Diversity might be an overused term, but it can still apply. Certainly to the 2003 Sundance film festival.
'Serious dramas, hedonistic partying, important documentaries, and there were films that couldn't have been made any other time,' reels off out programmer Shari Frilot of the year's events and selections.
Frilot says that this year marked a higher quantity and quality of gay-themed film submissions, with many titles boasting a studio or company attachment/affiliation. And, signaling an 'evolution toward films that happen to have gay characters rather than films that are about gayness,' other films incorporated gay characters and themes without necessarily placing them center-stage. Unfortunately, not many gay-themed works originated from gay minority filmmakers this year, which Frilot attributes to the fact 'it's just harder for them to make movies.' Tragically, one such celebrated filmmaker, Native American queer Clint Morrill ( aka Clint Alberta, Jules Karatechamp ) , who'd seen his films bow at Sundance in 2000 and 2002, committed suicide last year.
AIDS issues, meanwhile, surfaced prominently in several works, including a pair of documentaries: State of Denial, a look at South Africa's crisis and response, and To Live is Better Than To Die, a portrait of a harshly affected family in mainland China. Yet politics, Frilot maintains, took passenger seat to storytelling overall. 'What any filmmaker wants to do is tell a story,' she explains. 'They don't want to necessarily carry the politics and be at the forefront of a movement. Now that there's a market interest and broad spectrum of audiences I think filmmakers have to feel more freedom to tell a story and not feel pressured to take on the political as well as the storytelling.'
Although many of this year's queer films were strong, provocative, and just plain campy, the awards didn't come rolling in for them. That said, Andrew Jarecki's controversial Capturing the Friedmans snagged the Grand Jury Prize for Best Documentary. And Charles Busch won an Outstanding Performance honor for his hysterical and nuanced ( in the grandest sense, mind you ) portrayal of demented has-been singer/ actress in Die Mommie Die.
A de facto preview of the films you'll see at gay film festivals, on cable and in theaters later this year, enjoy this rundown of Sundance 2003's queerest crop.
AKA—The Story: Presented in a visually busy three-screen format, AKA imagines Dean, a lower-class UK teen ( Matthew Leitch ) , escaping his hellish, abusive home life by impersonating the posh son of an art gallery owner. Residing in Paris under this false identity, he's taken in by a gay sugar daddy and his American hustler lover. A credit card fraud investigator and a gnawing sense of identity displacement, however, threaten Dean's new life. The Scoop: A queer twist on Catch Me if You Can, AKA is also based on a surprising real-life story—that of director Duncan Roy! For five years, Roy posed as the son of Lady Rendlesham, owner of London's Yves Saint-Laurent.
Brother Outsider: The Life of Bayard Rustin—The Story: Bayard Rustin was a Black civil-rights leader on par with and even surpassing Martin Luther King, Jr. in gumption and achievements. However, due to his open homosexuality, Rustin was shunned by his peers and goes largely unremembered today. In this touching, archival material-rich documentary by Nancy Kates and Bennett Singer, Rustin—who was responsible for organizing the famous 1963 March on Washington—gets his well-deserved due. The Scoop: A must see that, hopefully, school systems will incorporate into their curriculum. While screening at the festival, Brother Outsider also aired on PBS during Martin Luther King, Jr. Day celebrations.
Camp—The Story: A rousing Fame-esque musical set at the fictitious performance arts camp, Camp Ovation. During one special summer, a sexy and possibly straight camper, Ivan ( Daniel Letterle ) , rattles the lives of a sweet girl ( Joanna Chilcoat ) , gay boy ( Robin de Jesus ) , and us! The Scoop: Camp Ovation is based on and shot at the real-life Catskills, New York theater camp, Stagedoor Manor. Director Todd Graff attended in the '70s. He wasn't the only Stagedoor alumni at the festival, though—Girls Will Be Girls producer Michael Warwick, actor Robert Downey Jr., and yours truly are amongst them!
Capturing the Friedmans—The Story: In the 1980s, police swooped down upon a family in Great Neck, New York. Arnold Friedman and one of his three sons, Jesse, were arrested for the alleged sexual abuse of children in a computer class they taught. Years later, director Andrew Jarecki probes the case, facts, evidence, and lack thereof, unearthing a series of ambiguities and doubts regarding their guilt. In the process, we witness the family crumble from the inside through extensive home video footage. The Scoop: This Sundance award-winner sparked off a fiery Q&A session one evening. A woman whose child had been in the Friedmans' computer class stood up and lobbed angry allegations at Jarecki, whom she believed to be in support of the Friedmans' innocence. Jarecki, who researched his subjects exhaustively, shot back facts that contradicted her claims and accusations. Asked why she even came to see the film, the woman responded 'from the title, I thought it was going to be about CAPTURING the Friedmans.'
Die Mommie Die!—The Story: Based on Charles Busch's play of the same name, this homage to women's movies of the '40-'60s deliciously combines camp, high production values, and omnisexual action. Busch reprises his role as Angela Arden, an aging has-been with a constipated hubby ( Philip Baker Hall ) , homo son ( Stark Sands ) , angry daughter ( Natasha Lyonne ) , bisexual lover ( Jason Priestly ) , and a murderous tendency! When daddy dies from a poisoned suppository, everyone pursues mommy for revenge ... and a few dark secrets. The Scoop: Busch is brilliant as ever, while Priestley plays both teams onscreen. Speaking of, a nude pool scene with Priestley was tragically lost after a waterproofed camera proved not-quite-waterproofed.
The Education of Gore Vidal—The Story: Produced for Channel Thirteen's American Masters series. This entertaining documentary mixes interviews with the famed gay scribe/political thinker, archival footage, and readings of his work by the likes of Paul Newman and Susan Sarandon. The Scoop: The Education of Gore Vidal isn't the first queer documentary by three-time Academy Award-nominee Deborah Dickson. The director was responsible for last year's equally delightful Ruthie and Connie: Every Room in the House. Education will air on PBS stations this summer.
The Event—The Story: An assistant district attorney ( Parker Posey ) investigates a possibly connected rash of suicides in Chelsea, NYC. One of the recently deceased is Matt ( Brent Carver ) , a musician with AIDS whose mother ( Olympia Dukakis ) , sisters, and friends are hiding a secret that could solve the case. The Scoop: A serious, politically tinged tearjerker that left even a press screening's audience—which is infamously unmoving—audibly sniffling and sobbing. Dukakis' maternal performance is possibly her career's best.
Girls Will Be Girls—The Story: Three Hollywood ladies—fallen star Evie ( Jack Plotnick ) , whipping dog Coco Peru ( Clinton Leupp ) , and starlet wannabe Varla Jean Merman ( Jeffery Roberson ) —clash in the same apartment, bound by betrayals, men, and abortions. The Scoop: This comedy is anything but a drag! And the quotable, bitter zingers are plentiful, including the advice 'A little less binge, a little more purge,' and 'Feelings are like treasures, so bury them.'
Irreversible—The Story: Unraveling in reverse style a la Memento, French director Gaspar Noe's revenge film sees a rape victim's lover pursuing the sleazy bisexual perpetrator. The Scoop: A wave-maker at Cannes for its nine-minute-rape scene and a brutal fire extinguisher bludgeoning, Sundance audiences also fled traumatized. One audience boasted 15 adverse audience reactions, including vomiting and fainting.
Madame Sata—The Story: Set in 1930's Rio de Janeiro, director Karim Ainouz' stunning debut feature stars Lazaro Ramos as a real-life legendary local figure, Joao Francisco dos Santos, aka Madame Sata. A feral, violent, and charismatic Black man, Santos transforms from bitter fringe criminal to beloved cross-dressing performer ... and, tragically, back again. The Scoop: Distribution company Wellspring will distribute this feverish stunner—which brings us a stereotype-defying, ass-kicking queer of color—come summer.
The Mudge Boy—The Story: Emile Hirsch stars as Duncan, an emotionally distant farmer's sensitive son. A social reject whose only comforts are a chicken pet and his dead mother's clothes, Duncan finally manages to connect with Perry, a rowdy older neighborhood teen. The Scoop: Director Michael Burke developed The Mudge Boy from his 1999 Sundance award-winning short film, Fish Belly White. Showtime is hoping to secure a theatrical release for The Mudge Boy, and Purdue will sponsor the chicken's Oscar campaign ( OK, I jest ) .
Nightstalker—The Story: Crack-smoking serial killer Richard Ramirez ( Bret Roberts ) is on the loose in 1980s Los Angeles, and only Gabriella Martinez ( Roselyn Sanchez ) , a lesbian detective, can stop his rampage! The Scoop: While the lesbian status of Gabriella is downplayed to the point that it isn't even acknowledged onscreen, the character was always envisioned as queer says director Chris Fisher—Frilot vouches for its 'dyke vibes.' Yet who needs lesbian sex when the film packs so many horrific jolts!
Normal—The Story: Midwestern couple Roy and Irma Applewood ( Tom Wilkinson and Jessica Lange ) are celebrating their 25th anniversary together when Roy comes clean with a shocking revelation: he wants to have a sex change. Irma flips out, as does the church, family members, Roy's factory co-workers, and even thrift-store clerks. Can their love conquer all? The Scoop: Jessica Lange works every moment of this Jane Anderson-directed HBO production ( Anderson also wrote the play on which it is based ) like it's an Oscar-winner. Shame she can only nab every media award but for her show-stealing performance. Kudos also to Hayden Panattiere as the couple's adorable babydyke daughter. Debuts March 16 on HBO.
Party Monster—The Story: Based on Fenton Bailey and Randy Barbato's same-name documentary, Party Monster stars Macaulay Culkin as famed club kid killer Michael Alig. Seth Green portrays flaming best friend James St. James ( on whose memoir, Disco Bloodbath, the script was based ) . The Scoop: If only the film was as good—and explicitly gay—as the Sundance party held in its honor! Green, Chloe Sevigny, Culkin and brother Kieran showed up at Park City's The Shop for its stunning shindig, which featured a Salt Lake City Mormon boy stripping naked onstage. Not one to abstain from kooky club antics, the real James St. James jammed his fingers into the lad's very special, blessed place. As for the film itself, Green steals it, although the sight of Culkin parading around with a surgical mask as makeshift jockstrap is priceless.
Prey For Rock and Roll—The Story: Sexy Gina Gershon stars as Jacki, the bisexual frontswoman of an all-girl rock band. Just turned 40, Jacki realizes she has to shit ( read: get signed ) or get off the pot ( read: break up the band ) . Her girlfriend is hoping for the latter, while the band's resident lesbian couple, Faith ( Lori Petty ) and Sally ( Shelly Cole ) , are angling for the former. Add tragedies, ex-convicts, drugs, and plot twists. The Scoop: Gershon and her lips are back in lesbo mode at long last. And boy can the little lady sing, as she proved at a party for the film at Cisero's nightclub.
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Soldier's Girl—The Story: Based on the real-life love story of soldier Barry Winshell and transsexual performer Calpernia Adams. Troy Garrity plays Winshell, who falls for Calpernia ( Lee Pace ) shortly after meeting up in a drag bar. Their love is strong, but when a nosy superior and chemically imbalanced roommate interfere, tragedy results. The Scoop: A Showtime production, Soldier's Girl is a sublime and affecting work that further affirms the cable network's progressive stance. Few audience members were able to hold back tears at screenings, including the real-life Calpernia Adams, who attended the festival.
