Fargo Film Festival 2009

Every March, the Fargo Film Festival provides local and regional movie fans of all ages with a tremendous opportunity to experience a wide variety of high quality work that in many cases never sees any mainstream distribution. From feature length narratives and documentaries to short experimental films and animation, the festival will showcase more than seventy-five movies made with passion and vision. Longtime attendees have noticed the steady maturation of the festival, and the quality of the programming this year continues the festival’s impressive record of attracting sensational talent. From local amateurs and professionals to Emmy-winners and Academy Award-nominees, the backgrounds of the included storytellers would make a good movie by itself.

The festival begins on Tuesday, March 3 with a screening of Emmy-winning documentary moviemaker Anne Aghion’s “Ice People,” a fascinating look at Antarctica featuring North Dakota State University’s own Dr. Allan Ashworth. Aghion will be on hand to answer questions about the movie immediately following the screening. Festival Director Margie Bailly praises “Ice People” for its ability to “give area residents a great sense of pride for the quality of academics right here in our own back yard, NDSU geo-scientists. The cinematography is amazing, revealing a place most of us will never visit, but in an hour and a half we can feel as if we have made the journey.”

Animation

Animation Committee Chair Greg Carlson notes the diversity of styles in the category this year. Carlson says, “With the recent success of “WALL-E,” animated motion pictures have begun to attract much deserved attention for artistic achievement. The Fargo Film Festival is fortunate to be able to present the work of several world-class animators using a variety of approaches.” From traditional hand-drawn pieces to completely computer-generated shorts to stop-motion animation, the seventeen films in the category are a feast for the senses.

Carlson advises lovers of animated films not to miss anything that will be screened this year, reminding audience members that they will have the chance to watch movies by established, Academy Award-nominees like Bill Plympton and Don Hertzfeldt as well as innovative creations by a new generation of talented artists including Gretta Johnson, Michael Langan, and Nahomi Maki.

Don Hertzfeldt’s “I Am So Proud of You” is “just a stunning artwork,” says Carlson. “It is a continuation of “Everything Will Be OK,” and contemplates major ideas that are perfectly supported by the elegant, simple line drawings that are Hertzfeldt’s signature. I read an interview with Hertzfeldt in which he offers an explanation for the attraction to simplicity. He mentions everything from the appeal of Charlie Brown to the value of leaving room in the frame for people to dream. “I Am So Proud of You” is one of the best films in the festival.”

Documentary Feature

Documentary Feature Committee Chair Tom Brandau notes some thematic trends emerging in this year’s festival, citing three areas of concentration among the non-fiction features at the festival: politics, the environment, and “Small Town, USA.” Brandau says, “In some cases, you’ve got all three areas in the same film. If you’re into politics you’ve got your pick between “When the Landscape Is Quiet Again,” a wonderful documentary about former North Dakota Governor Art Link, or “Fritz: The Walter Mondale Story.” If you’re interested in small town Americana, you’ll love “This American Gothic” and “Small Town Silver Screen.”

Brandau, along with many of the other committee chairs, are excited for Documentary Feature winner “Abel Raises Cain,” a film about the bizarre career of huckster, prankster, and hoax master Alan Abel. Brandau says, “Abel Raises Cain” is like playing with a set of Russian nesting dolls. Just when you think you’ve reached the center of the story you’re presented with another twist or aspect. This is a uniquely quirky, funny and fascinating film that contains a truly original character.”

Narrative Feature Committee Chair Matt Olien concurs, stating, “I am looking forward to meeting Alan Abel, the subject of “Abel Raises Cain.” There is no doubt based on what I’ve seen of his personality in the documentary that he will be the star of the festival and someone many people will want to meet.”

Documentary Short

As is usually the case, the documentary short category covers a wide variety of fascinating and engaging subjects. Among the 2009 selections is a nostalgic snapshot of the Polaroid camera called “Click Whoosh,” a unique look at Russia’s first manned space flight called “I Can See Everything,” and a close-up examination of an eccentric creator of “garbage-art” titled “Richart.”

Zachary Stauffer’s haunting “A Day Late in Oakland” is equally at home in the realms of investigative journalism and expressive storytelling. Documentary Short Committee Chair Mike Stromenger says, “What I love most about “A Day Late in Oakland” is the masterful presentation of two controversial stories – the murder of an African-American journalist and the city-wide influence of a Muslim bakery. The stories start out separate but intertwine towards the end, leaving a strong impact on the viewer.”

Experimental

Experimental moviemaking can be challenging and rewarding viewing for adventuresome cineastes. Experimental Film Committee Chair Kyja Kristjansson-Nelson offers several suggestions for the curious, saying, “Simply put, many experimental filmmakers approach the medium as a fine art. Experimental film usually pushes boundaries, breaks cinematic rules, and throughout the history of film, experimental filmmakers have greatly impacted trends in traditional Hollywood film, including things like editing techniques, cinematography, and ways of telling a story. Experimental film often requires the viewer to work: to be an active participant, to make visual connections, and to appreciate the sensory experience.”

See Kristjansson-Nelson’s review of category winner “Themes & Variations for the Naked Eye” for more information.

Narrative Feature

Narrative Feature Committee Chair Matt Olien argues that long form films are very difficult to produce and direct, in some ways perhaps the hardest and most time-consuming of all forms of cinema. Olien is certain, however, that viewers will enjoy the three narrative feature films that will be screened at the festival, pointing out the variety that exists among the trio. He says, “One is a friendship drama, another is a mockumentary about Christian rock bands, and the other is a Western.”

Category winner “River” is a very well made, technically proficient and very well acted, according to Olien: “It is a drama about the pitfalls that sometimes occur when a man and a woman have a supposedly platonic relationship, and then one of them decides it needs to be more than that. I believe many people will be able to relate to this film.” “River” is directed by Mark Wihak of Regina, Saskatchewan, Canada and boasts two outstanding leading performances from Adam Budd and Maya Batten-Young. The movie is also a nice travelogue of Regina as the two main characters make their way around the city.

Narrative Short

Festival attendees can expect to see a great range in tone and a wonderful variety of genres from filmmakers across the globe, says Narrative Short Chair Emily Beck. Beck goes on to say, “We have a mystery from Norway, a zany comedy from Iran, and a touching family drama from the Midwest. Each movie showcases the exemplary work independent filmmakers are doing in their field – great things come in small packages.”

Beck mentions category winner “Las Gafas,” applauding the screenplay’s “huge dose of heart, humor, and humanity. Combine that with two talented actors, a stunning locale, a masterful director, and the result is a film you will not soon forget.”

In addition to serving as the chair of the Narrative Short Committee, Beck works with Executive Director Margie Bailly as one of the festival programmers. Beck says, “Our closing night ‘Best in Show’ programming will blow people away. We are screening work from some of the country’s most talented moviemakers and our special guest, Alan Abel, will be one for the books. We are so excited to bring these pioneering films to our community.”

Native American Voices

Native American Voices Committee Co-Chair Prairie Rose cites strong storytelling, insight into the reality of urban Indian life, and historical interpretations of the American Indian experience as hallmarks of the popular category this year. Movie highlights in Native American Voices include “Beautiful Resistance” and “Beyond the Mesas,” two beautifully done shorts that present historical information, “Journey My Heart,” the story of a jingle dress dancer, “Poison Wind,” a shocking expose of the abuse on our environment due to mining and federal policies, and “Good Looking,” which uses dry Canadian humor to share the story of a young actress. Prairie Rose notes that “the audience can expect to see a broad range of stories, perspectives on issues and quality filmmaking” in the Native American Voices category.

Category winner “Moccasin Flats: Redemption” is an especially gripping piece of moviemaking. Prairie Rose singles out the film’s well-written screenplay, saying “the characters draw you in right away and the story keeps feeding the audience juicy bits that connect the dots and keep you engaged in the film. It is a beautiful film but it is also unremitting in its portrayal of the reality of gang dynamics and urban Indian life. It is also story of redemption that allows you to feel the emotions of the story. “Moccasin Flats” is not to be missed at the festival.”

Student Films

The quality and variety of student films is the best it has ever been, according to Student Committee Co-Chair Susan Revland. The committee screened so many refreshing movies that four honorable mentions were added to a list that already included a Best Student Narrative and a Best Student Documentary. Revland says that audiences catching the student work will enjoy films that are entertaining, informative and thought provoking.

The category’s narrative winner “Harvest Moon” is essential viewing for student moviemakers looking to start their own productions. Revland says that in addition to a well-written script, “the film is skillfully shot using creative locations and beautiful lighting. Without giving anything away, audiences will ‘howl’ with delight.”

The student category is also the place where many local filmmakers get their first taste of a public audience, and at least five directors currently attending Minnesota State University Moorhead had work selected for inclusion in the festival.

Screening Schedule Available Online

In addition to the film screenings, festival attendees can participate in a variety of parties, panels, and social events at the festival. Ticket prices are available at the Fargo Film Festival’s website, http://www.fargofilmfestival.org, which also includes a complete, day-by-day schedule of everything happening between March 3 and March 7.

Margie Bailly can scarcely contain her excitement for the festival, something she anticipates every year. She says, “Audiences can expect every screening session to be varied, provocative, entertaining and fresh. The parties and panel discussions will be stimulating and fun, fun, fun! I’ll be looking forward to buying popcorn and sitting in a darkened theatre with my wonderful husband, relishing whatever comes up on the screen.”

Review of Caitlin Horsmon’s “Themes & Variations for the Naked Eye” by Kyja Kristjansson-Nelson

Filmmaker Caitlin Horsmon focuses on interior exploration in a study of contrast titled “Themes & Variations for the Naked Eye.” Both maker and viewer explore objects of life and death, a perspective further contrasted by the use of non-synchronous sound/image editing as well as shifts from color to black and white footage, 16mm to Super8, finally presented on video. Decidedly feminine, the film employs a lingering gaze that is at once sensual and abject.

“Themes & Variations for the Naked Eye” begins by establishing a sense of place. A stone is thrown by an absent protagonist, and for just a moment clear water momentarily appears before the thick green muck swallows it up. Like the camera skimming the surface of the water, moments of purification and cleansing are overwhelmed by envelopment and suffocation, a theme reflected in the filmmaker’s probing of interior space and views in extreme close-up. The act of breaking the surface sets in motion an investigation of objects akin to the traditions of still life, and the viewer is taken from established exterior to a space of containment, control and interiority.

Within this new space, several types of fish and fruit are introduced. The majority of objects presented are familiar. However, the familiarity is contrasted with objects not readily recognizable. Extreme close-ups reveal portions of an eerie carcass. Contrast continues in the resonance and dissonance between image and audio. Horsmon incorporates synchresis, playing with audio-visual associations by foregoing traditional synchronous sound/image editing.

Pairing aquatic-like sounds with imagery of an anonymous finger penetrating fruit seeds, hallowing and smoothing, sexual and grotesque, the image/audio pair heightens the senses. Horsmon relies on viewers’ sense synthesis using sound, sight, touch, and arguably even taste and smell. Life/death, pleasure/pain, absence/presence, delicate/resilient; the juxtapositions are many. As the filmmaker writes, “All at once beautiful, fragile and gross.”

Caitlin Horsmon’s award winning “Themes & Variations for the Naked Eye” is technically well crafted and leads the viewer from start to finish with strong vision that extends to the body of the director’s film/video work.