Highlights from The Phoenix Film Festival 2018 – Part 1
Article by Ray Schillaci
Opening night at PFF was an eclectic event with the announcement of Unified By Film category that spotlighted shorts and features from African Americans, Native Americans, Latino Americans, and the LGBTQ communities. This was also to be the biggest festival yet for the Phoenix Film Foundation, extending the usual seven day event to eleven days. There was still the Feature Film Competition films along with documentaries, various short subjects (Live Action, Animated, College, etc), World Cinema, a Recent Retro and Music in Movies section, AZ films, and the International Horror and Sci-Fi films as well.
All of this demonstrated that the Phoenix Film Festival is not only one of the friendliest film festivals for independent filmmakers, but the festival has something for everybody, and is very active in the community. Aside from film, there were also parties, a “Geek Day” for superhero, zombie, comic book fans of all kinds, a “Kid’s Day and Educational Outreach,” and filmmaker panels that included a women filmmakers panel providing both a fun and informative time. PPF also provided an AARP section, “Movies for Grownups” that included the premier of Jason Reitman and Diablo Cody’s Tully and the engaging documentary, Won’t You Be My Neighbor?. Yes, all about our Mister Rogers.
Opening Night – Lean On Pete
This Andrew Haigh (45 Years) film was perhaps a bit too heavy for some looking for a festive night. The story of a 15 year-old boy perhaps forced to grow up way too fast with the adversity that comes at him head on. The acting is great with Steve Buscemi as Del Montgomery, the crusty horse owner, Chloë Sevigny (Boys Don’t Cry) as Bonnie, a tough jockey, and Charlie Plummer (All the Money in the World) in yet another tormented role. Mind you, that’s not a bad thing. Plummer captures the heart and soul of the character, and has us captivated the whole time. But, what he goes through with his father, Pete the horse, and his journey seeking out a long estranged aunt is heart wrenching.
Plummer portraying “Charley Thompson” has this wonderful quirky sensitivity that we grow attach to as he deals with the reprobates in his life, the insensitive horse owner, the damaged jockey, and a sad, neglectful relationship with a father, Ray (Travis Fimmel), he still holds close to his heart. Every time this kid gets knocked down, he eventually comes back up. The closeness he develops with Pete is heartwarming and cries out for caution.
This is a film that requires some patience. Haigh’s style lingers on characters, and they come vividly alive. But, there is one noticeable awkward cameo delivered by the very capable Steve Zahn (War for the Planet of the Apes) as a homeless man. His part comes and goes so fast, one cannot help but wonder what was left on the cutting room floor. But, that is a minor quibble, and it does not harm the picture in the least. Just happens to be a rough patch. We do experience those rough patches here and there, but that may also be its charm. As we stay and push forward with the young man’s journey we find that Lean On Pete is much like Charley himself with an indomitable spirit always marching on.
DAY 2
So much to see, so little time. The documentaries literally rocked this year with two films centering on musicians. Up To Snuff, featured W.G. Snuffy Walden (thirtysomething, The West Wing), originally a blues based rock musician, later a composer to some of the most popular TV shows. Modern American Artists spotlighted sonic artist/guitarist and rockstar Peter DiStefano (Porno for Pyros) searching out modern American artists to create new works of art with.
Both films were big crowd pleasers. Up To Snuff with its cavalcade of who’s who interviews including Aaron Sorkin (The Social Network, Molly’s Game), Martin Sheen (The West Wing), and Fred Savage (The Wonder Years) were very entertaining as well as provided a unique insight into this exceptional musician. While director Douglas Kaplan takes us on a fascinating trek with Peter DiStefano as he visits two very unique artists, discussing their life’s philosophies, and their approach to their work as they fuse their talent with DiStefano’s to create a one-of-a-kind piece of rock art.
With Up To Snuff, director Mark Maxey gives us a clean no-holds barred look into Snuffy’s life, blemishes and all. Some of those blemishes are awfully amusing. This is a loving look at the wild man, blues based rock musician, the far more business-like, sedate, and more mature composer that discusses his unusual beginnings, and a gentle and kind soul, always grateful and humble for what he’s accomplished, but never satisfied.
Maxey brings back some archive footage of Snuffy, but one cannot help but wish that the quality would be better. But, he does the best with what he could obtain. That said, what the director lacked with archive footage, he more than made up for with Snuffy’s interviews including Snuffy himself. Maxey’s film feels so personal, it’s as if you had a bunch of friends over to talk about your favorite person. The documentary is one big joyous exaltation of a man that is worth all the praise, making Up To Snuff the winner of the Audience Appreciation Award.
Director Douglas Kaplan’s Modern American Artists was every bit as good of a documentary. And, perhaps it had just missed winning the award over the competition if it had more star power. But, the film honestly did not need it. DiStefano and his artists were more than enough star power for the screening audience. DiStefano brings grace and humility to his journey. The man’s energy, enthusiasm, love for art, and life itself is highly infectious.
Kaplan and DiStefano easily win the audience over with L.A. based minimal-surreal painter Michael Gorman, and 87 year-old Alice Asmar, considered a “master of many media” including oil, drawing in ink, pencil, and pastel, engraving on metal and plexiglass, and so much more. The two could not be more diverse. But, somehow Kaplan and DiStefano make the transition smooth and their meetings every bit as entertaining and enlightening.
Not only do their views on creating keep us glued to our seat, but Peter DiStefano’s description of his creative process is near spellbinding with marvelous graphics provided. As not to give too much away, DiStefano views each finger on one hand as individual colors. Each color has its meaning. Director Kaplan uses this to great effect while conveying the sense of auras DiStefano shares with not only the artists he works with, but everyday people he happens upon.
Director Kaplan brings as much energy to his directing as DiStefano does as to his narration. The journey they take us on is insightful, funny, and inspiring. In fact, the both of them leave us wanting so much more in the end that their film makes the audience yearn to see it as a series (as several audience members suggested). Modern American Artists paints a picture that remains steadfast in our hearts and minds.
The third documentary I caught riveted its audience and left us nearly breathless with the true crime story of an unsuspecting family that fell prey to a very close friend that was well liked in the community, but eventually proved to be a sociopath obsessed with their 12 year-old daughter. Abducted in Plain Sight (at the time of the fest, titled Forever “B”, as you can see in the graphic above) is a near unbelievable modern American horror story, and yet Jan Broberg, the subject of the documentary, will explain to us all that this kind of thing happens to 4 out of 10 people, and it’s not as out of the ordinary as one would think.
Director Skye Borgman and her masterful lens recaptures the period of the ’70s and settles us into an almost disturbing nostalgic feeling with a very loving family, only to soon reveal beneath the surface something very sick, twisted, and calculating. What you are about to see, you may not believe, but it’s all true. Through a series of chilling reenactments and interviews that are sometimes devastating and hard to watch, director Borgman not only achieves a gripping documentary, but tells a story that we cannot stop watching if we tried. And, we’re exhausted by the end.
It’s no wonder that Abducted in Plain Sight won Best Documentary only solidifying the powerhouse that Borgman’s film is. It also vastly helps that the person the whole film centers around comes across as someone who is well thought out. She’s a survivor, and she’s willing to tell her story as a cautionary tale and a valuable lesson to be learned by all. For she is not the only victim, and she absolutely does not play that part. Broberg comes across as a remarkable pillar of strength. But, she is quick to also come to the defense of her family for whatever mistakes might have been made, and there were plenty. But, as she is quick to point out, until you are involved with a master manipulator you really have no idea what you are in for.
In todays times with #MeToo, #TimesUp and other movements raising the consciousness of our society, Skye Borgman and Jan Broberg’s Abducted in Plain Sight should be required viewing for all. It’s an unsettling film that raises important questions while providing an insightful view of the horror Ms. Broberg and her family went through. But, most of all, Abducted in Plain Sight is not just a documentary, Jan Broberg’s life is a story that once watched will be hard to forget, and that’s just the way director Skye Borgman and Jan Broberg wanted it. This is a film we do not walk away from and later go about our daily routine. This film will linger on with us, and that is where the importance lies, keeping us diligent, alert, and more aware than ever before. Thank you, Skye Borgman. And, thank you to Jan and her family for the bravery you have shown.
