Wow, this news threw me for a loop. According to indieWIRE, our mutual friend Matt Dentler, producer of the South By Southwest Film Festival since 2004, is leaving his post (and Austin) to move to New York City, where he will head the marketing and programming operations of Cinetic Media's new digital rights management unit. Replacing Dentler as SXSW producer will be Janet Pierson, long-time independent film producer and board member of the Austin Film Society.

I've never met Pierson (well, that I know of ... you do get introduced to so many people at film fests, it's hard to keep track of everyone sometimes ... ) but I feel like I know her, from watching the documentary Reel Paradise, which she made with her husband, John. That film documented the year the Piersons and their two children spent living on a remote island in Fiji running the only movie theater on the island. I also wrote last year about John Pierson smacking down on Michael Moore, whose film Roger & Me was sold by the Piersons to Warner Brothers for the then-unheard-of sum of $3 million.

Janet Pierson has fantastic indie street cred, she's a passionate lover of independent film, and I'm sure she'll do a stellar job heading up SXSW. We at Cinematical extend our warmest welcome to her, and wish our friend Matt great luck and joy in his new endeavor. Matt is one of our favorite indie-film-world people, and we hope that he'll come back to SXSW every year to just enjoy the fest for a change, rather than running to and fro introducing films and shepherding talent around. We'll save you a seat at the Alamo, Matt, and there's a five-dollar milkshake with your name on it when we see you there.

*Update: Check out indieWIRE's well-informed piece on Cinetic's plans for Dentler and Pierson on stepping into Dentler's shoes.

SXSW 2008 from mikehedge on Vimeo. Oh, my, this made me smile. Mike Hedge has a fantastic video montage of his time at South by Southwest, from the road trip to Austin from California and back, and capturing all the little moments that make the fest so special from beginning to end. This little video is a great example of beautifully edited short filmmaking; there's better edits here than I've seen in many a fest film, and he does a great job of telling a story without a line of dialog or voiceover. If you were at SXSW, you'll enjoy reliving your own fest memories by watching it, and if you weren't, well ... it'll make you want to be there next year.

Well done, and thanks, Mike, for so perfectly capturing what's so great about SXSW.

[via Filmmaker ]

On the morning of March 9, when we were at SXSW, I met a fellow involved with the short film Glory at Sea. He was sitting in the lobby of the Ramada Inn where I was staying, and he was dazed and confused because he'd just been involved in a terrible car accident on the way to their film's premiere with some fellow crew members, including director Benh Zeitlin, who, as we spoke, was in emergency surgery for a shattered hip bone and broken pelvis. Zeitlin is recovering from his injuries, thankfully, but he had no medical insurance, and is facing tens of thousands of dollars in medical bills and lost work time as he recovers.

Rooftop Films, which helped finance the short, has set up a webpage for those who'd like to help a fellow filmmaker out. They've also asked filmmakers whose films screened at SXSW to let Zeitlin borrow DVD screeners to watch, since of course he ended up missing out on the entire fest. I can't imagine going through all the work to make a film, getting it accepted at SXSW, and then having this happen; we'd like to encourage anyone who may be so inclined to visit Rooftop's page about Zeitlin and lend a hand to help him out. They're also looking into setting up some benefit screenings, and when we have word of those, we'll keep you apprised.

Stuyvesant High School in New York City is one of the most prestigious public schools in the country. Only 3% of the 25,000 students who apply there are accepted. Before the screening of Frontrunners, director Caroline Suh told the crowd that one reason she chose Stuyvesant for filming a documentary about a high school election is because the students there are likely, in their adult years, to be the future leaders of our country. Competition is tough at Stuyvesant, and because the student body is made up of kids from all five boroughs of New York City, its composed of a melting pot of ethnic and economic diversity that, in its way, reflects the diversity of the country. Well, kind of -- if the country had a 50% Asian population and was entirely composed of the top 3%.

What is reflective of our country is the school's voter apathy. Of the 3,200 students attending Stuyvesant, most of them don't vote in the student union elections, or even know or care who's running. Like many adults living in the United States who don't exercise their right to vote, most of the students at Stuyvesant simply don't see the elections as relevant to their lives. Frontrunners follows the four tickets running for the offices of Student Union president and vice-president in the school's most recent elections, and the candidates' battle to garner the most votes from those students who do care enough to participate in the process.

It's been a fun week here at the South by Southwest Film Festival. Austin is a great town; it kind of has a Seattle vibe with a Texas twang. Yesterday was the last day of the fest for me, so I squeezed in a few last movies. Yesterday afternoon, I saw my favorite doc of the fest so far, Some Assembly Required. This nice little doc follows several groups of kids who have entered a toy design contest. I really enjoyed it -- it's smart and very well edited, right down to the amusing interstitials.

After that, I met up with Melanie Addington from Oxford Film Festival and Eric D. Snider, and we headed to the Alama Ritz to catch Yeast and grab some lunch. (No, I did NOT have another milkshake, stop looking at me like that! Okay, I did have a milkshake -- vanilla, and it was sooooo good -- but I didn't inhale.) Yeast stars mumblecore darling Greta Gerwig (who I've also recently enjoyed very much in Baghead and Hannah Takes the Stairs), director Mary Bronstein, and Amy Judd. Yeast is kind of a mumblecore chick-flick about Rachel, a maddeningly annoying control-freak dealing with her fractured relationships with two friends.

Mister Lonely, directed by Harmony Korine (who previously wrote the screenplay for Larry Clark's Kids), starts out with a great idea: a Michael Jackson impersonator meets a Marilyn Monroe impersonator who takes him to a remote commune for celebrity impersonators, where she lives with her husband Charlie Chaplin and daughter Shirley Temple, along with the Pope, the Queen of England, James Dean, Madonna and the Three Stooges.

Once Jackson settles into this would-be paradise for people who aren't quite what they seem, things start to go a bit awry. Jealousies lurk beneath the surface and start to bubble over; the commune's sheep population gets sick and has to be taken down; and tensions rise. The group pulls together a celebrity impersonator variety show that they hope will attract crowds from far and wide to see and appreciate what they do, but in that effort, too, nothing comes out quite the way they'd hoped.

Shockingly, I missed my 11AM screening by a nose yesterday morning, so I decided to catch up on some much-needed caffeine consumption and writing before meeting up with some of the Cine gang for some delish cheese enchiladas at The Rio Grande. After lunch, we followed the herd of people heading into the 4:20 screening of Super High Me, director Michael Blieden's documentary about comedian Doug Benson's quest to spend 30 solid days smoking (legal in California, medical grade) marijuana from wake-and-bake to bedtime. While we at Cinematical would, of course, never advocate the use of illegal drugs, the concept of buying weed in a pristine shop, where they offer a veritable cornucopia of weed choices for your medical needs, was certainly intriguing.

The movie was pretty darn funny from start to finish; the crowd response was certainly positive throughout, though whether that was because a sizable percentage of the audience was engaging in their own scientific experiments on the effects of weed on the enjoyment of a movie about being stoned, or just because the movie itself was funny, is hard to say.

Here's a gallery of SXSW scene pics for you ... more of the post after the jump.

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Saturday was a very busy day here at SXSW. We were up absurdly late on Friday night, and then awakened at 8AM by a car alarm going off outside our window, followed by all four of my kids' soccer coaches calling me from OKC to let me know that today's games were canceled due to cold weather. Thanks, guys, but I'm in Austin. After the panel this morning, I grabbed lunch with filmmaker AJ Schnack (Kurt Cobain: About a Son), who also writes a very excellent blog called All These Wonderful Things.

We gabbed about documentaries, traveling for film fests, balancing work and family, and lots of other stuff; he's a supremely nice guy and it's always fun chatting with someone who's as big a dork for documentary films as I am. Our lunch ran long due to crowds at all the area restaurants, so I missed the screening of We Are Wizards and had to bump it out to a later day in the fest.

When I refer to David Schwimmer's Run Fatboy Run as "a modern-day screwball farce," that's a nice way of saying it's outrageously predictable, unabashedly sappy, and completely formulaic through and through. You know where the movie is going from frame one, and it sure doesn't take a lot of detours getting there. But the phrase "screwball" probably wouldn't have come to mind if Run Fatboy Run wasn't at least a little bit funny. Which it is. So if you don't mind an amiable-yet-seriously familiar 90 minutes -- and you're a big fan of British actor Simon Pegg -- I'd have no problem recommending the flick. Even if I'd never come close to calling it something brilliant.

The effortlessly likable Simon Pegg stars as one of those lovably lazy sad-sack types that you only come across in comedic films: Despite the fact that he left his pregnant fiancee (Thandie Newton) at the altar five years earlier, Pegg's "Dennis" is one of those losers we love to root for. (How a doofus like this ever scored a catch like Thandie Newton -- and then abandoned her! -- is one of the film's sillier conceits.) So when his former flame's smarmy new boyfriend (Hank Azaria) mentions that he'll be running in an upcoming marathon, Dennis senses a shot at redemption.

Mike Jones over at Variety's The Circuit Blog has a post up today about Southslam. Much as Slamdance sprung up to screen edgy films that slipped through the cracks at Sundance, apparently Southslam has arisen to do the same for South by Southwest. I thought perhaps Mike was joking when he said that Southslam intends to screen every film they get; perhaps, I thought, he just meant that they promise to watch every film they get? And then screen the ones that don't suck?

But no, a quick pop over to the Southslam website reveals that yes, indeed, they are promising to screen each and every film that enters. Every short film, feature film, music video, documentary, and even "works-in-progress." Oh boy. That's almost worth checking out just to see what they end up getting, isn't it?

My first South By Southwest was actually my second film festival ever. But I had my festival partner (Erik Childress!) there, as well as a bunch of movies to watch, so it's not like I was worried or miserable or anything. The year was 2003, and I was just about to meet Matt Dentler. Only a few weeks removed from my first Sundance, I simply wasn't prepared for the Austin hospitality. Once Mr. Dentler knew who Erik and I were (online film critics, big woop) he never stopped being a prince. Thanks to Matt and his awesome girlfriend Jarren, Erik and I became SXSW superheroes almost overnight. So it only took about six years for me to come up with the idea, but here's an interview with my friend Matt Dentler, powerfully good guy and ridiculously hard-working producer of the South By Southwest Film Festival.

Cinematical: You've been the producer of South By Southwest for the better part of a decade now, and the festival has seen huge growth in that time. How'd you score such a sweet gig, and (more importantly) how do you keep the festival chugging along year after year?

Matt: I've only been the producer since 2003, but I did start working at SXSW in 1997 as an office intern. I've seen the festival go through various stages of growth and it's really exciting. I guess I got the gig because I worked my way up the food chain and was just relentless about doing a great job. I dunno what it is, but something about this place and this job fit really well with me. The great thing about each festival, year to year, is that there are always new films and new filmmakers and new audiences. That keeps things fresh all the time, and you never feel like you're just doing the same job over and over. It really does feel like a new challenge each year, especially as we've grown.

Cine: How important is it for a festival producer to be a hardcore movie freak? Does your love for cinema ever start to wane when you're faced with 45 brand-new screener discs?

Matt: A programmer at another festival once used this analogy and I think it's appropriate: To do this job, you have to love movies like it's a marriage. You have to love it through thick and thin, sickness and health, richer or poorer. You have to be ready to embrace it during the good times and bad. And, that's very true. It can be a daunting gig, but I don't take it for granted. I love the idea of discovering great new films or a great new voice. That keeps it constantly interesting and usually entertaining.

What do you do at South By Southwest if you need a break from the movies, your belly is completely full of barbecued meat, and you're tired of staring at all the hot co-eds on 6th Street? You head on over to the convention center and poke your head into one of the (many) panel discussions that are going on all week. Why? Because that's where you'll get to see, hear and probably shake hands with folks like Billy Bob Thornton, Dwight Yoakam, Jeffrey Tambor, Helen Hunt, Harlan Ellison, Moby and Harold & Kumar ... among (many) others. (Dude. Joe Swanberg's gonna be there. Instant cool.)

Check out the full SXSW press release after the jump, but trust me on this: At a panel last year I got to share a few words (and get a pic!) with Sir Bill Paxton. And I'd rather meet a guy like Bill Paxton (or Jeffrey Tambor!) than a Tom Cruise any day! Keep in mind that not all panels are celeb-intensive. Some are just about movies and music and media and jazz like that. Good geeky stuff! SXSW begins on March 7. Click through for more!

Whenever a new film festival slate goes up, obviously I go right to the horror section. And (thanks Matt!) it certainly looks like South By Southwest 2008 has its share of nasty surprises for me, but I'm also pretty excited about the rest of their line-up too. In addition to juicy titles like Dance of the Dead, Southern Gothic and (ahem) Registered Sex Offender, we'll also get to see promising stuff like Stop-Loss, Battle in Seattle, 21, Forgetting Sarah Marshall, Shine a Light, Run Fatboy Run, Harold and Kumar 2, and a whole bunch more.

Plus SXSW is well-known for their documentary slates (regular doco and music-oriented doco), their attention to Texas cinema, and (of course) their ability to throw one helluva midnight show. The full 2008 SXSW film list (complete with external reviews!) can be enjoyed after the jump, or you can feel free to click through the official SXSW website. This year it looks to be me, Jette, Erik and Eric on the scene (with a few surprise contributors!), so if you can't make the festival, rest assured that the Cine team will bring you all the sights, sounds and smells. (Yes, smells. The BBQ is that damn good.)

Oh, and the film section of SXSW (they also do music and interactive festivals at the same time) runs from March 7 to 15. If you see one of us there, definitely say hi. Our secret code phrase will be "Dude. Cinematical is so awesome." And now, on with the movies...

One of my dreams for when I'm a millionaire is to spend a year crisscrossing the globe, just traveling from one film festival after another. I've already got the major ones lined up: Sundance in January, South By Southwest in March, Tribeca in April, Cannes in May, Toronto in September; the rest of the slots are still to be determined. I bet if you had unlimited resources, you could literally spend every day of the year at some film festival somewhere.

Well, the helpful folks at Variety have got my back. In Monday's issue, they have an article called 50 Unmissable Film Festivals, and it reads like a wish list for avid film lovers. They list the "Big Five" -- Berlin, Cannes, Sundance, Toronto, and Venice -- right off, then list the rest alphabetically, from Adelaide to Warsaw.

Some of the ones you'd expect to see are on the list. South By Southwest, Telluride, AFI, CineVegas. And then there are others, mostly foreign fests, that I'd never heard of. And I am intrigued!

Camerimage, held in Lodz, Poland, is where "cinematographers are given the rock-star treatment"! What about Courmayeur Noir, at the foot of the Italian Alps, where the focus is mysteries, horror, and suspense films? I've never been to Iran, and can't imagine ever going -- so perhaps my future millionaire self, flanked by dozens of bodyguards, will visit some February for the Fajr Film Fest.

From Guadalajara to Eastern Europe to Seoul to Nantucket (I once knew a man from there!), there's a cool-looking film festival in just about every corner of the world. If you love movies and traveling, check out Variety's list and feel jealous about what you're missing.

What do you get if you're a winner in the SXSWclick competition? Well, you get your short film screened at one of America's coolest film festivals ... and a bunch of editing software and other little prizes. But playing at the South By Southwest Film Festival? That's every indie filmmaker's "realistic" dream, isn't it? (The unrealistic one would be: Winning an Oscar, sleeping with Scarlett Johansson at Sundance and beating Spielberg out of a directing gig.) And why exactly should you care about short films? I mean, short films rarely feature big stars or talking dogs or giant robots ... so who gives a wet slap?

Good question. Try checking out the SXSWclick award winners and then tell me if you still feel the same way. For the record, the winners are: Don Brown's Pierre (Grand Jury Winner -and- Animate-it), Will Elliott's Peterson's Savings and Loan (Popularity Contest -and- Old School Shorts), David Serota's Ubutu (Really Real Shorts), Andrea Giacomini's Always Near (Sound Checks), and Tipper Newton's The Timebox Twins (What the F*#!?). Congrats to all the winners! And if your short happens to be playing in front of a gory horror movie at SXSW 2008, then I'll probably see it. (Feel free to browse through the winning shorts right here. Dang, you can even watch 'em on your phone. And in the bathroom!) Judges for the SXSWclick competition include filmmakers Bob Odenkirk, Kal Penn, AJ Schnack, Michael Tully, bloggers Agnes Varnum and Violet Blue, and Homestar Runner co-creator Craig Zobel.

Speaking of SXSW '08, consider this the starter's pistol: (Bang!) Filmmakers! Time to get your flicks into the SXSW offices if you want to be considered for next year's slate. True, the admission process runs until (almost) the end of the year, but why not be an early bird? Catch those programmers while they're still bubbly and pleasant! And as far as movie-watchers go, festival master chief Matt Dentler would like to extend a personal invitation to any and all Cinematical readers. Mention this article during SXSW '08 and get a free beer at the Austin bar of your choice! (Offer expires March 6, 2008)