Halfdan Hussey would much rather see you at the movies. But that’s not possible yet.
So the Cinequest CEO and co-founder, along with his crack team of programmers, have come up with the next best thing while they pin their hopes on staging an in-person festival in August. In the meantime, they’ve created another surefire online version — called Cinejoy — and it’s packed with world premieres, special features and celeb appearances. Even Alec Baldwin and Thomas Jane get in on the action for a spotlight screening of the LAPD cop drama “Crown Vic.”
No matter what iteration Cinequest takes, the fest carries on an annual tradition of being Silicon Valley’s premiere showcase for indie and genre filmmaking. After an interrupted season last March due to the closing of theaters, this year’s program is all systems go, with movies, red carpet live-streams, screening parties, Q&As and more March 20-30.
There main draw, of course, if the movies. There are the under-the-radar movies and shorts — some deeply rooted in the Bay Area, others that provide a bridge to other countries. This March’s edition includes 111 world and U.S. premieres, representing 55 countries.
There’s so much available at this cinematic smorgasbord, we’re offering a guide to some of the choice servings. All films are available March 20-30.
“A Beautiful Curse”: Martin Garde Abildgaard’s moody romantic drama takes an original premise and fills it with compassion, even hope. The Copenhagen-based filmmaker’s feature debut is a minimalistic mood piece that takes place entirely on a sedate island where the entire population has fallen into a deep sleep for unexplained reasons. Lonely photographer Samuel (Mark Strepan in a tender performance) wanders around the desolation and is captivated by the slumbering Stella (Olivia Vinall), a fiery spirit he engages with in imagined (or are they?) conversations. “Curse” receives a world premiere and casts a dream-like spell as these two likeable characters bond in waking and non-waking hours.
“A Hard Problem”: Steven Spielberg entered the debate on what truly constitutes a soul with his misguided but intriguing “A.I.: Artificial Intelligence” from 2001. The Los Angeles filmmaking team known as hazart — Kyle Hasday and Matt Stewart — does a better job of exploring the thorny ethical and emotional questions that advancing technology present. Their confident feature debut — receiving a world premiere — revolves around Ian, a pained young man finding himself mercilessly unwanted at his mother’s funeral. Why is his sister so cruel? And why did Ian’s mom go to such lengths to have him later in her life? Johnny Berchtold, as Ian, methodically peels back emotional layers and lets the surprises naturally unfurl. Make every effort to catch this thought-provoker.
“Range Roads”: The unexpected death of her parents sends depressed children’s show host Frankie (Alana Hawley Purvis) back to the rural Canadian roots she abandoned 20 years ago. Kyle Thomas’ moving, observant drama finds Frankie reuniting with bitter brother Grayson (Joe Perry), discovering she’s not mentioned in her parents’ will, and reconnecting with a sexy old flame (country singer Chad Brownlee). Thomas shows a natural grace with his storytelling, delicately handling a surprising family secret, and making Frankie a complicated and likeable character. “Range Roads” might travel a familiar road, but its characters and situations are refreshingly real. It receives a world premiere.
“A Sexplanation”: San Francisco filmmaker Alex Liu, who grew up in Saratoga, really wants to talk about sex, and also about why Americans really don’t want to talk about it. He makes a charming guide, whether it’s at a chatty brunch amongst friends, sitting down with his parents and divulging parts of his own experiences being a gay Bay Area man and even asking his folks about their sex. Breezy and engaging, “Sexplanation” doesn’t go beyond beyond being titillating, but it does make significant points, particularly when Liu interviews experts such as Stanford University’s adolescent psychologist Lisa Medoff. What’s the upshot to all of this? If your carnal pursuits bring you joy and do no one harm, just have fun.
“The Boys in Red Hats”: Remember that much-commented-on video of a smug white teen in a MAGA cap giving a Native American activist outside the Lincoln Memorial such a smirk? It prompted a knee-jerk social media reaction that was fed and shared everywhere. But as many discovered, there was more to the story than met the eye. Director Jonathan Schroder’s personal documentary (he is a graduate of the tony Covington Catholic High School in Kentucky where the teens were schooled) takes a scrappy look back at the incident and the video and its major players — teen Nick Sandmann and activist Nathan Phillips, both of whom refused to talk to him. What “Boys” ultimately reveals is that there’s a lot of gray area in our political landscape, with the chasms growing wider and wider. This world premiere will likely have both liberals and conservatives shouting back at the screen.
“One Moment”: In his final role, Danny Aiello gives a bittersweet performance as a cranky but endearing widowed patriarch who makes the lives of his adult children alternately blessed and miserable. Incessant calls during work hours and unfortunate driving mishaps frustrate main caregiving daughter Caroline (Adria Tennor). While key signs point to Alzheimer’s, Joe McGinnis (Aiello) doesn’t entirely acknowledge that … until he participates in a talent contest. Writer/director Deirdre O’Connor’s heartfelt, sentimental and immensely relatable feature runs on just a little long, but fondly embraces dysfunctional families in all their pain and glory.
“The First Death of Joana”: When her beloved great aunt passes away in a rural Brazilian town, 13-year-old Joana (Leticia Kacperski) attempts to find out why she was perpetually single. Her snooping coincides with her own sexual awakening, roused by her bullied friend Caroline (Isabela Bressane) who is attracted to other girls. Award-winning director/co-writer Cristiane Oliveira gives us a sensitive and frank exploration of hidden loves and changing views of gender roles and sexuality and our natural world.
“Zero Gravity”: Campbell Middle School’s innovative Zero Robotics program gets thrust in the spotlight in director Thomas Verrette’s inspirational documentary, filmed primarily in the South Bay. Verrette takes a “Spellbound-”like approach, focusing primarily on three students, Makayla Engelder, Advik Gonugunta and Carol Gonzalez as they participate in Tanner Marcoida’s class. The goal is to create code that will program satellites, and then participate in a NASA-sponsored competition where astronauts will put the programs to the test. Verrette’s mission isn’t limited to outer-space pursuits, and he carves out time to meet the parents and to reflect on the Bay Area’s diversity and the challenges that immigrants trying to make a living encounter here. It’s a winner.
“Anchor Point”: The title refers to a firefighting strategy that entails creating a safe zone from which to battle a blaze. It also aptly describes the steps that two female firefighters — Kelly Martin and Lacey England — needed to take to stave off institutional sexual harassment. Holly Tuckett’s documentary takes an intense, intimate glimpse into the lives and careers of both Martin and England, and how they confronted sexism. Martin, who worked in Yosemite before retiring, eventually testified in front of Congress. “Anchor Point” is an eye-opener, but also leaves us with the exasperating realization that not much has changed.
“Welcome to the Show”: Dorie Barton’s messed-up mindbender doubles downs on the satire. At the last minute, four partying college dudes ditch Thanksgiving obligations so they can spend the holiday together. When one gets an invite to an interactive theater experience called “The Show,” they load up on the booze and drugs and decide to check it out. Soon they’re blindfolded and dumped on a deserted street. Is this real? Or are they bit players on a weird stage? We’re just as disoriented and intrigued as they are in this curiosity with a great cast that gets into a weird groove.
“Women Is Losers”: What writer/director Lissette Feliciano’s first feature lacks in subtlety it more than makes up with energy, style and passion. The film hits on how despicable women were treated by men and the American culture at large during the late ‘60s and ‘70s, and features a strong cast, particularly by Lorenza Izzo as rule-breaker Celina. She lives in San Francisco with her tradition-bound parents (Steven Bauer and Alejandra Miranda) and endures everything from parental abuse and a creepy boss to a friend’s botched back-door abortion. Feliciano uses creative ways to keep things from getting didactic, even staging a sassy little musical number in the Mission. It boasts a killer soundtrack too.
“Events Transpiring Before, During and After a Basketball Game”: Ted Stenson’s crowd pleaser is lovably droll, in that beloved Christopher Guest/“Best in Show” sort of way. From two referees, one of whom is distracted throughout the game, to the two coaches of a struggling high school basketball team, Stenson’s film is a quirky delight. Add in a student-run theater troupe and members wanting to take a creative stand against the patriarchy, and you have a guaranteed fun time at the movies.
Contact Randy Myers at soitsrandy@gmail.com.
CINEJOY (VIRTUAL CINEQUEST FILM FESTIVAL)
When: March 20-30, features virtual screenings, screening parties and other events
Tickets: Most screenings are $12; creatics.org/cinejoy
