedness between the films I'm seeing at this year's True/False festival. Whether that's accidental or because of the way True/False is curated, I can't say, but some of the movies I'm seeing seem to be rhymes of other movies. Sometimes it's visual. Sometimes it's thematic. Often, it's both. This year's films seem to be grouped around intersections of race, healthcare, art, queerness, and activism. Having said this, I can't actually support this observation as well as I'd like, because the keystone film that ties all of this together in my own mind is one of those secret screenings I can't talk about. Listening to the buzz around the fest, I get the feeling that more than one of those secret films would supply the glue for this feeling of intersectionality.
  • By Christianne Benedict
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  • March 5, 2012 11:11 AM
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  • 2 Comments

FESTIVALS - True/False 2012, Day Two: The Influence Machine

"The thing is, directors and studios don't really like each other." Graphic designer Erik Buckham ought to know. He has a ringside seat. He designs movie posters. The nature of the business means that he deals with both studio marketing departments and control freak directors, but not always in equal measure. This comment explains a lot about why American movies look the way they do and a lot about why Buckham prefers to work on small films rather than big.
  • By Christianne Benedict
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  • March 4, 2012 10:10 AM
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  • 0 Comments

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