SITE TOOLS
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ABFF - Perspectives From Behind The Pulpit
By Ramona Prioleau
The notion of a film festival has probably been around as long as the medium
itself. But in 1997, UniWorld Group, Inc. and The Black Filmmaker Foundation launched the
Acapulco Black Film Festival, assuming correctly that the cinematic choir would warmly
support the concept. Now entering its fourth year, the festival has been embraced by not
only the choir, but also the congregation, the backsliders and the occasional visitor to
what some describe as a retreat blessed with a spirit of fellowship and kinship absent in
similar gatherings. And while the festival has grown to attract over 1,000 attendees, a
unique warmth still pervades the festival. Although it may take the uninitiated a couple
of hours to get with the program, in the end most generally dispense with the Hollywood
affectation, relax and get into the groove - literally and figuratively. |
Short Cuts
Celebrating Black Cinema in Style
ABFF - It' A Family Affair
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The festival includes a variety of activities to
entertain, educate and engage. For the second consecutive year, the festival will host
Bill Duke’s Actors Boot Camp. According to participants from last year’s
seminar, the noted director of Hoodlum and the Sister Act series of
films placed a surprising emphasis on the “boot camp” aspect of the
seminar’s title. Although a few actors complained of having to miss an evening of
tequila in order to awake at sunrise or about being called on the carpet for arriving late
to Duke’s sessions, most had nothing but praise for the director’s earnestness
and for the opportunity to submit headshots to Hollywood casting agents and perform scenes
in front of a class that included both ingénues and established actors.
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Rob Hardy,
Writer, Producer and Director of Trois |
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While continuing its commitment to highlighting some of the best independent short and
feature films, the festival is also an opportunity for filmmakers to exhibit
works-in-progress and benefit from the constructive criticism, praise and sometimes
financial backing of ABFF’s cinema-savvy audience. In fact, it was '99’s
works-in-progress Trois and Ritual that played to packed
houses with folk sitting and standing in the aisles. The films were so warmly received
that ABFF added an award for works-in-progress to its slate of Black Film Awards so as to
recognize the audience favorite in this category. In addition, the producers of Trois
return to ABFF this year to explain their success at independently distributing the film
and raking in over $1 million in box office receipts.
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In an effort to stay on the cutting-edge of pressing
issues in cinema, ABFF 2000 will spotlight Digital Filmmaking in a panel and it's one
that’s sure to spark dialogue about what impact technological advances will have on
diversifying images on the big and small screen. However, festival organizers probably
couldn’t have anticipated the lively discussion that ensued at last year’s
festival during a panel that focused on love, sex and romance in black cinema.
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After a panel of new jack directors talked about their
goals in depicting images of noir amor, an innocuous question from the audience set the
proceedings off. An attendee and actress from London queried the panelists about their
preferences for selecting women of a particular hue for romantic leads and often casting
darker-skinned women in comedic and tough gal roles. |
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John Singleton chimes
in from the audience. |
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While a few panelists squirmed, hemmed and hawed, Boyz
in the Hood’s John Singleton chimed in from the gallery with his
perception of how female romantic leads are cast. Singleton opined
that filmmakers cast women that they are attracted to and some
filmmakers are only attracted to one type of woman within the
Diaspora. Singleton added, “The travesty is that some [filmmakers]
don't have respect for the multiplicity and beauty of all Black women.”
In the end, it was the pleas from sisters who felt either excluded or
embraced that most will probably remember. One sister stated that the entire debate upset
her to the point that she pledged in her work to hold true to the ideals of inclusion and
cautioned other storytellers to be cognizant of the feelings of those who felt
disenfranchised. Encouraging open and honest debate about the real world impact of cinema
and its ability to empower or subjugate is one of the reasons that ABFF maintains its
currency in light of other festivals of its sort.
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Elise Neal freestyling
with soul. |
But don’t be fooled, ABFF is as
well known for its social events as it is for its serious offerings. Nightly, festival
participants have the chance to shake their collective groove thangs at posh Acapulco
dance clubs as well as attend a variety of live performances. While the planned events
attract many to the festival, it’s the impromptu gatherings that add to the
festival’s uniqueness.
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Quite possibly, only at ABFF do celebs leave the lofty confines of
their secluded digs to chill in a hotel lobby amongst average Joe’s
and Jane’s to watch the Knicks make playoff history or Roy Jones Jr.
win yet another bout. Where else can one breakfast to the right of
Larenz Tate and not be fazed because Mekhi Phifer is munching to the
left. Moreover, ABFF is where one heard shrieks of glee and witnessed
what seemed like a 15-minute standing ovation when Denzel Washington
made a surprise appearance in '98 to present Morgan Freeman and Debbie
Allen with Career Achievement Awards and where folk raised the roof
while watching Regina King, F. Gary Gray and Elise Neal freestyle
their way down the Soul Train line at '99’s Gala Banquet and Dance.
Shameless name-dropping? May be. But what it also represents is the credibility that ABFF
has earned as a festival that brings together film executives, industry talent and cinema
enthusiasts in an environment that fosters networking and encourages deal making. Just ask
Chris Cherot who arrived at ABFF '97 with a few dollars and a dream film and left with
several deal contacts. His film Hav’ Plenty was acquired for distribution as
a result of contacts he made in Acapulco where the film was overwhelming embraced by
attendees during ABFF’s inaugural year. Cherot’s success in '97 was equaled last
year when he walked away with the Black Film Award for Best Screenplay. Not to shabby for
a dude from the boogie down Bronx. Or what about Mekhi Phifer, who last year exhibited his
desire to get to the festival by any means necessary when recounting the tale of how he
hailed a taxi like any native New Yorker would do after missing the last connecting flight
in Mexico City. Several hundred dollars later, he and his party arrived in Acapulco a
little road weary, but in time to fully participate in all the festivities. In addition,
how about the success of up-and-coming actor Soloman K. Smith who after meeting producers
from Rainforest Productions at ABFF landed a prominent role in the cult hit Trois,
starring Gary Dourdan (Shaka - A Different World) and Kenya Moore (former Miss
USA). And what an interesting coincidence it was that director Clement Virgo (Rude,
Planet of Junior Brown) attended ABFF the same year as Larenz Tate, who subsequent to
ABFF '99 agreed to star in Virgo's new film Love Come Down.
So whether it’s to hone your skills, network or simply get your groove on, you will
revel in the spirit of a community coming together to celebrate diverse images and stories
on the big screen. Assuredly, it’s remembrances of good cheer and big fun that keep
some people coming back. But for many of the ABFF faithful that return year after year,
it's recalling the good times and good friends made over cocktails or during an
impassioned discussion after a panel or film that encourages them to horde their frequent
flyer miles, make monthly deposits to their vacation savings plan and block off a week in
June for the ABFF family reunion. Hope to see you there.M
May 2000
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