There is little doubt that a character of Truman Capote’s magnitude provided enough material with his behavior and complexity to source two major motion pictures. Regardless, it is rare to see two movies come out within a year of one another telling similar stories in very different ways. While Bennett Miller’s Capote, based on the biography by Gerald Clarke, delved into the calm waters at the surface of a very twisted soul, Douglas McGrath’s film... [continue]

Are you an aspiring filmmaker? Do you have the material, the vision, and the chutzpa to make a feature film but lack: a. funding b. equipment c. technical know-how d. fresh citrus? Marc Rosenbush, director of Zen Noir, has been there, Grasshopper, and he can help you by providing answers based on his experience in making his latest film (just make sure that your questions are not tied too tightly to the Western logical paradigm).... [continue]

Elizabeth Stark’s and Kami Chisholm’s feature-length primer FtF: Female to Femme, sponsored by IDKE 8, brings us closer to understanding a culture within a culture within a culture—the world of the lesbian Femme. Largely marginalized within a marginalized community, the Femme is a woman who embraces, through modes of dress, a femininity that is comfortably familiar to those who are not lesbian. Always intelligent and often funny, Stark and Chisholm interview artists, activists, and intelligentsia...... [continue]

Jean-Marc Vallée's award-winning C.R.A.Z.Y., recipient of accolades at film festivals around the world (Gijón, Toronto, Vancouver, Boulder), recently garnered yet another laurel: the low-budget indie comedy-drama was given the "Soundpost.com Feature Film Director Award" at the 19th Annual Austin Gay and Lesbian International Film Festival (aGLIFF), which continues through Sunday. It's fitting that Vallée, who uses both sound and music to extraordinary emotional effect, will be receiving a $130,000 grant from Soundpost.com. The prize money...... [continue]

Delightful Irony #1: Opening night at the start of the showcase film screening at the 19th Annual aGLIFF, a female voice loudly implores other members of the boisterous, predominantly female, near-capacity audience to “be quiet.” No. No, please don’t be quiet. As the opening credits for Puccini for Beginners begin to roll and the audience settles in, the point becomes all too clear: this—the film itself, our participation, everything that will happen in the...... [continue]

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