You look at all the film festivals going on in Boston at
this time and you wonder, why not spread them out a bit so we'll have some
alternatives in the summer to "G.I. Joe: Retaliation" and "Ice Age: Continental
Drift?" Be that as it may, at some point, in addition to the Independent Film
Festival of Boston (April 25-May 2) and the Lesbian, Gay,Bisexual, and
Transgender Festival (May 3-13), you need to
reserve some time for The National Center for Jewish Film's Jewishfilm2012, which started on Wednesday and runs through April 29.
What's with March and April with all these Film Festivals?
One definitely not to miss is the Tenth Annual Independent Film Festival of
Boston, quite simply the best in New England (okay, maybe tied with
Provincetown), which runs from April 25 to May 2 at various venues including
the Brattle, Somerville, and Coolidge Corner Theatres.
And this year's award for promising new editor
Southwest is just picking up speed in rainy Austin,
and Boston has
already made the news. Just ahead of the film festival's award ceremony on
March 13 came the announcement that the Karen Schmeer Film
Editing Fellowship will be given to Lindsay Utz, editor of the controversial "Bully" documentary that is currently fighting with the MPAA over its recent
70 MINUTES | SOMERVILLE
THEATRE MAY 1 @ NOON| ALSO BROADCAST ON HBO2 ON MAY 18
As shown in Nic Dunlop, Ricki Stern, and Annie Sundberg’s taut,
compelling documentary, Burma
is a beautiful country, with mist-layered landscapes and otherworldly temples.
Other images, though, reveal the horrors of tyranny and civil war.
Another must-see film at the IFFBoston.
IVAN & IVANA
89 MINUTES | SOMERVILLE
THEATRE APRIL 30 @2:30 PM + MAY 1 @ 8:15 PM
Times were tough for
Ivan and Ivana in Kosovo in 2000 in the midst of the civil war, as the opening
of Jeff Silva's low key but moving documentary
shows: the place is a wasteland of ruins and burnt out vehicles and snow.
If highly paid and trained trained professionals can take a year or two and spend $60
million or so to come up with a film like, say, "Arthur," what chance do
relative amateurs with no money and a 48 hour production schedule have of
making something good? Especially when they are constrained by arbitrary,
somewhat bizarre strictures, including a requisite line of dialogue (such as "Yes,
I mean I hope so!"), a character (Marty
or Mary Quinzani - second in command), and a prop (a magnet).