Opening at Harkins Camelview and several other Valley multiplexes:
Get thee to a movie theater!
Notable moviegoing choices for the weekend.
A running gag in pop culture for the last few decades has been the image of the defeated hippie—cutting his hair, donning a suit and tie and joining the rat race like every other Joe. This may have happened plenty of times, but documentarian and UofA professor Beverly Seckinger’s Hippie Family Values demonstrates that it didn’t happen every time.
For the 14th year, the International Horror and Sci-Fi Film Festival will run concurrently with the Phoenix Film Festival at Harkins Scottsdale 101. This year, both fests have expanded from 8 to 11 days, starting this Thursday, April 5. PHOENIX magazine had a chance to chat with IHSFF Director Monte Yazzie about what's new this year in the world of the cinematically scary and strange.*
A little awkward, like any 14-year-old's coming-of-age story, Saturday Church is an original, heartfelt musical of Ulysses' odyssey to self acceptance – like many of the films at the ninth annual Desperado Film Festival.
The good and the weird at LabelHorde’s Fashion Show from an intern who is no fashion expert.
The “OCD” in The OCD Festival stands not for the common mental disorder, but rather for “Outstanding Cinematic Delights.” So, at least, claims organizer Suzanne Steinberg.
The festival’s title, says Steinberg, “is meant to confront negative stereotypes of mental illness. It is taking something negative such as a label and trying to associate it with something positive, such as a great film festival. The hope is that the message behind the festival says that people impacted by mental health are still beautiful, wonderful people who deserve to be a part of and cared for by our society.”
The next offering from Phoenix’s No Festival Required film series isn’t one movie, it’s nine little movies. “The Rural Route Film Festival Touring Program: Short Films and Animations” is a compilation of the best shorts from the New York-based fest, which features non-urban subjects from around the world, often focusing on environmental issues.
If this sounds like a depressing or guilt-inducing prospect, don’t despair. It’s a surprisingly lively, engaging collection, often distressing but non-didactic and free of scolding (e.g. it’s your fault we’re watching sad polar bears floating away on melting ice). The selections are highly diverse in style and tone, and yet there’s a recurrence of themes and images between them that gives the show unity. Two of the shorts, for instance, involve the mining industry’s use of ill-fated canaries, Jesse Kreitzer’s Iowa-filmed early-20th century period mining drama Black Canaries and Marie Schlingmann’s disturbing, ambiguous thriller Canary.
Near the beginning of Pamela Tom’s documentary Tyrus, the painter Tyrus Wong, who died last year at the age of 106, explains that his Chinese name, Gen Yo, translates to something like “Buena Vista” in Spanish. The view from his eyes seems, indeed, to have been beautiful.
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