Poland’s American Film Festival is continuing to bet on U.S. independent films, ignoring the Hollywood blockbusters and bigger budget auteur films from the mini-majors.
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“The fest selects a very precise type of project – they are real independent films, not in that Independent Spirit Award, less-than-$40 million sense,” says director and producer Rob Rice.
“The people that come with them have a kind of shorthand with each other. We are all up against the same things and we are all trying to trick the industry into mistaking our films for ‘real movies.’”
“There are always lots of interesting things happening in American independent cinema. It’s enough to mention three alumni of [fest’s industry sidebar] U.S. in Progress: Anu Valia (“We Strangers”), India Donaldson (“Good One”) and Sarah Friedland. These are great examples of new female voices speaking about female experiences, and keeping things intimate and personal,” says artistic director Ula Śniegowska.
Friedland premiered “Familiar Touch” in Venice earlier this week, combining her previous experiences with “working with movement and bodies on camera, and working with older adults.” As revealed by Śniegowska, she’ll be soon returning to Poland to location scout in the Lower Silesia region.
“I wish them all great careers. It’s a new wave of U.S. filmmakers, far away from the Hollywood system. I hope they remain truly independent.”
During its upcoming 15th edition in November, AFF will also celebrate recent successes of Tyler Taormina, from his drama “Christmas Eve in Miller’s Point” to collabs with Carson Lund on “Eephus” and Alexandra Simpson on another Venice premiere, Florida-set drama “No Sleep Till.”
“This is another group to look at: a cooperative of filmmakers helping each other in different capacities. It’s a great alternative to traditional production methods,” says Śniegowska, stressing the fest is always looking to celebrate those who “bring independent film to the fore of attention, who are consistent and brave in their decision making.”
Last year, AFF gave its Indie Star Awards to Adele Romanski, producer of “Moonlight” and “Aftersun,” and Alex Ross Perry, fresh off the Italian premiere of “Pavements.” But now, there will be no escaping high-stakes politics.
“The festival opens on the day of the presidential election in the U.S. The first day after the ceremony might introduce us to a whole different world,” states Śniegowska.
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“We couldn’t shun away from that topic and decided to present five films about the American election process, including Elia Kazan’s ‘A Face in the Crowd’ and ‘The Manchurian Candidate.’ They will be introduced by Polish political analysts. Robert Altman’s little-seen [1984 drama] ‘Secret Honor’ is a restaging of Richard Nixon’s monologue after the Watergate scandal.”
Altman’s retrospective will also include “Popeye,” the festival’s “humble tribute” to its late star Shelley Duvall, while the event will take a closer look at female artists, “in particular those who never enjoyed the fame they deserve. So far,” says Śniegowska.
That includes Lora Webb Nichols, “photographer, businesswoman and homemaker,” and Dorothy Arzner – at one point the only female director working in Hollywood. Local singer Zuzanna Wrońska will be behind the live music performance accompanying Arzner’s comedy “Get Your Man.”
“It’s been absolutely useful! At the very least, [AFF] introduced me to those I can truly commiserate with as, of course, things are insanely hard. Seriously – half the people I know in L.A. I met in Poland. I talk to them all the time,” reveals Rice, currently in pre-production for his second feature “Ponderosa.” He also produced “Christmas Eve in Miller’s Point,” set to be released in November with IFC Films.
In the now-revamped competitive section for young indie filmmakers, renamed Breakthrough, 10 films will vie for the Audience Award and $10,000. Previous winners include Debra Granik, Colin Trevorrow and “Short Term 12” director Destin Daniel Cretton.
“It gives us an emotional foundation to bear the many insults that come with what we are trying to do. And yes – the festival provides material support, not just some abstract ‘exposure.’ This is huge, for all of us, as we’re trying to cobble together these films,” he adds, underlining the importance of such “community building.”
“At no other festival I felt as cared for as I have at AFF. I hope the books that look back on these years in American independent filmmaking give them the chapter they deserve.”
American Film Festival will unspool from Nov. 5 to 11.
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