SF IndieFest 2011: The Wrap-up

Thank you IndiFest for helping to kick off 2011 with some great films.  Sure, there were some stinkers amongst the 40 plus films, but for the most part this year’s lineup was an impressive one!  Opening the festival with Greg Araki‘s Kaboom and ending it with Alex de la Iglesia‘s The Last Circus made for the perfect bookends.  In between these two excellent features were a handful of stinkers and another handful of better-than-average and worthwhile films.

Follow the jump to see how we at Filmbalaya rated the festival, along with links to reviews from every film we were able to catch.  Also, feel free to let us know in the comments section if you agree or disagree as to where we rated a particular film.

The Last Circus

Toumast: Entre Guitare et KalashnikovA highly informative and well-made documentary… Centers around the musical act of Toumast, a French-based Tuareg African-blues/rock group from Nigeria

The Drummond WillSmart comedies are few and far between but when done right the results are spectacular. The Drummond Will is done right.

The EvangelistShooting what I interpreted to be 84 minutes of blissful existential pondering, this tug-of-war tale of Atheism vs Christianity hit all the right notes.

FuertaventuraAn interesting and complex first attempt at a feature, and is ultimately successful and well worth watching.

A Horrible Way To Die “When something even the most casual of moviegoers can not ignore is applied in such a non-gimicky way it’s praise can not go unnoticed.”

KaboomIt refuses to take itself seriously, it’s crammed with sex, comedy and most of all, any iota of teen angst remains totally absent.

Machete Maidens Unleashed

R U There

We Are What We Are

Corpusse: Surrender to the PassionA somewhat shallow profile of a somewhat profound performance artist.

Food StampedI must give them a hand for this experiment and for using film to promote healthier eating, locally produced foods, and farmers’ markets.

Machotaildrop

Mars “Colorful and funny – a good contrast to the psychological grays and blacks that the characters deal with.”

Gainsbourg, The Man Who Loved WomenA documented account of the chain smoking philanderer, whose nack for scoring big on the pop charts came to him just as easy as his ability to score the hottest woman at any given party.

Gold Framers “I appreciate the approach of this film, but it didn’t have any sort of impact on me.”

The Happy PoetIf you find humor in awkward situational comedies, and are able to wade through some bad musical cues paired with some sluggish pacing than you will no doubt find plenty to laugh at and enjoy with The Happy Poet.

Je T’aime, I Love You Terminal “An interesting spin-off from the common date movie theme, Je T’aime, I Love You Terminal, lacks having the viewer longing for a couple to fall in love, which, for this specific genre seems essential.”

A Little Help “I expected a dark comedy, but what i got was a dreary suburban tale of regrets”

Sans queue ni tete (Special Treatment)For those who can overlook the film’s unabashed obvious juxtaposition of prostitution and psychiatry there should be no reason to not like this film.

Transformation: The Life and Legacy of Werner ErhardAs a film, Transformation works as an intro to Erhard or a nostalgic look back at the past.

Worst in Show

Nude Nuns with Big Guns

Second Bodies “The whole thing is just awkward”

Films Filmbalaya Missed:

  1. An Animated World
  2. The Beast Pageant
  3. Bloodied but Unbowed
  4. The End of Love as We Know it
  5. Free Radicals: A History of Experimental Film
  6. Gabi on the Roof in July
  7. Heartbeats
  8. Not Your Average Kids Movie
  9. Offensive!
  10. Seed of Chucky
  11. The Senimental Engine Slayer
  12. The Sight of Music
  13. The Singularity is Near
  14. Superstonic Sound: The Rebel Dread
  15. The Trashmaster
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Tags: , , ,

Categories: Festivals, IndieFest

One Comment on “SF IndieFest 2011: The Wrap-up”

  1. February 22, 2011 at 1:27 pm #

    Transformation: The Life and Legacy of Werner Erhard “As a film, Transformation works as an intro to Erhard or a nostalgic look back at the past.“

    This is indeed sort of accurate – as a film it could function as an “introduction”, but unfortunately most information about the film neglects to mention that it was co-produced by a lawyer for Werner Erhard named Walter Maksym – as reported by Mother Jones magazine.

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