The 37th annual LGBT International Film Festival starts next Thursday, June 20 and runs for 10 days at various Bay Area locations. As always, the fest is a cornucopia of queerness, featuring 238 films, short and tall, representing nearly 30 countries. One can see queers all over town poring over the pages of the festival catalog trying to figure out the must-sees among this year’s offerings. As we do every year, we have forged through stacks of preview DVDs to provide you with this handy viewer’s guide.
Valencia
Local Grrl Makes Good
Valencia (Friday, June 21, 9pm, Castro Theatre)
Topping our list is the much-anticipated film adaptation of local author Michelle Tea’s queercore classic Valencia, a loving snapshot of the lesbian literary underground that took root in San Francisco’s Mission District in the late 1990s. Frankly, no one is more adorable than Tea, with the possible exception of the 18 women (and a couple of men) who portray her in the movie. With the magic mushroom-fueled mantra, “If nothing matters and everything matters, none of us could ever fuck up,” Tea shares her open-minded (and open-hearted) lust for the lusty life, capturing the exuberant dyke energy of that particular time and place with anarchic humor and wit. (Rarely does a notion pass through her head that isn’t immediately pursued or put into quirkily poetic words.) The filmmaking is exuberant, with a collage style mirroring both SF’s fertile underground film traditions and the DIY ethos of the community portrayed. Do not miss the world premiere; it is going to be one hell of a party.
C.O.G.
Best Dramedy
C.O.G. (Saturday, June 22, 9:15pm, Castro Theatre)
This adaptation of a David Sedaris short story is as darkly funny as it is heartbreaking. Following a vague notion that he can be redeemed through manual labor, recent Yale grad David changes his name to Samuel and travels to Oregon to work picking apples for a season. Eventually, he moves on to another job sorting apples in a local factory and then comes to rely on the charity of a Christian man, who teaches him to make Oregon state-shaped clocks. Anchored by Jonathan Groff’s wide-open and vulnerable performance, the film finds surrealism and subtle humor inside the smallest details of David’s intimate interactions with the small town eccentrics he encounters, including Dean Stockwell as the apple orchard owner and Dennis O’Hare as the Christian clockmaker. There is one very long final shot of Groff’s face that is devastating to witness. C.O.G. is the only story Sedaris has allowed to be adapted to the screen and proves itself more than worthy of the honor.