History will record 1998 as the year technology demolished the barrier for entry into filmmaking, bringing together high-quality digital cameras and desktop computer editing to enable resourceful would-be directors to bring their visions to fruition. But just because you can make a movie doesn't mean you can get it to an audience to be seen, so that year, a group of Memphis film geeks put a sheet up on the wall of a downtown bar and projected movies they had made and movies they wanted to see. <\/p>\n
A lot has changed since the Indie Memphis Film Festival's humble beginning. Cameras and editing software have capabilities undreamed of at the turn of the century, rendering celluloid all but obsolete. Home theater and streaming video have opened new avenues for distribution that have theater owners looking over their shoulders and Hollywood studios pushing out bigger and more elaborate spectacles. Indie films still struggle, but now there are thousands of them produced each year, by specialty studios and plucky visionaries with DSLRs. The festival itself has grown from its underground bar-room roots into one of the most respected and fun festivals in America. For audiences, the problem has evolved from \"How can I find something different to watch?\" to \"How can I make sense of all these choices?\" <\/p>\n
That's where carefully curated festivals like Indie Memphis remain relevant. This year, more than a thousand entries were winnowed down to two dozen competition features, as well as showcases and gala screenings that not only explore the state of the art, but also celebrate classics that have left indelible marks on indie history. <\/p>\n
The lineup of narrative features, documentaries, shorts, and experimental videos that will roll out over the four-day weekend at Overton Square venues Playhouse On The Square, Circuit Playhouse, The Hattiloo Theatre, and Malco's Studio On The Square is among the most diverse in the festival's history, offering something for every taste. Choosing from such a wide selection of movies can be a daunting task, so we'll break down your choices by areas of interest to help you explore one of Memphis' premiere cultural events. <\/p>\n
HOME-GROWN <\/p>\n
The Bluff City cinema underground looks healthy, as 2014's crop of local features include both veterans and newcomers. Three narrative features and one documentary will vie for the Hometowner prize. <\/p>\n
Eric Tate, star of The Poor & Hungry, which launched director Craig Brewer's career at Indie Memphis in 2000, returns to the screen in Chad Allen Barton's Lights Camera Bullshit. Tate leads as Gerard Evans, a film school graduate who returns to Memphis to direct art films, but instead finds himself embroiled in a sordid comedy of filmic errors by his unscrupulous boss Don (Ron Gephart). Tate plays straight man to a cast of Memphis indie all-stars, including Markus Seaberry, Don Meyers, Jon W. Sparks, Dorv Armour, Brandon Sams, McTyere Parker, and the late John Still as a terrorist disguised as president William Henry Harrison. <\/p>\n
Director Anwar Jamison returns to the festival with his second feature, 5 Steps to a Conversation. Jamison stars as Javen, an easygoing guy who is having a great day until his wife leaves him, saying he needs to grow up and get a job. He signs on with a sleazy, cult-like multi-level marketing company selling free pizza coupons door to door for $20. The film manages to be both funny and affecting (imagine Glengarry Glen Ross as a comedy) featuring strong performances by Jamison, David Caffey, Memphis slam poet Powwah, and 4-year-old Amari Jamison. <\/p>\n
Satan (Sylvester Brown) tempts a married couple on the rocks in Just a Measure of Faith, the debut feature of husband\/wife team Marlon and Mechelle Wilson. This sincere expression of religious conviction envisions a pair of souls hanging in the balance after a car wreck leaves Jacob (Tramaine Morgan) near death while his wife Kayla (Maranja May-Douglas) is haunted by past sin. It also features stirring musical scenes by gospel singer Euclid Gray. <\/p>\n
Director Phoebe Driscoll's debut documentary Pharaohs of Memphis traces the history of jookin', Memphis' indigenous dance form, from its inception in the 1980s as a way to defuse tense situations on the street to its present as an international sensation, through interviews with the form's pioneers and its present star, Lil' Buck. Archival and contemporary footage illuminate the dancers' athletic beauty. <\/p>\n
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Continued here: History will record 1998 as the year technology demolished the barrier for entry into filmmaking, bringing together high-quality digital cameras and desktop computer editing to enable resourceful would-be directors to bring their visions to fruition. But just because you can make a movie doesn't mean you can get it to an audience to be seen, so that year, a group of Memphis film geeks put a sheet up on the wall of a downtown bar and projected movies they had made and movies they wanted to see. A lot has changed since the Indie Memphis Film Festival's humble beginning Continue reading
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