The film ends a little patly, which is a shame, but Wright's performance is strong and believable. Thus the hallucination of a female farmer in conical hat makes sense, even when juxtaposed against the morning traffic on Highway 92. It's another to see how cleverly director Charles Koppleman matched the waterland locations with the antihero's memories of the rice paddies in Vietnam. It's one thing to see the South Bay appreciated, through Barry Stone's fine widescreen photography of the salt ponds, sloughs and marshes of Alameda Country. In 1994, an alcoholic Vietnam vet named John Shed (sensitively played by Tom Wright) is forced into an encounter with the daughter he left behind in 'Nam. No matter how hard they try, he can't get hard-the '60s had every drug but Viagra. Joe Dallesandro plays a junked-up addict Adonis who receives the sexual attentions of various women (including female impersonator Holly Woodlawn) with deadpan nonchalance. Trash (has it really been 30 years? It seems like a century or more ago) offers a languorous look at Manhattan heroin chic in the waning days of the '60s. Paul Morrissey, a production assistant and cameraman promoted to director, provided an injection of narrative and humor to Warhol's films. When Andy Warhol started making movies, his pop aesthetic ran long-very long-with hours and hours of unwavering footage of kisses and skyscrapers. Not That Little Joe: Joe Dallesandro achieved at least 15 minutes of fame in 'Trash.' In next week's issue, look for more in-depth coverage of the tributes and a capsule guide to the second week's features. This week, we've highlighted some of the festival's can't-miss features, followed by a selective run-down of the first weekend's films. (There's never a film so bad that someone doesn't love it, though.) It's the chance to discover some brilliant pieces that fell through the cracks it's also a chance to endure some movies so inept and prolix you wonder how they got a screening instead of a summary burning. Thorpe and Robert Miller, director of the first all-digital film, Mail Bonding.įor those who are satisfied with analog projection (when it works, that is, as it doesn't always, especially when Cinequest time comes along-remember the out-of-focus first 15 minutes of Deliverance last year?), Cinequest is primarily a film festival with everything that entails: a chance to see fellow film fiends, to risk conjunctivitis by watching six month's worth of movies in a few days. Cinequest is also hosting a panel discussion by a scad of film executives, including the Artist's Colony's Ian Jessel, Sony's Laurence J. On March 5, Industrial Light and Magic's Alex Laurant will discuss his art direction on the recent version of The Mummy. The festival, which devotes part of its focus to emerging film technology, includes a closing-day panel on the future of digital film and the premieres of two digital films: Brent Florence's Solid Ones (March 5 at 7:30m at Camera 3) and Christopher Coppola's Bel Air (March 3 at 7:30pm and March 5 at 5pm at Camera 3).

Spread out like the valley itself, the festival takes place downtown at the Camera Cinemas and also at the AMC Saratoga (an as-yet-to-be-determined shuttle service will cover the five-plus miles between the two locations) and the Towne Theater. Wes Craven-father of the Scream franchise-is also coming to town, as is Italy's answer to Alfred Hitchcock, Dario Argento. This year, the festival will host tributes for actor/director Peter Fonda and actor and producer Alec Baldwin. Our critics pick out the highs and lows at this year's Cinequest festivalĬINEQUEST, THE SAN JOSE FILM FESTIVAL, brings big names in independent filmmaking to the valley Feb. Smart Alec: Cinequest's tributes to the mavericks of filmmaking include an evening devoted to actor Alec Baldwin. He earned a subsequent bid in the category for the inspirational teacher drama “ Dead Poets Society” (1989), competing once again for the media satire “ The Truman Show” (1998) and the swashbuckling epic “ Master and Commander: The Far Side of the World” (2003), for which he also contended in Best Picture.Metroactive Movies | Cinequest Film Festival He brought his unique brand of filmmaking to Hollywood with the romantic mystery “ Witness” (1985), which brought him his first Oscar nomination for Best Director. Born in 1944, Weir helped usher in the Australian New Wave of cinema with “ Picnic at Hanging Rock” (1975), “ The Last Wave” (1977), “ Gallipoli” (1981) and “ The Year of Living Dangerously” (1983). But how many of his titles remain classics? Let’s take a look back at all 13 of his movies, ranked worst to best. With six Oscar nominations under his belt, Australian-born director Peter Weir has firmly established himself as one of our most respected filmmakers thanks to a number of visually striking, narratively ambitious movies.

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