Danish filmmaker Nicolas Winding Refn should have looked out of place when he stepped into the 2011 Los Angeles Film Festival.  But the mild-mannered artist, who presented his first American film, ‘Drive,’ to a packed house inside the Regal Cinema at L.A. Live, not only looked right at home, but delivered what Movieline referred to as ‘the best film festival introduction, maybe ever.’

Refn poked fun at his Prada-sponsored outfit. He referred to his first meeting with star Ryan Gosling as a ‘very strange, not sexual encounter.’ He spelled out his producer’s name and informed the audience that he’s open to any ideas from aspiring filmmakers, and jokingly compared ‘Hellboy’ star Ron Perlman to Frank Sinatra, winning over every spectator with his everyman charm and wit.

Refn’s terrific speech set the tone for the surprisingly offbeat Los Angeles Film Festival, which has grown to attract more than 90,000 filmgoers annually and, in turn, has reeled in more prestigious products.

The Los Angeles Film Festival is, as one might imagine, very ‘L.A.’ It began in 1995 as the Los Angeles Independent Film Festival. And, although its title has been shortened, the festival is still run by Film Independent, a large and vital nonprofit organization. The theaters in which the films play are not scattered around town and do not possess a homely charm. There are no boutique restaurants to frequent after screenings, and the notorious waitlist lines that are so much a part of most prestigious festivals are an afterthought at the LAFF as Angelinos are known to arrive, fashionably, just on time.

Nearly every film is shown in the monstrous Regal situated in the corner of Los Angeles’ L.A Live complex, home to the Staples Center, Convention Center, Nokia Theater and flagship Wolfgang Puck restaurant.

Located in the entertainment capital of the world, the festival attracts an extraordinary number of directors and actors to the screenings, with nearly every showing followed by a Q&A, often by a major filmmaker or thespian. And they’re almost always fascinating.

Perhaps dreading its reception, ‘Green Lantern’ director Martin Campbell sleepwalked through his Q&A. Vera Farmiga struggled mightily through the Q&A after the screening of her directorial debut, ‘Higher Ground,’ taking many minutes to answer simple questions and veering off on puzzling tangents without ever reaching a point. Filmmaker Miranda July was one of the festival’s great delights, offering insight into battling writer’s block with her unique sense of humor. July’s film, ‘The Future,’ was unsurprisingly greeted with great enthusiasm; her only other feature, ‘Me and You and Everyone We Know’ (2005), was ranked by Roger Ebert as the fifth best film of the past decade.

Contrary to popular assumption, the festival’s proximity to the heart of Hollywood has no major influence on its programming. The festival is as eclectic as any other major festival, featuring a broad array of experimental narrative and documentary features and relatively few major releases, save for an opening night gala such as ‘Green Lantern.’

The melding of Hollywood feel with independent spirit creates a unique festival atmosphere, and an experience anyone in this great city would be foolish to ignore.

‘Drive’

What do you get when you pair Ryan Gosling, the most talented actor of his generation, with Nicolas Winding Refn, one of the most stylish and sought-after directors in world cinema? An instant classic, a masterpiece that’s as cool as it is brilliant. A Hollywood stunt driver by day and a getaway driver by night, Gosling’s nameless driver gets unwillingly deep in the seedy underbelly of Los Angeles when he falls for a waitress, Irene (Carey Mulligan), whose husband is an irresponsible thug. A pulpy film noir with a blaring, ‘80s-inspired electronic soundtrack, cursive pink titles and occasional dashes of ultra violence, Refn’s film is devastatingly stunning and more emotional than one might expect.

‘The Future’

Performance artist, writer, actor and director Miranda July is one of the most talented and versatile American artists. Her second feature, ‘The Future,’ is a wonderful distillation of her trademark frankness, bold sense of humor and undervalued grace. A very quirky, surreal depiction of a panicked couple nearing the latter half of their lives, ‘The Future’ is narrated by a kitten (voiced by July) and eloquently touches on the angst that results from lack of success and pathetic ambition at age 35. July is one of the most unique voices in independent film, and while she likes to divide her time evenly between her other artistic mediums, nobody would complain if she decided to focus more on her filmmaking.

‘Green Lantern’

The weakest major comic book release in years, ‘Green Lantern’ is one big special effect at the expense of the talent involved. Ryan Reynolds plays Hal Jordan, a reckless, extremely talented pilot who’s chosen to become earth’s Green Lantern, one of thousands of ambassadors of the lanternacross the galaxy attempting to defeat the world-consuming Parallax.  Similar to the recently released and immensely more enjoyable ‘Thor’ in its complex, otherworldly mythology, the film lacks the wittiness and superb performances that made ‘Thor’ considerably more engrossing, even with the compelling Reynolds and great action director Martin Campbell (‘Casino Royale’).

‘Higher Ground’

With sterling performances in ‘The Departed,’  ‘Nothing But the Truth’ (2008) and ‘Up in the Air’ (2009), actress Vera Farmiga has built a formidable resume. And the quality of her directorial debut, the light-hearted spiritual drama ‘Higher Ground,’ suggests she should probably stay in front of the camera, at least for a good few more years. As Corinne, an odd spirit who grapples with and eventually loses her faith, Farmiga is expectedly terrific, but she’s the film’s only highlight.

‘The Salesman’

The directorial debut of French Canadian auteur Sebastian Pilote, ‘The Salesman,’ deservedly earned positive marks when it premiered at Sundance in January 2011. Gilbert Sicotte, one of Canada’s most revered thespians, is terrific as the title character, a 67-year-old car salesman whose job is both a life force and an emotional impairment. At the end of the day his corner office, with its plaque-decorated walls, looms too largely in his increasingly empty life. Starkly photographed with a terrific performance from Sicotte, ‘The Salesman’ fulfills its potential as a small, satisfying drama with an upsetting edge.

 ‘Sawdust City’

Rooted deeply in the sparseness of the Midwest, filmmaker David Nordstrom exercises the full potential of his cold, blustery and often depressing Eau Claire, Wis., landscape. His intimate drama spins the tale of two reunited brothers (Nordstrom and Carl McLaughlin) barhopping in search of their estranged, alcoholic father on Thanksgiving. Though ‘Sawdust City’ boasts a great script, the characters that dominate every scene just aren’t sufficiently engaging.

‘Sidewalls’

Architecture and Woody Allen-esque sensibilities permeate much of Gustavo Taretto’s unconventional and irresistibly charming romantic comedy. Focusing entirely on the events leading up to a perfectly matched couple’s first meeting, Taretto depicts the lovebirds’ various quirks with genuine care and subtle hilarity. The film is beautifully photographed, and Taretto gleans terrific with understated comedic turns from his charming leads, Javier Drolas and Pilzar Lopez de Ayala.

smlittma@syr.edu

Published on July 5, 2011 at 12:00 pm