Denver Film Festival’s 40 years of Success Stands on the Shoulders of Others
by Shelly Schoeneshoefer
Arriving at the 44th Denver Film Festival after attending the 29th Filmfest Hamburg was truly an eye-opener to see how many films were snatched up as I scanned the program. Films on the continuing circuit were AFTER LOVE, BELFAST, LA CIVIL, COW, FRANCE, HIT THE ROAD, LINGUI, MEMORIA, PARIS, 13th DISTRICT, POSER, and RED ROCKET. Films included from the 71st Berlinale were BAD LUCK BANGING OR LOONEY PORN, BALLAD OF A WHITE COW, EASTER EGGS, SOCIAL HYGIENE, NOUS, PETITE MAMAN, MOON 66, and VORTEX – many of which I’d seen. What surprised me most was the lone German film among them, although they do get technical credit in many films. I also expected to see films like DRUCKEN BIRDS which were not among the selections, although the content such as illegal Mexican migrant workers and women’s issues is relevant to current political themes. Instead, the focus was French and Italian films, and a borrowed Berlinale Culinary Cinema concept took place. It was a venue I avoided with exorbitant prices ranging from $75.00 - $90.00. But after seeing shocking new books in the cookbook section with titles like Thug Kitchen – eat like you give a F*ck and Bad Manners: Brave New World, I wondered what food theme would be featured. The program was a nice surprise, self-taught Japanese chef Masamoto Ueda developing unique ramen noodles dishes featured in John Daschbach’s documentary COME BACK ANYTIME.
Besides exploding prices, the large number of sponsors easily topped Filmfest Hamburg and the Berlinale with over 60 sponsors and venues, including a light show at the Botanical gardens and the Festival Annex featuring virtual reality shows. The festival showcased 250 films, with merely two awards: the John Cassavetes Award and the Maria and Tommaso Maglione Italian Filmmaker Award. It was clearly a money-making enterprise, with an army of volunteers and lots of fun.
Due to the hike in prices, I planned to abort my mission of attending this festival, when two girlfriends came to my rescue, insisting that I attend opening night: Happy birthday! Covid rules consisted of long lines, showing my vaccination card, putting on a pink fashionable plastic festival wristband, a self-made mask, and a tube of disinfectant spray. I was now armed to view Pablo Larrian’s film SPENCER which focused on Princess Diana’s disenchantment with her in-laws during the Christmas season. How appropriate! I too felt like Princess Diana stepping out of my father’s old rusty-painted jeep, then stepping into a strange new world of glamor. The cinematography was beautiful but claustrophobic. We immediately feel Princess Diana’s need to escape strict punctuality, harsh rules and lack of emotional understanding. Sadness pours out of her every step. Unfortunately the sound system was practically inaudible despite viewing at the Ellie Caulkin’s Opera House. Hard to believe with tickets costing $45.00 a pop and a full house. Was I the only one shocked? Everyone else seemed to take it in stride.
Two days later this film addict decided to put her money on the favorite, a little art film called JOCKEY by director Clint Bentley. A look at life in the last season of an ageing jockey with deteriorating health gives us little hope. But a promising horse shows up and with Jackson’s (Clifton Collins Jr.) experience, this could be a winning season! The highlight was seeing Clifton Collins Jr. receive the 2021 John Cassavetes Award and catch a hint of him having a good chance at the Oscars. This would make him the first American-Latino ever to receive Best Actor Award. He is truly special. He spoke of his family roots as well as giving John Wayne credit for his good education. He spoke about his famous actor grandfather Pedro Gonzales-Gonzales and how he inspired him to get where he is today. An award-winning evening came to a happy end. Although this festival has a lot to offer, you need a pocketbook full of money or you won’t get far.
