Our own private Sundance

Arizona Daily Wildcat Courtesy of Artistic License Films

"Sundance ten years ago is where I think we are now," Scalinger explains. "Sundance was a festival were you could go to discover new talent. That has changed drastically. You go to Sundance now and there is too many Hollywood distributors' fingers in there." Although two or three small distributors may show up in Tucson this coming week, the Arizona International Film Festival is clearly an event for the public.

A number of films will be of interest to specific pockets of the community, such as African-Americans, Asian Americans, Latinos, and Gays and Lesbians. But in essence every film is unique or odd in some way. Much of the material, especially the short, controversial pieces, will never be shown at a public venue in Arizona again. With the exception of the films in the "From the Archives" category, and some local productions, all the films in the Festival are Arizona premieres. Films will be playing all over town, (at the Screening Room, Gallager Theater, The Loft, Crossroads Festival, Double Zero, and Cocina) and Festival Schedules may be found at the Gallagher Theater and all over town. Individual tickets are five dollars and a variety of special passes may be purchased.

The main addition to this years festival is the "Arizona Independent Film Award" which has been awarded to veteran indie film director Robert M. Young. Although this is the first competitive addition to the festival, the award does not include a check, and part of the criteria for winning is that the recipient has to come to the Festival. Young was apparently both enthusiastic and accommodating, even suggesting various methods to reduce the cost of his plain ticket. With 30 years of independent film directing under his belt, and several awards including an Emmy and a Camera d'Or from Cannes, he is the ideal cadnidate for the award. This Saturday, at 10:30 a.m. at the Screening Room, he will be holding a seminar on the making of his latest film, "Caught."

Five other workshops and seminars are part of the event as well, but because of an error the listing was left out of the Festival Schedule. They are listed under the title "Serving Independents" in the calendar located on the center fold of the Schedule. Topics include "Writing for the Screen," featuring Edward Pomerantz (who wrote the screenplay for "Caught,") "Producing Chicano Style," and "Art Direction: Illusion or Reality".

Remarkable in their own unique ways, "Caught" and "Color of a Brisk and Leaping Day" are both good examples of the type of independent cinema that the Festival aims to promote.

"Caught" has gained wide critical praise including two thumbs up from Siskel and Ebert. Extraordinarily realistic in its dialogue and acting, the film comes closer to life than it does any film genre. The story begins when a street drifter named Nick (Arie Verveen) stumbles into a Manhattan fish store owned by Joe (Edward James Olmos) and his wife Betty (Maria Cochita Alonso). Despite her husband's initial reluctance Betty takes pity on Nick, eventually including him in their home and business. Joe gradually develops a true friendship with Nick, sharing his dreams and teaching him everything there is to know about fish. But Nick is an accident waiting to happen, and before too long he is engaged in a sexual relationship with Betty. When the couple's son, a failed stand-up comedian named Donny (Steven Schub), moves back home and finds Nick living in his old room, tensions and jealousies mount.

The characters, especially Joe and Betty, are so likable that one can't help but resent the looming plot. On one level the film is like watching a car crash in slow motion - the title suggests the inevitable.

Young allows his actors to define their roles through improvisation and experimentation, and the result is a film of great immediacy. If you are interested in viewing something that feels very close to life, "Caught" is the film for you.

"Color of a Brisk and Leaping Day" is more pictorial than realistic. Shot in beautiful black and white, it is the story of a Chinese American who tries to save the Yosemite Valley train line that his grandfather helped build over 80 years before. The story, which is meant to be one of reconciliation between past and future, is underdeveloped, but "Leaping Day" is still one of the most lyrical films I've ever seen. The nature scenes are like Ansel Adams photographs set in motion, and the soundtrack, mainly piano music by Erik Satie, is breathtaking.

With over 70 films, the Arizona International Film Festival is sure to have something for everyone. If you for some reason can't find a schedule, the Festival's website may be accessed at http://www.azstarnet.com/~azmac.