Archive for April, 2009

Local films in SIFF including The Immaculate Conception of LIttle Dizzle!

April 23, 2009

Congrats to all these filmmakers! NWFF is proud to have had a role in so many of these great NW productions.

SIFF 2009 Centerpiece Gala

Humpday, directed by Lynn Shelton (USA, 2009)
Two college buddies test the limits of heterosexual male bonding by agreeing to take part in an amateur porn contest, based on the real-life competition held by The Stranger. This smart satire from Seattle’s Lynn Shelton about the contradictions of the male ego culminates in a hilariously uncomfortable finale.

SIFF 2009 Northwest Connections Features

Back to the Garden, Flower Power Comes Full Circle, directed by Kevin Tomlinson (USA, 2009) WORLD PREMIERE
Twenty years ago, local filmmaker Kevin Tomlinson interviewed hippies at a “healing gathering” in Eastern Washington. Now he tracks the same folks to see what became of their environmental utopias. Today, in the midst of global warming, the voices of these flower children are prophetic.

Dancing Across Borders, directed by Anne H. Bass (USA, 2008) WORLD PREMIERE
Sokvannara “Sy” Sar was a dancer on the streets of Cambodia until he caught the eye of filmmaker Anne Bass, who helped him become a professional ballet dancer. In her debut feature film, Bass sympathetically chronicles Sy’s ascent as ballet’s newest rising star.

Finding Bliss, directed by Julie Davis (USA, 2008)
Jody needs a place to shoot her movies but all she can find is a porn studio. She starts to secretly film there but is discovered and forced to collaborate with an adult film director. Filmed in Spokane, this fun romantic comedy borrows plot lines from director Julie Davis’ own start in the industry.

Icons Among Us, directed by Michael Rivoira, Lars Larson, Peter J. Vogt (USA, 2009)
Executive producer John Comerford interviewed 75 jazz artists with high-definition cameras, shot 25 hours of concerts on Super-16mm film, and blended them with archival footage. The result is a dynamic and engaging document of many of the greatest jazz musicians of today. Also part of SIFF Face the Music.

The Immaculate Conception of Little Dizzle, directed by David Russo (USA, 2009)
A group of janitorial slackers unwittingly becomes the subject of a very bizarre biochemical engineering experiment involving cookies that may help illuminate the meaning of existence. Full of imaginative animation sequences, this visually inventive comedy from Seattle’s David Russo is really a spiritual quest in sheep’s clothing.

Independent America: Rising From Ruins, directed by Hanson Hosein (Canada, 2008)
Independent America: Rising From Ruins explores the effects of Hurricane Katrina on New Orleans and how the Moms and Pop businesses provided hope where corporate America disappointed. Avoiding over-dramatization, Hanson Hosein educates audiences about the empowered and hopeful in the New Orleans community.

It Takes a Cult, directed by Eric Johannsen (USA, 2008)
The Israel Family (aka, The Love Family) was a communal religious movement born in Seattle that grew to a tribe of nearly 300 men, women, and children. Raised in the Israel Family, Johannsen brings an intimate portrait of communal life and what drew them all together.

Pirate for the Sea,directed by Ronald Colby (USA, 2008)
Hero to conservationists and villain to hunters, marine environmentalist Paul Watson commits himself 100 percent to his cause. In this stirring profile, director and narrator Ron Colby explores Watson’s beliefs, blunders, and triumphs. He makes a convincing case that the world’s endangered oceans are better off due to Watson’s dedicated and frequently controversial efforts.

The Spy and the Sparrow, directed by Garrett Bennett (USA, 2009) WORLD PREMIERE
Shot in Seattle and produced by local shingle Eke Pictures, Bennett merges spy thriller with domestic drama to sly and surprising effect as retired agent Thomas Sparrow faces his greatest challenges in trying to reconnect with his troubled daughter, Josephine, in this sly and surprising film.

Sweet Crude, directed by Sandy Cioffi (USA, 2008)
Ten percent of our oil supply comes from Nigeria, but few of us know the social and environmental devastation that the oil business wreaks there. Local filmmaker Sandy Cioffi brings her camera overseas to expose the corruption and the growing militant reaction to the politically irresponsible oil companies in the Niger Delta.

Trimpin: The Sound of Invention, directed by Peter Esmonde (USA, 2009)
Trimpin is a wild ride through the kinetic universe of a creative genius. We watch Seattle-based artist/inventor/engineer/composer Trimpin design, scavenge, build, and investigate an outrageous range of materials. This will delight anyone interested in the mysteries, pitfalls, and sheer joy of creative experiment. Also part of SIFF Face the Music program. Also part of SIFF Face the Music.

True Adolescents, directed by Craig Johnson (USA, 2009)
Washington native Craig Johnson fills his directorial debut with the sights and sounds of the Pacific Northwest in this humorous and insightful tale of a down-on-his-luck indie rocker (Mark Duplass from Humpday and The Puffy Chair) who confronts his biggest doubts and fears when a camping trip goes awry.

The Whole Truth, directed by Colleen Patrick (USA, 2009) WORLD PREMIERE
A greedy, high living acting coach transforms disgusting criminals to appeal to juries, until she overhears a client she helped set free plan a heinous crime – and becomes his target for murder. Escaping death and discovering who she really is becomes the most expensive – and rewarding – experience of her life.

World’s Greatest Dad, directed by Bobcat Goldthwait (USA, 2009)
Shot on location in Seattle, this wickedly funny dark comedy stars Robin Williams as a sad-sack poetry teacher who inadvertently finds his greatest opportunity from a freak accident. Bobcat Goldthwait has concocted a lusciously perverse and refreshingly original tale that tackles love, loss, and our curious quest for infamy.

ZMD: Zombies of Mass Destruction, directed by Kevin Hamedani (USA, 2009)
Things are rotten in the idyllic island town of Port Gamble, Washington, quite possibly because there’s been a zombie virus outbreak. Now a small band of intrepid heroes must fight back and eradicate the undead invaders – it’s the American way.

SIFF 2009 Northwest Connections Shorts

“Bedtime Story,” directed by Sarah Jane Lapp (USA, 2009)
“CC 2010,” directed by Travis Senger (USA, 2009)
“Endless Tunnel,” directed by Tommy Thompson (USA, 2008)
“The Chronicles of Cleo and Jack,” directed by Karn Junkinsmith (USA, 2009)
“The Day My Parents Became Cool,” directed by Steve Edmiston (USA, 2008)
“Dark Material,” directed by Maile Martinez (USA, 2009)
“Her Meds,” directed by Matt Cibelli (USA, 2008)
“It’s In The P-I,” directed by Bradley Hutchinson (USA, 2009)
“November,” directed by Benjamin Dobyns (USA, 2008)
“One Night,” directed by Laura Jean Cronin (USA, 2009)
“Somewhere,” directed by Salise Hughes (USA, 2009)
“Sophia + Anna,” directed by Joy Andrews (USA, 2009)
“Thicker Than Water,” directed by Sami Kubo (USA, 2008)


Man Down: Peter Simpson, the Artistic Director of the Port Townsend Film Festival Dead at 74

April 21, 2009

“Peter Simpson, the Artistic Director of the Port Townsend Film Festival, died on Thursday night, April 16, 2009, age 74. Peter had been involved with the PTFF since its inception and for many of us was the public face of the festival.” A personal remembrance from Robert Horton.

Pre-stonewall Lesbian fun!

April 21, 2009

Seattle Gay News previews The Killing of Sister George:

Sister George is pre-Stonewall Lesbian fun
by Scott Rice – SGN Contributing Writer

God Save the Queens film series
The Killing of Sister George
Opening April 23

The year was 1968. The Stonewall Riots were still a year away. In cities across America, patrons were routinely dragged out of Queer bars by the cops and tossed in jail. Then their names were published in the local police blotter.

1968 was also a year of turmoil and change. Martin Luther King was shot, Warsaw Pact troops invaded Czechoslavokia, undeclared war raged in Vietnam, and President Lyndon B. Johnson singed the Civil Rights Act of 1968.

While all these big events took the spotlight, versatile director Robert Aldrich would release a little film about women that would earn itself a big fat X rating and turn the film world upside down & for about 15 minutes.

In The Killing of Sister George, Beryl Reid plays June “George” Buckridge, a beloved British soap opera star with waning popularity and a bad case of paranoia. She also has a drinking problem and a dysfunctional relationship with her lipstick-Lesbian girlfriend who bounces around the apartment they share in see-through teddies and a perky blond pixie-cut (the stunning, if dimly coquettish, Susannah York as Alice “Childie” McNaught). George is certain she’s being written out of the script of the long-running Applehurst when TV producer, and possible Lesbo-couger, Mercy Croft (Coral Browne) arrives on the scene to deliver the bad news.

From the opening scene dripping with sarcastic irony and playful misdirection, to the honking horn that blows over George telling the Australian Amazonian production assistant to “fuck off,” The Killing of Sister George has a darkly comic heart. The black and white scenes lifted from the fictional television program are hilarious with smart double entendre laden dialogue, and the Laurel and Hardy bit by York and Reid is priceless.

Along with a darkly comic heart, the film also has a mean streak. George is a gin swilling, beer tipping, screeching, tweed-wearing brute with a jealous streak that runs squarely down her center. Unfortunately, as edgy as the film is, I can’t help but lump this character into the crazy Lesbian model so pervasive in Hollywood films and pulp fiction novels. Though George gets trapped in this stereotype, she also defies it as the only real textured character on the scene. Her real trouble comes when she refuses to tone down her butch bravado and likewise refuses to feel badly for her drunken turn in a taxi with a couple of frightened Irish nuns.

Childie is George’s girl-toy and sometime bondage kitten. She’s the pretty girl gone bad, the femme who should have been straight but due to a cruel world ends up emotionally (and financially) dependent on the domineering George. Childie looks good in lingerie, but that’s about the most interesting thing her character does. It’s hard to give a shit about a woman in her 30s who talks to dolls and looks upon her own abuse with little more than wan sadness.

Mercy Croft completes the love triangle that complicates the already complicated relationship between George and Childie. Mercy is a venom-tongued, mountain-climbing TV producer who either wants to save Childie from the clutches of sin or would like to get her own shot at those milky legs and perky breasts.

The famous bar scene, shot in an actual Lesbian bar complete with masturbation jokes and a panoply of real Lesbian extras, is the big step forward for this film that seems caught between pre-French New Wave Hollywood stereotype and post-’60s vérité. Butch, fem, young, middleaged, mature; they all are all present, and they are all hot – and visible. The butch combing her pompadour in the bathroom with a leather vest and jeans is the stuff dyke dreams are made of, that perfect blend of woman and dude that makes the girls swoon. Man enough to take control, woman enough to do it well and smart enough to make it last.

The most important thing about this scene, in spite of the stereotypical crazy-lezzy lead character, is that women were present and they were hot and they were decidedly sexual beings. This is a step forward because previously Lesbians hadn’t even existed according to the conventional wisdom of the patriarchy. Women in general weren’t supposed to be sexual in the first place. And besides, “What could two women do?” asked the pre-birth control heterosexual male head-scratchers trying to figure out how sex could happen without a penis. Enlightenment comes in lots of different shades.

Aldrich is responsible for such diverse fare as the biblical epic Sodom and Gomorrah, the wonderfully campy Whatever Happened to Baby Jane, and über macho flicks such as The Dirty Dozen and The Longest Yard. He’s not a director you can easily pigeonhole. Since I’ve always loved The Killing of Sister George because it’s plain old fascinating filmmaking, I’m going to have to take a weekend and lose myself in Aldrich films.

The Killing of Sister George plays the Northwest Film Forum April 23 as part of their Queer Thursdays: God Save the Queens film series.

Director Ramin Bahrani is coming to NWFF

April 20, 2009

Northwest Film Forum is pleased to host award winning filmmaker Ramin Bahrani and a first look screening of his latest film, Goodbye Solo, on Wednesday, April 29, at 7pm. Bahrani will also lead a Master Class at NWFF on Thursday, April 28, at 6 pm, during which he will discuss making truthful cinema about the immigrant experience.

Through a set of seemingly disenfranchised characters, writer/director Ramin Bahrani uncovers the rich lives of those living on the edge in the contemporary United States. By working with non-actors and a small crew, he captures an intense intimacy that borders on documentary. Bahrani was born and raised in Winston-Salem, North Carolina, to Iranian-born parents. He made several short films including Backgammon (1998) before spending three years in Iran working on his thesis film for Columbia University Strangers (2000). He received a BA in Film Studies from Columbia where he now teaches.

Following Strangers, he lived in Paris before returning to the U.S. to begin work on his first feature film Man Push Cart (2005). Man Push Cart premiered at the Venice International Film Festival (2005) and later screened at the Sundance Film Festival (2006). The film won over 10 international prizes, including the FIPRESCI international critics prize at the London Film Festival (2005), before being released around the world to wide critical acclaim. It was nominated for a Breakthrough Director Gotham Award (2006), and for three Independent Spirit Awards (2007): Best First Film, Best Lead Actor (Ahmad Razvi), and Best Cinematographer (Michael Simmonds). His assured direction and original neorealist screenplay earned him accolades such as the “Someone to Watch Award” at the 2008 Independent Spirit Awards.

Bahrani’s second film, Chop Shop (2007), was co-written by Bahareh Azimi and produced by Lisa Muskat (George Washington) and Big Beach Films (Little Miss Sunshine). It premiered during the Director’s Fortnight at the 2007 Cannes International Film Festival and screened as an official selection at both the Toronto Film Festival (2007) and the Berlin Film Festival (2008). It has its Seattle premiere at Northwest Film Forum in 2008. Chop Shop was released worldwide to universal critical acclaim, winning several prizes, including the Acura “Someone to Watch” Independent Spirit Award (2008) for Bahrani. In 2008, lead Actor Alejandro Polanco was nominated for a Gotham Breakthrough Acting Award, and Bahrani key collaborator Michael Simmonds was again nominated for Best Cinematographer at the 2009 Independent Spirit Awards, where Bahrani was also nominated as Best Director. Chop Shop was on countless top 10 lists for 2008, including critic Roger Ebert’s, who hailed it as a masterpiece. Ebert also commented, “After only three films, Bahrani has established himself as a major director.”

In 2008, Bahrani premiered his third feature film, Goodbye Solo, as an official selection of the Venice Film Festival where it won the prestigious FIPRESCI international critics prize for Best Film. The film’s North American premiere was at the Toronto Film Festival and producer Jason Orans received an Independent Spirit Award nomination (2009) as “A Producer to Watch.” Bahrani was recently awarded the prestigious Guggenheim award.
Events involving Ramin Bahrani at Northwest Film Forum are as follows:

  • Tuesday, April 28 at 6pm
    Master Class with Ramin Bahrani
    $20 ($15 NWFF members)
    Meet with visiting artist Ramin Bahrani and join a discussion about making truthful cinema. Ramin started his production company, Noruz Films, to make cinema with artistic independence as its mandate. His films feature stories that are set on a background that examines the dynamics of ethnicity in urban America. We invite you to bring short samples of your films and your ideas to discuss and learn how Ramin approaches filmmaking to raise issues about the outsider experience.
  • Wednesday, April 29 at 7pm
    Goodbye Solo
    Introduced by director Ramin Bahrani
    The differences in age and family culture create an interesting conflict in Bahrani’s latest film. While Senegalese taxi driver Solo’s winning joie de vivre is embraced by everyone he meets, he can’t charm 70-year-old William, a mysterious fare he picks up late one night in Winston-Salem, North Carolina. When he asks to be taken to a location where many suicides have taken place, Solo attempts to discover why the man is so troubled. (2008, 35mm, 91 minutes.)

Unbridled Stimulus Package is ready for action

April 17, 2009

After many weeks of preparations, party producers Implied Violence and the rest of the NWFF team are ready to bring you Unbridled Stimulus Package, NWFF’s annual fundraising gala, tomorrow beginning tomorrow, April 18 at 6pm at lovely China Harbor Restaurant.

Can’t make it? Why not consider becoming a NWFF member or making an online donation instead? This is our big fundraiser for the year, and we need your support!

Thanks to everyone who is helping or attending what is sure to be a fantastic event.

Medicine For Melancholy Encore

April 17, 2009

If you missed our screening of Medicine for Melancholy a couple of months ago, no fear! Langston Hughes African American Film Festival is reprising this wonderful gem Friday, April 24, at 7:00PM. Director Barry Jenkins produced a one shot film with us while he was here with us and he promises me its in the mail. I’ll post it the minute it arrives!

Cannes 2009

April 16, 2009

Early word from Cannes has a number of great filmmakers making bows at this year’s festival. The rest of the selection is announced on April 23. Will HUMPDAY end up in the selection? Check back next week. In the meantime, Variety has the story.

The upcoming Cannes Film Festival will be swimming in top international filmmakers, as directors including Ang Lee, Jane Campion, Michael Haneke, Quentin Tarantino, Ken Loach, Pedro Almodovar, Bong Joon-ho, Marco Bellocchio, Lars von Trier and Johnnie To expect to square off for the Palme d’Or come May 13.

With one week to go before the April 23 announcement of the Official Selection, fest director Thierry Fremaux and his selection committee still have numerous films to watch, so this weekend will tell the tale as far as several titles are concerned. Unlike his predecessor Gilles Jacob, who tended to accept or reject films as he saw them over a period of months, Fremaux prefers to keep his options open to a certain extent until he’s seen everything, leaving anxious filmmakers, distribs and sales companies in the dark until the final bell.

All the same, the lineup for the competition has come into focus in recent days, creating an image of a fest that will be heavy on Asian and Euro titles, light on films from Central and South America, Africa and the Middle East and iffy where Hollywood is concerned.

Tarantino’s WWII saga “Inglourious Basterds,” toplining Brad Pitt, was locked in a couple of weeks ago, but fest toppers only saw Lee’s “Taking Woodstock,” set during the fabled 1969 music event, this week and extended an immediate invitation to the Focus Features release. Liev Schreiber, Jeffrey Dean Morgan and Emile Hirsch head the cast.

Word is that Francis Ford Coppola‘s Argentine family drama “Tetro,” with Vincent Gallo, will be viewed imminently by the committee, and that Werner Herzog‘s “Bad Lieutenant” makeover, starring Nicolas Cage, is jockeying for a special screening or midnight slot. An almost certain midnight attraction will be Sam Raimi’s horror-thriller “Drag Me to Hell,” a Universal release toplining Justin Long and Alison Lohman that was very well received in incomplete form at the recent SXSW Film Festival.

Less confirmed word has it that Terry Gilliam‘s “The Imaginarium of Doctor Parnassus,” featuring Heath Ledger‘s final performance in a role that, after his death, came to be shared with Johnny Depp, Colin Farrell and Jude Law, may make its debut in Cannes.

Fest announced early on that Pete Docter‘s animated Pixar feature “Up” will open the fest, which runs through May 24.

Other English-language fare will include Campion’s U.K. production “Bright Star,” a drama about the romance of 19th-century poet John Keats and Fanny Brawne, starring Ben Wishaw and Abbie Cornish; Cannes regular von Trier’s “Antichrist,” a horror drama with Willem Dafoe and Charlotte Gainsbourg as a couple who retreat to a secluded forest cabin after the death of their son; Loach’s “Looking for Eric,” about a troubled adolescent soccer fan who’s counseled by former star Eric Cantona; prolific helmer To’s French-financed “Vengeance,” starring Johnny Hallyday as a hitman-turned-chef who heads to Hong Kong to avenge his daughter’s death; and possibly English director Andrea Arnold‘s “Fish Tank,” toplining Michael Fassbender in a tale of a 15-year-old whose life is turned upside down by her mother’s new boyfriend. Pic looks to be in the Official Selection, although in which category remains uncertain.

Haneke’s German entry, “The White Ribbon,” examines incipient fascism at a rural school in 1913; like Coppola’s film, it was shot in black-and-white. Almodovar’s “Broken Embraces,” which has already opened in Spain, is a multistrand melodrama starring Penelope Cruz, and vet Italian master Bellocchio’s “Vincere” stars Giovanna Mezzogiorno and Filippo Timi in a study of Mussolini’s secret lover and the couple’s son Albino.

South Korea and China will be heavily represented this year. From the former come “The Host” director Bong’s “Mother,” a thriller about a woman’s attempt to determine who framed her antisocial son for a ghastly murder, and “Oldboy” helmer Park Chan-wook‘s “Thirst,” a vampire tale about a small-town priest transformed into a neck-biter by a medical experiment gone wrong.

Flying the Chinese flag will be “Summer Palace” director Lou Ye‘s “Spring Fever,” about a young threesome overcome with erotic longings, and possibly Lu Chuan’s “City of Life and Death” (aka “Nanking! Nanking!”), a large-scale telling of the 1937 massacre of Nanking by the Japanese army.

Also very likely for the competition are Malaysian auteur Tsai Ming-liang‘s French-financed “Face,” about a Taiwanese director arrived in Paris to make a film about Salome, starring Mathieu Amalric, Jeanne Moreau, Fanny Ardant, Nathalie Baye, Laetitia Casta and Jean-Pierre Leaud; and Japanese fest regular Hirokazu Kore-eda‘s “Air Doll,” about the love affair between a videostore clerk and an inflatable sex doll.

Two other possibilities are Palestinian filmmaker Elia Suleiman‘s first feature since 2002, “The Time That Remains,” the story of a Palestinian family from the ’40s to the present day, and Belgian director Jaco von Dormael’s time-jumping fantasy “Mr. Nobody,” with Diane Kruger and Jared Leto.

The final selection of French titles is regularly made at the very last minute, but the titles nearest the front of the line are Alain Resnais‘ “Les Herbes folles,” Jacques Audiard‘s “A Prophet,” Bruno Dumont‘s “Hadewijch,” Xavier Giannoli‘s “In the Beginning,” Robert Guediguian‘s “The Army of Crime” and Catherine Corsini‘s “Leaving.”

Prominent in the Un Certain Regard sidebar will be two Romanian features: “Police, Adjective,” directed by Corneliu Porumboiu (“12:08: East of Bucharest”), and “Tales From the Golden Age,” an omnibus film produced by Palme laureate Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”), with two episodes directed by him and others helmed by proteges.

NWFF and 826 Seattle present a sneak-peek of AWAY WE GO

April 15, 2009

Northwest Film Forum is proud to collaborate with 826 in presenting a special sneak-peek screening of Away We Go, a new film from Focus Features and director Sam Mendes. The event, a benefit for 826 Seattle, will be held Saturday, May 9, 2009, at 5pm at the Harvard Exit Theater on Capitol Hill. Screenwriter Dave Eggers attend and participate in a Q&A after the screening.

Directed by Academy Award winner Sam Mendes (American Beauty) from an original screenplay by Dave Eggers and Vendela Vida, Away We Go is a funny and heartfelt film that follows an expectant couple (John Krasinski of The Office and Maya Rudolph of Saturday Night Live), as they travel the U.S. in search of the perfect place to raise their family. Along the way, misadventures and renewed connections with relatives and old friends help them discover “home” on their own terms for the first time. The movie features the music of Alexi Murdoch. The film is due to open with a wide release this summer.

Screenwriter Dave Eggers is the bestselling author of A Heartbreaking Work of Staggering Genius and What is the What. He is also the publisher and founder of 826 National. His screenwriting credits also include the forthcoming 2009 release Where the Wild Things Are. His wife, Vendela Vida, co-wrote the Away We Go screenplay. Her other writing credits include Girls on the Verge and And Now You Can Go.

All proceeds from the evening go to support 826 Seattle’s programs. 826 Seattle is the city’s only writing center entirely dedicated to helping students, ages 6 to 18, improve their written communication skills. All 826 programs are structured around the belief that great leaps in learning can happen with one-on-one attention and that strong writing skills are fundamental to a young person’s future success. With the help of hundreds of volunteers, 826 Seattle offers free after-school tutoring, special writing workshops, class field trips, in-school programs, and publishing opportunities for Seattle students to improve their ability to communicate effectively in writing.

More information about 826 Seattle can be found at

Tickets are $25 ($20 for Northwest Film Forum members and active 826 Seattle volunteers) and are available here.

Going to Tallahassee this weekend? Catch LITTLE DIZZLE!

April 15, 2009

The Immaculate Conception of Little Dizzle plays its third film festival this weekend, making its Florida premiere at the Tallahassee Film Festival this Friday.

Sounds like there is already some excitement building for the film down there:

Films with ‘crazy buzz’
…Organizers also looked to well-established festivals such as South by Southwest in Austin, Texas, and the Sundance Film Festival in Park City, Utah, to cherry-pick movies that were hits with audiences.

Tallahassee Film Festival programmer Chris Faupel is banking on an oddball, surreal comedy titled “The Immaculate Conception of Little Dizzle,” which is being screened Friday night at FSU’s Student Life Cinema.

“This film got crazy buzz when it was shown (in Austin),” Faupel said. “You couldn’t get on a bus and ride from one end of the street to the other without hearing people talking about it. There was real excitement over this one.”
Tallahassee Democrat

“Here are five films that are really worth seeking out:
*”The Immaculate Conception of Little Dizzle” (9:30 p.m. Friday at the FSU Student Life Cinema) — Just what a film fest needs — a ribald, weird and goofy story about night janitors who eat experimental cookies that cause men to give “birth” to little blue fishes.”

SWEET CRUDE benefit tonight

April 15, 2009

Here’s a fine last minute suggestion for your evening plans:


In April 2008, Seattle-based filmmaker Sandy Cioffi and crew members Sean Porter, Tammi Sims and Cliff Worsham returned to the Niger Delta to finish the documentary Sweet Crude. While on their way to a shoot, they and their Nigerian guide Joel Bisina were picked up on the waterways by the Nigerian military. They were held in military prison and interrogated for a week. Thanks to a huge effort by many friends, family, organizations and elected officials who brought pressure on the Nigerian government, they were released. But their footage was confiscated for good.

On their way to prison, during a terrifying truck ride under armed guard, music helped the crew make it through the night. They created a spontaneous iPod playlist and the powerful songs gave them comfort and hope.

Come hear the songs that made the difference that night – the Sweet Crude Freedom Mix performed by a fabulous group of singer/songwriters. And help raise finishing funds for Sweet Crude.

Your glass. Your voice. Your spirits. Your awareness. Cold hard cash.


The Playlist Singers: Karen Pernick, Jen Todd, Mel Watson, Erin McKeown, Karyn Schwartz, Zoë Lewis, Jennifer Sutherland
The Playlist Band: Jen Todd, Mel Watson, Erin McKeown, Pam Barger, Barbara Marino, Kate Wolf

Date: April 15, 2009
Location: The Triple Door
216 Union Street
Seattle, WA
Show Times: Two shows: 6:00pm and 9:00pm
Ticket Information: Suggested donation: $30 – $1,000
Purchase online at or by phone at 206.838.4333
For more information about Sweet Crude, visit