May I be forgiven for thinking that, for the span of a few days, the center of cinematic gravity had shifted from wherever you’d usually look for it (Hollywood, New York, Paris) to Baltimore, where the Maryland Film Festival—its movies housed mainly at the Charles Theatre and its participants lodged mainly at the Hotel Monaco (and there are photos to prove it)—flung its doors open, from Thursday through Sunday. In their wisdom, the programmers dispensed with the second-rate celebrity-spangled productions that so often make film festivals festive in name only and turned the screens and the calendar of activities over to independent filmmakers whose aesthetic displays as much independence of thought as do their mode of production and, significantly, their attitude toward the cinema itself.
Click here for full article in The New Yorker!
Though there’s no Gunky to speak of, the film series does have the feel of hanging out in a semi-finished basement, kicking back, and watching old favorites with friends. Curated by Dan Deacon and Jimmy Joe Roche, this collaboration with the Maryland Film Festival pulls in films like Groundhog Day and They Live on 35mm, and tickets are only $5 a pop. Plus, the series enlists local artists to create gorgeous posters for each screening, and snagging one (also $5) is reason enough to get there early.
Click here for the full article in Baltimore's City Paper!
Indiewire's Eric Kohn reports on his recent experiences at the Maryland Film Festival, where he saw the only American short film playing at Cannes this month. In anticipation of the upcoming event, they survey the lineup one last time.