By Lynn Venhaus A working artist who explores femininity in visuals ranging from collages to short films, Taylor Yocom is one to watch — and on the move, so it seems fitting that Lambert International Airport has displayed her art — an installation “My mom said to always have flowers around.”
Flowers are a focus, a fashion statement, and part of her signature style. Her recent 19-minute film, “These Flowers Are For You,” won Best Experimental Film at the St. Louis Filmmakers Showcase in July, and is among the short films being screened at the St. Louis International Film Festival.
It has been doing well on the festival circuit. In fact, last week, her film screened in three places, from Iowa to Iceland — at the Flat Earth Film Festival in Iceland and the Des Moines Underground Film Festival in addition to SLIFF (Sunday, Nov. 12, 7:15 p.m., as part of the shorts program “Showcase I,” Alamo Drafthouse 3).
Describing it as her most ambitious film to date, it depicts Yocom’s experience of being matched as a bone marrow donor. She narrates her emotional journey and artistic process of grappling with the ethics of making work for, and about, a stranger.
2020-03-11—Portraits of Sam Fox School of Design & Visual Arts staff members.
Her previous short films touch on issues of femininity, the idea of craft and artistic labor amid a pandemic, and revisiting a project recollecting Maria Schneider’s sexual harassment on the set of “Last Tango in Paris” — “Just because!” – 3 minutes, which screened at the Citygarden; “Flowers/distance” – 8 minutes; “That floral wallpaper” – 13 minutes; and “In Paris, I tango for Maria (take 2) – 9 minutes.
The art at Lambert — in the Southwest Airlines Terminal, was on a 60-foot pink wall, and installed in April 2022.
Taylor was born in Des Moines, Iowa, and holds a BFA in Photography from the University of Iowa and an MFA in Visual Arts from Washington University’s Sam Fox School of Design & Visual Arts.
Her work has been exhibited and screened in venues across North America, including Indie Memphis, FilmDiaryNYC, The Kansas Union Gallery, and the Montreal Feminist Film Festival. She has artist books and zines in collections across the country, including Rutgers University, the MOMA Library and Washington University. Her residencies include ArtFarm Nebraska and Internationale de Arts in Paris.
For more information, visit her website: www.tayloryo.com
Take Ten Q and A with Taylor Yocom
(Editor’s note: This was written during the St. Louis Filmmakers Showcase last summer)
1. What is special about your latest project?
My latest film is about my journey of being matched as a bone marrow donor, the artistic documentation of that journey, and my own self reflection of the ethics of making work about a stranger. I was matched to donate to a woman who had leukemia like my maternal grandma that I never got to meet. Going through this process and making this film was an unexpected way to get closer to my mom and learn about her experience with her mother during her final days. 2. Why did you choose your profession/pursue the arts?
I am currently an artist and filmmaker working in photography, collage, fibers, and film. I always was “crafty” as a kid and started to really take art seriously when I navigated towards photography and art in college. I would spend Friday nights at my typewriter and stack of magazines, making collages, and would bring my film camera to parties. Taking classes for fun turned into a minor, which turned into a major, and then I went to grad school for my MFA in Visual Art at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.
3. How would your friends describe you?
Upbeat, always working on a project, most likely wearing a floral dress and talking about my cat too much.
4. How do you like to spend your spare time?
“I built my own loom and now enjoy weaving and watching ‘Sex and the City’ on repeat at my studio.
5. What is your current obsession?
This $7 bag of very good gummy bears I got on sale at Schnucks! On a more serious note, I’m diving into learning about jacquard weaving and just devoured the book “Thread Ripper” by Amalie Smith.
6. What would people be surprised to find out about you?
I was on the debate team in high school.
7. Can you share one of your most defining moments in life?
I was registering for classes during freshman year and thought “why not?” and took the last slot for an art class,
8. Who do you admire most?
Ah, so many! Within the arts I would definitely choose Moyra Davey, the filmmaker and artist. She has a very smart, poetic yet research-driven practice and lives in the art-writing-film world in an impactful way.
9. What is at the top of your bucket list?
Make a feature-length film.
10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
I was very privileged to be able to work from home during that time with minimal financial impact, so I want to acknowledge that not everyone had that luxury. As for the arts, for me, I took it as an opportunity to slow down and focus on the act of making. I think there was more of an appreciation for art-for-arts-sake and the power of beautiful and moving objects to create meaning in our lives. 11. What is your favorite thing to do in St. Louis?
I love getting lost in the galleries at SLAM and also visiting Moonshine the horse in Tower Grove Park.
12. What’s next?
I received a RAC grant to go to Vancouver to learn Jacquard weaving! I am working on patterns I’ve drawn that are based on floral patterns I’ve found in vintage periodicals at the Dowd Illustration Research Archive here. I’ll be making them into tapestries!
Photo by Kalaija Mallery
More About Taylor Yocom
Age: 30 Birthplace: Des Moines, Iowa Current location: St. Louis: Education: MFA in Visual Art at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, BFA in Photography from the University of Iowa First movie you were involved in or made: In Paris, I tango for Maria (take 2) was my first short film Favorite jobs/roles/plays or work in your medium? I love films by Agnes Varda. Awards/Honors/Achievements: Bustle Upstart Awardee in 2016, Residency at Cite Internationale des Arts in 2018 Favorite quote/words to live by: Anything from Julia Cameron A song that makes you happy: Dancing Queen by Abba
“My mom said to always have flowers around” artwork by Taylor Yocom in installation at Lambert International Airport Terminal 2, April 2022.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Cinema St. Louis is thrilled to unveil the 32nd Annual Whitaker St. Louis International Film Festival (SLIFF), set to captivate audiences from November 9th to 19th at the historic Hi-Pointe Theatre, CSL’s new forever home, as well as at multiple venues across the city including the Alamo Drafthouse, Webster University, Washington University and more.
CSL’s centerpiece event, is a world-class international film festival that exhibits films from around the globe and attracts between 25,000 and 31,000 patrons annually. Offering its 32nd edition in 2023, the fest presents 278 films over 11 days in November. Featured work includes shorts, documentaries, foreign-language works, American independents, restorations/revivals, and studio art-film releases. More than 100 filmmakers, documentary subjects, scholars, and critics attend the fest, participating in post-film discussions, master classes, and seminars. In 2019, SLIFF was included among USA Today’s 10 Best Film Festivals.
Highlights of this year’s fest include:
SLIFF’s Opening Night Party on 11/9 at the Hi-Pointe, where the fest will celebrate 50 Years of Hip-Hop in St. Louis, as explored through both film and music
Signe Baumane on hand to accept this year’s Women in Film Award at a showing of her newest film, “My Love Affair with Marriage” on 11/11
La Passion de Dodin Bouffant” (Taste of Things), Cannes award winner for director Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024 and will screen on 11/12 at the Hi-Pointe Theatre
Director Alexander Payne to receive the Lifetime Achievement Award, while showcasing not only his newest film on 11/14, “The Holdovers,” but also his modern classic, “The Descendants,” on 11/15
A screening of The TIFF 2023 People’s Choice Award winner, “American Fiction,” on 11/17, directed and written by Cord Jefferson, co-starring St. Louis’s favorite son, Sterling K. Brown.
Highlighting the lives of the LGBTQ+ community, SLIFF’s QFest Spotlight Film, “All of Us Strangers,” from Searchlight Pictures, the critically acclaimed romantic drama written and directed by Andrew Haigh, starring Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy, will close the festival on 11/19
The festival will culminate on Sunday, November 19th, with the much-anticipated Awards Party, featuring an insightful conversation with Reginald Hudlin, during which he will be bestowed with a Lifetime Achievement Award.
Reginald Hudlin
The festival kicks off on Thursday, November 9th, celebrating 50 Years of Hip-Hop with a tribute to the Hi-Pointe Cafe’s pivotal role in shaping hip-hop’s history, showcasing the city’s significant influence in its evolution. Attendees will be treated to a cocktail reception, engaging conversations, and a special screening of the 1990 film, “House Party,” directed by East St. Louis’ own, Reginald Hudlin.
CSL’s Executive Director, Bree Maniscalco, shared, “As we celebrate our first festival at the Hi-Pointe Theatre, we wanted to pay tribute to the H-Pointe neighborhood and honor those who made Hip-Hop what it is today. Mondays at the Hi-Pointe Cafe holds a special place in many people’s hearts, and we’re looking to bring it back to kick things off in style for this year’s Fest.”
This year’s festival promises a variety of exclusive events, screenings, enlightening post-film Q&A sessions, and illuminating masterclasses dedicated to addressing industry-relevant topics. SLIFF received an impressive 2,419 submissions, marking the festival’s 32nd anniversary with record-breaking enthusiasm. SLIFF’s dedicated team of programmers, hailing from diverse backgrounds, meticulously curated a selection of 278 remarkable films that underscore the transformative power of cinema.
The lineup includes 54 captivating narrative features, 52 thought-provoking documentary features, and an astounding 172 short films, all part of its prestigious Oscar-qualifying annual Shorts Competition. These films delve deep into a spectrum of compelling themes, ranging from art, the environment, human rights, and racial equity, to name just a few. What’s more, they authentically represent perspectives from 32 countries, encompassing an astounding 39 native languages, ensuring that SLIFF remains a truly international celebration of storytelling through film.
The Holdovers
FILM SPOTLIGHTS
SLIFF serves as a cinematic beacon, illuminating the big screen with a diverse array of films that might otherwise remain hidden gems, waiting to be discovered by local audiences. As the festival unfolds, St. Louis becomes a vibrant hub for filmmakers from far and wide, with many making their inaugural visit to the city. In this dynamic atmosphere, the city buzzes with the infectious energy and passion that only the power of film can generate.
● Documentary Spotlight: Sponsored by Mary and Leon Strauss, this spotlight will screen 130 films, including “Sorry/Not Sorry,” an examination of Louis C.K.’s, comeback and the unseen effects of this on the women who spoke publicly about the sexual harassment accusations in 2017; “Chasing Chasing Amy,” the complex legacy of Kevin Smith’s Chasing Amy (1997, also screening at SLIFF) on LGBTQ+ people and its life-saving impact on director Sav Rodgers; “We Dare to Dream,” follows athletes on their journey to become part of the refugee Olympic team; “Nathan-ism,” a tender portrayal of an artist’s distinctive viewpoint on his war assignment, coupled with his impassioned yearning for self-expression.; and “Omoiyari,” follows Kishi Bashi when a media interview links the Muslim ban and the immigration crisis at the USA-Mexico border with the incarceration of Japanese-Americans during WWII.
● French Language Spotlight: Sponsored by the Jane M. and Bruce P. Robert Charitable Foundation, this spotlight will feature 16 feature and short films celebrating St. Louis’ Gallic heritage and France’s cinematic legacy. Leading the spotlight is “La Passion de Dodin Bouffant” (Taste of Things), Cannes award winner for director Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024.
● New Filmmakers Forum: SLIFF’s longest-running juried award, highlighting first-time narrative feature filmmakers whose works truly stand out.
● Oscar-Qualifying Shorts Competition: SLIFF is one of 63 Oscar-accredited short film competitions worldwide, making filmmakers who win a “Best of” at SLIFF, eligible for an Academy Award nomination.
○ Across 11 documentary shorts programs, audiences will witness the global impact of art, the nuances of the Black experience, the damage done by society’s broken systems, the power of indigenous lands, the thrill of high-stakes sports, the state of the average workday, the importance of sustainability, the plight of immigrants worldwide, the spectrum of sexuality, the reality of living with disabilities, and the untold stories of remarkable St. Louisans.
○ This year’s selection of narrative short films strives to highlight the vast array of global voices in contemporary cinema. Twenty languages are represented, and over half come from female filmmakers. Three highlights of the fifteen total programs are “Beyond Pedro,” a slate of shorts from emergent Spanish filmmakers, “Pan-Asia Stories,” and “Joy in Latinx Representation.” Elsewhere, adventurous genre fans will find new kinds of horror with “A New Kind of Blood” and eye-popping, mind-bending animation from around the world with “Transmission.” Of course, area films and filmmakers are well represented in the narrative shorts selections, with two programs featuring the best of the 2023 St. Louis Filmmakers Showcase, held by Cinema St. Louis this past summer.
Paul Mescal, Andrew Scott in “All of Us Strangers”
● QFest Spotlight: A collection of films that spotlight the lives of LGBTQ people while celebrating queer culture. Films include “All of Us Strangers,” from Searchlight Pictures, the critically acclaimed romantic drama written and directed by Andrew Haigh, loosely based on the 1987 novel Strangers by Taichi Yamada. The film stars Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy; “Glitter & Doom,” a fantastical summer romance musical told with the iconic tunes of legendary American Folk music duo the Indigo Girls; and “Housekeeping for Beginners,” the Official submission of North Macedonia for the Best International Feature Film category of the 96th Academy Awards in 2024.
● Race in America Spotlight: For the last 10 years, SLIFF’s Race In America programming has reflected the frustrations of African Americans in response to the events in Ferguson. While this mission continues, the Spotlight will also draw attention to building community, fostering dialogue, and creating a platform for real societal change. To maximize these objectives, all of the 14 programs are offered for free thanks to support from the Trio Foundation of St. Louis. Films include “The Space Race,” which explores the experiences of the first Black astronauts through decades of archive film and interviews in a reflective illumination on the burden of breaking barriers; “Razing Liberty Square,” chronicling residents who fight to save their community from climate gentrification; “Ellis,” the first feature-length documentary about Ellis Marsalis Jr. and the Marsalis Music Family. This screening will pay tribute to the late St. Louis Post-Dispatch Theater Critic (former film critic), Calvin Wilson, with a portion of ticket proceeds donated to his alma mater, Northwest High School’s Performing Arts department; “Black Barbie,” the story behind the first Black Barbie; and “Kenyatta Do Not Wait Your Turn,” from Al Roker, an inspiring film that follows a self-described “poor, gay, Black man from North Philly” on his historic run for the U.S. Senate.
● Studio Spotlight: Star-filled highlights include “All Dirt Roads Taste of Salt,” an American drama film, written and directed by Raven Jackson, starring Charleen McClure, Moses Ingram, Reginald Helms Jr., Zainab Jah, Sheila Atim, and Chris Chalk; “American Fiction,” an American satirical comedy-drama film directed and written by Cord Jefferson based on the 2001 novel Erasure by Percival Everett, starring Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Leslie Uggams, Sterling K. Brown, Myra Lucretia Taylor, John Ortiz, Issa Rae, and Adam Brody; “The Holdovers,” an American comedy-drama film directed by Alexander Payne, starring Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa; “Maxine’s Baby,” a documentary about Tyler Perry; and “Taste of Things,” (La Passion de Dodin Bouffant), directed by Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, is sure to leave audiences hungry for more and serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024.
SLIFF is pleased to honor the following for their incredible contributions to film: ● Reginald Hudlin, a distinguished American film screenwriter, director, producer, and accomplished comic-book writer, hails from the vibrant cultural tapestry of East St. Louis. His cinematic repertoire boasts an impressive array of works, including notable titles such as “Marshall,” “The Black Godfather,” and “Sidney,” each contributing to his renowned status in the industry. On the closing night of the SLIFF, which falls on Sunday, November 19th, Hudlin will engage in an enlightening interview, offering audiences a captivating insight into his illustrious career, and he will be bestowed with a highly deserved Lifetime Achievement Award, an accolade reflecting his enduring influence.
● Alexander Payne, a luminary in American cinema, is a prominent film director, screenwriter, and producer celebrated for his illustrious career, including directorial gems such as “Sideways,” “Election,” and “Nebraska,” each a testament to his mastery of the craft. On Tuesday, November 14th, at the Hi-Pointe Theatre, audiences will have the rare opportunity to delve into the creative genius of Payne with his latest cinematic creation, “The Holdovers.” This screening is an occasion to honor Payne with a well-deserved Lifetime Achievement Award. On Wednesday, November 15th, at the Hi-Pointe Theatre following a screening of his 2011 cinematic masterpiece, “The Descendants,” Payne will engage in an enlightening conversation, led by former CSL Executive Director Cliff Froehlich. In a poignant gesture of solidarity, a portion of the ticket sales from this screening will be donated to the Hawaii People’s Fund, an organization dedicated to offering direct aid in the aftermath of Maui’s wildfire devastation.
● Signe Baumane, an extraordinary talent from Latvia now rooted in the creative hub of Brooklyn, Baumane emerges as a multifaceted powerhouse in independent filmmaking, artistry, writing, and animation. With an illustrious career, she has crafted 16 acclaimed animated shorts that have earned her numerous awards and accolades, solidifying her place as a luminary in the field. Her groundbreaking animated feature debut, “Rocks in My Pockets,”
impressed SLIFF audiences in the past, and audiences this year will be entertained by her latest cinematic offering, “My Love Affair with Marriage.” Her film will screen at the Hi-Pointe Theatre on Saturday, November 11th, where she will be honored with the prestigious Women In Film Award, a testament to her unwavering dedication and the inspiring stories she brings to life through her craft.
American Fiction
TICKETS & PASSES
Tickets are now on sale:
● All Access Pass (admits two): $500 / CSL Members $400
● VIP Pass (admits one): $350 / CSL Members $300
● 20-Film Pass: $250 / CSL Members $200
● 10-Film Pass: $130 / CSL Members $100
● 6-Film Pass: $80 / CSL Members $60
Not a CSL Annual Member? In addition to discounts at SLIFF, members receive year-round benefits, sure to please every type of movie lover. Learn more and become a member here: https://cinemastlouis.org/membership.
VENUES
The festival will showcase films and special events across multiple centrally-located venues throughout the St. Louis area:
Alamo Drafthouse Cinema, located at 3700 Forest Park Ave, Saint Louis, MO 63108 Arkadin Cinema & Bar, located at 5228 Gravois Ave, St. Louis, MO 63116 Contemporary Art Museum, located at 3750 Washington Blvd., St. Louis, MO 63108 The Foundry Art Center, located at 520 N Main Center, St Charles, MO 63301 Hi-Pointe Theatre, located at 1005 McCausland Ave., St. Louis, MO 63117
Hi-Pointe Backlot Theatre, located at 1002 Hi-Pointe Pl., St. Louis, MO 63117 St. Louis Public Central Library, located at 1301 Olive St., St. Louis, MO 63103
Washington University, Brown Hall Auditorium, located at Centennial Greenway, St. Louis, MO 63105
Webster University, Moore Auditorium, located at 470 East Lockwood Ave., Webster Groves, MO 63119
SPONSORS
Title Sponsor: Whitaker Foundation
Sustaining Sponsors: Albrecht Family Foundation, Chellappa-Vedavalli Foundation, Coolfire Studios, Jane M. & Bruce P. Robert Charitable Foundation, Ward & Carol Klein, Nancy & Ken Kranzberg, Missouri Arts Council, Missouri Division of Tourism, Missouri Film Office, National Endowment for the Arts, Regional Arts Commission, Mary Strauss, Trio Foundation of St. Louis, William A. Kerr Foundation
Presenting Partners: Alamo Drafthouse Cinema, Arkadin Cinema & Bar, Contemporary Art Museum St. Louis, Eventive, Film & Media Archive at Washington University Libraries, Film & Media Studies Program at Washington University, Foundry Art Centre, St. Louis Public Library, St. Louis Public Radio, Webster University Film Series
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Films of 1973 spotlighted in online discussions and in-person screenings
The Golden Anniversaries film series — an annual presentation of Cinema St. Louis (CSL) — features classic films celebrating their 50th anniversaries. The sixth edition of the event highlights films from 1973.
This year, Cinema St. Louis will hold both virtual conversations and in-person screenings as part of Golden Anniversaries. Virtual conversations are presented free of charge.
The online conversations, with people watching the films on their own but gathering virtually to discuss them, will continue through December. The virtual programs will be available as livestreams through Eventive. Each online event has a link to register on the CSL website: cinemastlouis.org/golden-anniversaries.
This year’s series kicked off in April and will continue through December, with films playing on Sunday afternoons at the Hi-Pointe Theatre, 1005 McCausland Ave, 63117.
Tickets are required for the in-person screenings at the Hi-Pointe. Free parking is available at the Hi-Pointe Backlot or Lindell Bank across the street from the theater.
Ryan and Tatum O’Neal in “Paper Moon”
In addition, during the 32nd Annual Whitaker St. Louis International Film Festival, which takes place from Nov. 9-19, CSL will offer a trio of free Golden Anniversaries screenings — Jack Hill’s “Coffy” (with Novotny Lawrence), Robert Clouse’s “Enter the Dragon” (with Daniel Yezbick), and Peter Bogdanovich’s “Paper Moon” (with Tom O’Keefe) — on the second Saturday and Sunday of the fest at the St. Louis Public Library – Central Branch, 1301 Olive St., 63103.
Whether the event is held online or in person, film critics, film academics, filmmakers, and writers will offer introductory remarks and participate in discussions about the films. In addition to St. Louis-based experts, Golden Anniversaries will again feature contributors from elsewhere, including returning presenter Novotny Lawrence (“Coffy” and “Cleopatra Jones”) and new participants such as freelance writer and film historian, Marya E. Gates (“Love & Anarchy”).
For full descriptions of the films, visit the Cinema St. Louis website.
In-Person Screenings
Sunday, April 1, at 1:00 PM
The Sting
George Roy Hill, U.S., 129 min.
With Chris Clark, artistic director of Cinema St. Louis.
Sunday, May 21, at 1:00 PM
Robin Hood
David Hand & Wolfgang Reitherman, U.S., 83 min.
With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.
Sunday, June 18, at 1:00 PM
Live and Let Die
Guy Hamilton, U.K. & U.S., 121 min.
With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.
Sunday, July 16, at 1:00 PM
The Three Musketeers
Richard Lester, Spain & U.S., 106 min.
With Robert Hunt, former film critic for The Riverfront Times.
Sunday, Aug. 20, at 1:00 PM
Sissy Spacek and Martin Sheen in “Badlands”
Badlands
Terence Malick, U.K., 94 min.
With T.J. Keeley, Ph.D. student in contemporary American literature at Saint Louis University and teacher of English and film at college prep schools in the St. Louis area.
Sunday, Sept. 17, at 1:00 PM
The Long Goodbye
Robert Altman, U.S., 112 min.
With Calvin Wilson, theater, film, dance and jazz critic for the St. Louis Post-Dispatch/stltoday.com.
Sunday, Oct. 15, at 1:00 PM
F for Fake
Orson Welles, Gary Graver & Oja Kodar, France, Iran & West Germany, 89 min.
With Joshua Ray, film critic for KMOV and Co-Founder and Contributing Editor of The Take-Up.
Robert Redford and Barbra Streisand, The Way We Were
Sunday, Dec. 17, at 1:00 PM
The Way We Were
Sydney Pollack, U.S., 118 min.
With Lynn Venhaus, a Rotten Tomatoes-approved film critic who reviews for the Webster-Kirkwood Times, KTRS Radio (Jennifer Blome and Wendy Wiese Show), and PopLifeSTL.com website, www.poplifestl.com
Virtual Discussions
Monday, June 12, at 7:30 PM
Love & Anarchy
Lina Wertmüller, Italy, 120 min., Italian
With Marya E. Gates, freelance film writer and historian who specializes in the work of female directors.
Monday, July 10, at 7:30 PM
The Spirit of the Beehive
Victor Erice, Spain, 98 min.
With Cait Lore, who holds a Master’s Degree in Film Theory from the University of Kent, teaches film studies at Websger University, and serves as a co-programmer of QFest St. Louis.
Monday, Aug. 14, at 7:30 PM
Day for Night
François Truffaut, France, 116 min., French
With Robert Hunt, former film critic for The Riverfront Times.
Randy Quaid and Jack Nicholson in “The Last Detail”
Monday, Sept. 11, at 7:30 PM
The Last Detail
Hal Ashby, U.S., 104 min., English
With Robert Garrick, attorney and former contributor to the davekehr.com film blog.
Monday, Oct. 9, at 7:30 PM
Amarcord
Federico Fellini, Italy, 122 min., Italian
With Cate Marquis, a Rotten Tomatoes certified film critic and film historian who writes for We Are Movie Geeks, the St. Louis Jewish Light, and the Alliance of Women Film Journalists, and a member of the Alliance of Women Film Journalists and the St. Louis Film Critics Association.
Monday, Dec. 11, at 7:30 PM
Cleopatra Jones
Jack Starrett, U.S., 89 min.
With Novotny Lawrence, associate professor at Iowa State University.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Cinema St. Louis (CSL) is thrilled to announce plans to acquire the Hi-Pointe Theatre as their new base of operations and programming beginning in January 2023.
Opening in 1922, the Hi-Pointe Theatre has been a cherished landmark for multiple generations of film lovers, and CSL plans to continue that tradition for years to come.
The Hi-Pointe Theatre is the oldest locally owned and continuously-operating arthouse theater in St. Louis. In 1977 the James family acquired the theater, and under their stewardship, the theater has become an iconic St. Louis landmark.
The James family shared: “After 45 years of owning the beloved Hi-Pointe Theatre, we have decided that it is time to end our run. We have been blessed to share this theater with 3 generations of our family and have had the privilege of helping it reach the magical age of 100 years. We know that Cinema St Louis is the perfect sequel to our story. They share the same passion and vision, and we are confident that they will be able to carry on our family’s legacy for the next 100 years. We thank you for your continued patronage, dedication, and support through the years. We will miss you all.”
Hi-Pointe Theatre
Cinema St. Louis’ vision is to create cinematic experiences that enrich, educate, entertain, and build community. The organization has presented programming for more than 30 years when they’ve been able to secure venues.
This acquisition would allow the organization to offer diverse, year-round programming and affordable experiences in the most continual and sustainable manner possible.
CSL’s Executive Director, Bree Maniscalco, stated that “Cinema St. Louis is grateful for this opportunity to not only preserve the last remaining arthouse cinema in St. Louis but also to finally create a permanent home for the organization and make film accessible for the entire St. Louis community. CSL will host its annual film festivals, educational programming, and filmmaker seminars at the Hi-Pointe Theatre. The organization will also offer repertory film series throughout the year as well as screenings of first-run films.”
This acquisition will:
Use film festivals and special events to establish the Hi-Pointe as a unique regional destination to draw visitors to St. Louis.
Increase access to film and filmmaking for underrepresented audiences.
Showcase local talent and bring global, well-recognized films to St. Louis.
Expand free educational and enrichment opportunities to K-12 students through filmmaking camps and screenings throughout the year.
For more than 30 years, Cinema St. Louis (CSL) has served as the region’s go-to arts nonprofit for educating and inspiring audiences of all ages through film. Annually, the organization hosts the St. Louis International Film Festival (SLIFF) — included among USA Today’s 10 Best “Film Festivals Worth Traveling To” — as well as the St. Louis Filmmakers Showcase, QFest St. Louis, Classic French Film Festival, and Golden Anniversaries. In addition, Cinema St. Louis seeks to engage younger audiences, exposing them to the possibilities of becoming filmmakers, through free hands-on filmmaking camps and screenings through Cinema for Students.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
After decades in the entertainment business, Alex Winter has become a multi-hyphenated mainstay, renowned for his work in front of and behind the camera.
Now 57, he remains the face of Bill S. Preston, Esq., in pop culture, but has directed notably high-profile documentaries “Zappa,” “Showbiz Kids” and his tech trilogy, “Downloaded,” “Deep Web” and his latest, “The YouTube Effect.”
“The YouTube Effect” will be one of the opening night films of the 31st annual Whitaker St. Louis International Film Festival. It will be shown at 6:45 p.m. on Thursday, Nov. 3, at the Galleria 6 Cinemas.
This cautionary tale is meant to be a nuanced look at the tech revolution, how it has evolved, good and bad.
Produced with Gale Anne Hurd, the film examines the impact of YouTube on society, how it has made our lives easier and more enriched, while also presenting dangers that make the world a more perilous place.
“The growth of the online community since I made ‘Downloaded’ and ‘Deep Web’ has made a big impact on society, and Gale and I were looking to tell a story about the changes occurring, and where do we go from here,” he said during a phone interview.
The film had its world premiere at the Tribeca Film Festival in June and is currently on the festival circuit, most recently at the Montclair Film Festival.
“It’s been going great,” he said. “We’re bringing it to a lot of festivals, and really happy with the reception.”
Winter is pleased that it’s included in this year’s fest in St. Louis, where his previous films “Downloaded,” “Deep Web” and “Zappa” were also screened.
“I love the festival. It’s my third time in it. I’m always really happy to be part of it and I’m grateful for the film to be shown there so that people in St. Louis can see it,” he said. “I’m not able to be there, things didn’t work out with my schedule, but I’m long overdue for a visit back. I have family and friends there.”
Winter lived in St. Louis as a child, and his first acting gig, a commercial for Kentucky Fried Chicken, was filmed under the Arch, while his first stage role was at the Muny, when he was 10, as one of the orphans in “Oliver!” that starred Vincent Price as Fagin.
His father co-founded Mid-America Dance Company (MADCO) and his mother worked in the dance department at Washington University.
In a previous interview, he spoke about his bond with St. Louis.
“I have a special place in my heart for the city. I’ve always considered myself a Midwesterner. The Midwest has a strong cultural identity, and I have an affinity for it, those core values. I still have a lot of friends there. I spent my formative years there, from 5 to 12, and my dad and brother stayed there, so I was back a lot. It’s always been a second home to me. I feel anchored there,” he said during a phone interview in 2015.
The YouTube Effect
Looking at YouTube
Self-described as a research fanatic, he eagerly dove into this expansive subject.
While he thinks YouTube has been “very equitable in its business model,” for people being able to monetize it as a platform, there needs to be safeguards.
“So that people can have the full spectrum of experiences. There needs to be accountability. It’s not going to happen overnight, but it’s good for people to be aware about it,” he said.
Winter thinks the public needs to take more responsibility about the input and influence, and push for more regulations, not be passive about it.
Winter said he is concerned about “the misinformation apocalypse” and the negative fallout from political ideologies, especially conspiracy theories.
“There is a lot of power in that,” he said, noting how social media gave voice to marginalized people.
YouTube has been singled out as how the Christ Church mass shooter in New Zealand in 2020 (51 people in two mosques) became radicalized.
The movie seeks to find a balance, he said.
“There are a lot of good things going on on You Tube. I’m not wagging a finger at them,” he said. “I respect technology. It’s here to stay. We need to figure out safeguards, changes need to be made.”
Alex Winter (left) and Keanu Reeves in a promotional photo for Bill and Ted’s Excellent Adventure
Fest Favorite
Winter appeared at the festival in 2015, when he received the prestigious Charles Guggenheim Cinema St. Louis Award after his documentary, “Deep Web,” kicked off that year’s St. Louis International Film Festival.
“Deep Web” is the inside story of a digital crime saga that caught his attention. With access to the Ulbricht family, he told the story of Ross William Ulbricht, the 30-year-old entrepreneur who was accused of being “Dread Pirate Roberts” as the creator and operator of the online black market Silk Road. He looked at the thought leaders behind the so-called Deep Web and its future.
A finalist for a distinguished Cinema Eye Honors Award, “Deep Web” was produced and narrated by Keanu Reeves, Winter’s good friend since they portrayed Bill and Ted.
He was also in attendance to present the 1989 cult classic that catapulted him into pop culture history, “Bill & Ted’s Excellent Adventure,” recounting anecdotes about the making of the movie prior to its late-night showing at the Tivoli.
The fest also showed acclaimed 2013 documentary, “Downloaded,” about the rise and fall of Napster and a look at the digital revolution.
“I was fascinated by the online communities that started in the late 1980s. It was clear that this was a major shift in communication. Bitcoin, Silk Road and other anonymous digital sites were the first on a large scale,” he said in 2015.
In 2020, when the fest went virtual, his documentary, “Zappa,” was in the line-up.
His look at the complex and visionary iconoclast Frank Zappa took six years to make, and he received cooperation from the family.
“Getting the family’s support was vital to the project,” he said. “There has never been a definitive biography about him. I am extremely happy to do it. He was a great artist at a turbulent time in history.”
It is available to watch on Hulu and can be rented or purchased on several platforms.
The year “Zappa” came out, during the global coronavirus pandemic, was also the year his very personal documentary, “Showbiz Kids,” premiered on HBO, and the third installment of “Bill and Ted,” “Face the Music” was one of the most anticipated films in 2020.
“That was a very strange year,” he said. “Things I had been working on all popped out at once.”
“Face the Music” shot to no. 1 in U.S.
“It came out at the right time, and a lot of people got to see it. I’m glad it gave fans some fun then,” he said.
Winter said he and Keanu had a great time making the film and won’t shut the door on another one.
“It was a lot of fun,” he said. “We’re always playing around with ideas on where the story could go, what are the possibilities. I always say never say never.”
Other Career Highlights
His movie career took off with “The Lost Boys” in 1987, then came the juggernaut of Bill & Ted, and they reunited for a sequel in 1991.
His 1993 science fiction-horror-comedy “Freaked,” which he co-wrote and co-directed with his college pal-collaborator Tom Stern, is revered as another cult classic.
Another feature he wrote and directed, “Fever,” a 1998 dark tale starring Henry Thomas and Teri Hatcher, was selected for the Directors’ Fortnight at the Cannes Film Festival.
His work on Cartoon Network, where he voiced the Adult Swim character the King Mole Man, was on two episodes of “Robot Chicken,” and MTV’s “The Idiot Box,” a sketch comedy series he developed with Stern, was also highly regarded.
He is a graduate of New York University’s film school. Today, his production company is behind commercials for Ford, Peugeot, Kellogg’s Frosted Flakes, Nickelodeon and 1800 Tequila.
He’s directed music videos for Red Hot Chili Peppers, Ice Cube, Extreme and Helmet.
He was on Broadway in productions of “The King & I” with Yul Brynner, and “Peter Pan” with Sandy Duncan.
With Stern, Winter starred in, co-directed and co-wrote the hit MTV comedy series, “The Idiot Box” and starred in their theatrical co-directing debut, “Freaked,” released by Twentieth Century Fox.
Another documentary was “The Panama Papers,” about the corruption scandal and the journalists who broke the story.
Next up is a cameo role as a cab driver in “Blue’s Big City Adventure,” to be streamed on Paramount Plus on Nov. 18. He’ll be seen in “Absolute Dominion” on Netflix next year, and a film “Destroy All Neighbors” on Shudder.
For the 2015 BND feature: https://www.bnd.com/living/magazine/article42065412.html
Cover Photo by Eric Charbonneau/Invision for AwesomenessTV/AP Images
NEW YORK, NY – APRIL 30: Director Alex Winter speaks onstage at the TechCrunch Disrupt NY 2013 at The Manhattan Center on April 30, 2013 in New York City. (Photo by Brian Ach/Getty Images for TechCrunch)
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Cinema St. Louis is delighted to again offer in-person screenings during the 30th Annual Whitaker St. Louis International Film Festival (SLIFF), held Nov. 4-21, 2021.
Because the effects of the pandemic continue, this year’s fest will be a hybrid — with a significant number of virtual screenings also available — but in-person screenings will be held on all three screens of the Tivoli Theatre from Nov. 4-14 and Nov. 18-21.
Other in-person screenings will take place at Washington University’s Brown Hall Auditorium (on the weekends of Nov. 5-6, 12-14, and 19-21) and Webster University’s Winifred Moore Auditorium (on the evenings of Nov. 5-14).
In addition, the St. Louis Public Library’s Central Library Auditorium will serve as the in-person venue for six Golden Anniversaries screenings of films from 1971. Those screenings will be held on the afternoons of Nov. 6-7, 13-14, and 20-21.
Finally, the Contemporary Art Museum St. Louis will partner with SLIFF on two in-person screenings on the evenings of Nov. 4 and 11.
For those who prefer to view from home, many (though not all) of the films that receive in-person screenings will be available virtually through our partner Eventive from Nov. 4-21. SLIFF will also feature a substantial number of films, shorts programs, and livestreams that can only be accessed virtually.
To protect the safety and health of patrons, SLIFF will require masks and proof of vaccination at in-person screenings. No concessions will be available at any of the venues, including the Tivoli, to ensure audience members remain masked throughout films. Full information on the festival’s Covid-19 policies appear below.
Program Overview
The 30th Annual Whitaker St. Louis International Film Festival, a presentation of the nonprofit Cinema St. Louis (CSL), continues to provide the opportunity for St. Louis filmgoers to view the finest in world cinema — international films, documentaries, American indies, and shorts that can only be seen at the festival.
This year, after an all-virtual festival in 2020, SLIFF is pleased to offer a large selection of in-person events, including at all three screens of the Tivoli Theatre, which has been shuttered since the onset of the pandemic. For those who prefer to watch at home, we’ll still provide plenty of options, with nearly 100 virtual programs and livestreams.
Robert Greene
SLIFF begins on Nov. 4 with a powerful new Missouri-based documentary, “Procession,” which is directed by Robert Greene, the filmmaker-in-chief at the Murray Center for Documentary Journalism at the University of Missouri. In the film, six men from Kansas City, Mo. — all survivors of childhood sexual assault at the hands of Catholic priests and clergy — come together to direct a drama-therapy-inspired experiment designed to collectively work through their trauma. Greene, who will receive SLIFF’s Contemporary Cinema Award, and many of the film’s subjects will attend the screening to participate in a compelling post-film Q&A.
On the festival’s final day, SLIFF offers a Tribute to Mary Strauss, which includes a screening of Mary’s favorite film, “Sunset Boulevard.” Mary has played an absolutely essential role in Cinema St. Louis’ evolution, and we’re delighted to honor her with a Lifetime Achievement Award during our 30th edition.
We’ll also honor two other filmmakers: Documentarian and native St. Louis Nina Gilden Seavey, who will present a free special-event program called “My Fugitive” at the fest, will receive the Charles Guggenheim Cinema St. Louis Award; and documentarian Deborah Riley Draper, whose film “Twenty Pearls: The Story of Alpha Kappa Alpha Sorority” screens at SLIFF, will receive the Women in Film Award.
The festival will screen more than 400 shorts and features, and the 2021 SLIFF offers an especially impressive array of the year’s most heralded films, including selections from such destination fests as Sundance, Berlin, SXSW, Hot Docs, Tribeca, Cannes, Venice, Telluride, Toronto, and New York.
Among the most enticing English-language studio films are Kenneth Branagh’s “Belfast” (winner of the People’s Choice Award at Toronto), Mike Mills’ “C’mon C’mon” (with Joaquin Phoenix), Michael Pearce’s “Encounter” (with Riz Ahmed and Octavia Spencer), Stephen Karam’s “The Humans” (with Richard Jenkins, Beanie Feldstein, Stephen Yeun, and Amy Schumer), Clint Bentley’s “Jockey” (with Clifton Collins and Molly Parker), Reinaldo Marcus Green’s “King Richard” (with Will Smith), and Eva Husson’s “Mothering Sunday” (with Colin Firth and Olivia Colman).
“Belfast”
Major international titles include “A Chiara” from Jonas Carpignano, “Ahed’s Knee” from Nadav Lapid, “France” from Bruno Dumont (“Slack Bay”), “A Hero” from Asghar Farhadi (“A Separation”), “Hit the Road” from Panah Panahi, “Memoria” from Apichatpong Weerasethakul (“Tropical Malady”), “One Second” from Zhang Yimou (“House of Flying Daggers”), “Paris, 13th District” from Jacques Audiard (“A Prophet”), “Petite Maman” from Céline Sciamma (“Portrait of a Lady on Fire”), “Wheel of Fortune and Fantasy” from Ryūsuke Hamaguchi (“Happy Hour”), and “The Worst Person in the World” from Joachim Trier (“Oslo, August 31st”). SLIFF also offers a pair of films from Radu Jude (“Bad Luck Banging or Loony Porn” and “Uppercase Print”) and a trio of works by Hong Sangsoo (“In Front of Your Face,” “Introduction,” and “The Woman Who Ran”).
Significant documentaries include Joshua Altman & Bing Liu’s “All These Sons,” John Maggio’s “A Choice of Weapons: Inspired by Gordon Parks,” Rex Miller & Sam Pollard’s “Citizen Ashe,” Andrea Arnold’s “Cow,” Mobolaji Olambiwonnu’s “Ferguson Rises,” Brandon Kramer’s “The First Step,” Matthew Heineman’s “The First Wave,” Jonas Poher Rasmussen’s “Flee,” Julie Cohen and Betty West’s “Julia,” Peggy Callahan & Louie Psihoyos’ “Mission: Joy,” Max Lowe’s “Torn,” Debbie Lum’s “Try Harder!,” and Emily and Sarah Kunstler’s “Who We Are: A Chronicle of Racism in America.”
And that’s just scratching the surface of the 2021 lineup, which includes nearly 20 American indies, 29 shorts programs, and eight free archival selections. Below are some of the other highlights of this year’s SLIFF:
The Divided City
SLIFF’s The Divided City program focuses on the racial divide in St. Louis and other U.S. cities. The films are supported by The Divided City: An Urban Humanities Initiative, a program of Washington U.’s Center for the Humanities that addresses one of the most persistent and vexing issues in urban studies: segregation.
Sponsored by the Center for the Humanities at Washington University
“The First Wave” documentary
Free and Discounted Programs
SLIFF continues our tradition of offering a large selection of free and discounted events to maximize the fest’s outreach into the community and to make the event affordable to all. In addition, for the 18th year, we present the Georgia Frontiere Cinema for Students Program, which provides free screenings to St. Louis-area schools. This year features 31 free in-person programs, including all screenings at the Contemporary Art Museum, St. Louis Public Library, and Washington University. We’re also offering a pair of free screenings at the Tivoli, a free in-person master class, and six free livestreams. And the fest features 31 virtual programs at the special price of $5.
Georgia Frontiere Cinema for Students Program
SLIFF offers free daytime screenings for children and teens from participating St. Louis-area schools. This year’s selections include shorts, documentary features, narrative features, and shorts programs. See the Cinema for Students section of the SLIFF website for full information.
Sponsored by Chip Rosenbloom and Lucia Rosenbloom (in honor of Georgia Frontiere) and the Hawkins Foundation, with support from the Jane M. & Bruce P. Robert Charitable Foundation
Human Rights Spotlight
This selection of documentaries focuses on human-rights issues in the U.S. and the world.
Sponsored by Sigma Iota Rho Honor Society for International and Area Studies at Washington University and the Whitney R. Harris World Law Institute
Master Classes and Seminars
SLIFF provides four free master classes — one in-person event and three livestreams — and a seminar. See the Special Events section of the SLIFF website for full information.
Sponsored by the Chellappa-Vedavalli Foundation
New Filmmakers Forum
The New Filmmakers Forum (NFF), a juried competition of works by first-time feature filmmakers, is an annual highlight of SLIFF. The featured films this year are “Delicate State,” “Papaw Land,” “Shellfish,” “Walk with Me,” and “We Burn Like This,” and the filmmakers will participate in a free roundtable discussion. The screenings and roundtable are hosted by the Missouri Film Office’s Andrea Sporcic Klund. The NFF Emerging Filmmaker Award — nicknamed the Bobbie in honor of the late Bobbie Lautenschlager, NFF’s longtime curator — is presented at SLIFF’s Closing-Night Awards Presentation.
Sponsored by Barry & Jackie Albrecht and Pat Scallet
Race in America: The Black Experience
Because the events in Ferguson continue to resonate in St. Louis and the country, SLIFF again offers a large number of programs organized under the title Race in America: The Black Experience. To maximize accessibility and promote dialogue, 12 of the 26 programs in Race in America are free.
Sponsored by William A. Kerr Foundation
Show-Me Cinema
Films made in St. Louis and Missouri or by current and former St. Louisans and Missourians are an annual focus of SLIFF. This year’s lineup of Show-Me Cinema is typically strong, featuring 18 feature films, three shorts programs, and four special events.
Sponsored by the Missouri Division of Tourism and Missouri Film Office
SLIFF/Kids Family Films
Cinema St. Louis presents a selection of eight family programs, including two documentaries and two free collections of shorts. Because patrons younger than 12 are not able to attend in-person screenings this year, all SLIFF/Kids programs are offered virtually.
Tivoli Theatre in University City
COVID-19 POLICIES FOR SLIFF IN-PERSON ATTENDANCE
The safety of our patrons, filmmakers, and volunteers is Cinema St. Louis’ top priority. To ensure everyone is protected, SLIFF has instituted a number of policies for the duration of the festival.
These policies will be strictly enforced for the protection of everyone.
Guests must follow the instructions of SLIFF staff members and volunteers. SLIFF reserves the right to deny admission or dismiss any customer for noncompliance.
The following policies will apply during SLIFF:
Proof of full vaccination (at least two weeks after the final dose) of any FDA-approved vaccine is required for all staff members, volunteers, audience members, and filmmakers at each in-person screening and event.
Methods of confirming proof of full vaccination are:
CDC Vaccine Card and valid photo ID.
A photo of a CDC Vaccine Card and valid photo ID.
Guests should arrive no earlier than 30 minutes before the scheduled screening time. Any guests arriving earlier will be asked to wait outside in line until the theaters are prepared for seating.
Only guests age 12 or older will be permitted to attend.
Masks are required for everyone at all times in indoor spaces, and the face coverings must be consistent with the current CDC guidelines.
Paper masks, scarves, neck gaiters, shirts pulled up, masks with holes/filters/breathing valves, and makeshift masks are not acceptable.
New disposable surgical masks are available to all audience members.
Masks must completely cover the mouth and nose and must be replaced if wet or soiled.
PPE may be inspected for compliance or issued as needed.
No concessions will be available at any venue, and no eating or drinking will be permitted in the theaters. Outside food or drink will also not be permitted.
Guests should stay home if not feeling well or exhibiting symptoms of Covid-19 in the past 10 days.
Guests who have tested positive for Covid-19 within the past 10 days must stay home.
Guests are asked to wash hands as often as possible, use hand-sanitizing stations, and cover nose and mouth when sneezing or coughing.
Gloria Swanson and William Holden in “Sunset Boulevard”
TICKET AND PASS INFORMATION
TICKET PRICES
Individual tickets, for either in-person or virtual screenings, are $15 for general admission, $11 for Cinema St. Louis members and students with valid and current photo IDs. Prices are all-inclusive; no additional fees will be added.
The Tribute to Mary Strauss (held on Nov. 21) is $25 and includes a screening of “Sunset Boulevard,” which follows the event.
SLIFF also offers 31 free in-person screenings, six free livestreams, and 31 virtual programs for a special $5 price. Complete information can be found in the Free Events and Discounted Events sections of the festival website.
Free in-person screenings do not require a ticket.
PASS PRICES
Passes can be used for either in-person or virtual screenings and can be used to purchase multiple tickets for an in-person event. Three forms of passes are available:
Sustaining Sponsors: Albrecht Family Foundation, Chellappa-Vedavalli Foundation, Hawkins Foundation, Jane M. & Bruce P. Robert Charitable Foundation, Ward & Carol Klein, Nancy & Ken Kranzberg, Missouri Arts Council, Missouri Division of Tourism, National Endowment for the Arts, Regional Arts Commission, Chip Rosenbloom & Lucia Rosenbloom, Mary Strauss, Trio Foundation of St. Louis, TV5Monde, William A. Kerr Foundation
Presenting Partners: Center for the Humanities at Washington University, Contemporary Art Museum St. Louis, The Divided City, Eventive, Film & Media Archive at Washington University Libraries, Film & Media Studies Program at Washington University, Simple DCP, St. Louis Public Library, St. Louis Public Radio, Webster University Film Series
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
During the month of March, PopLifeSTL.com will recognize significant female contributions in filmmaking.Today we spotlight “Test Pattern,” a debut feature I saw in February 2021, and stayed with me throughout the year, voting for it on several occasions.
Shatara Michelle Ford was raised in St. Louis, so it was fitting for her film “Test Pattern” to be shown at the St. Louis International Film Festival in November 2020. After Kino Lorber agreed to distribute it, I was able to see it a few months later, and was impressed by Ford’s first-time feature, her story and her cast, particularly breakout Brittany S. Hall.
At last week’s Film Independent Spirit Awards, Ford was nominated for Best First Feature and Best First Screenplay, and Hall for Best Actress. Ford, who identifies as they/them, did not win, but she has received other critical acclaim, Gotham Award nominations for Breakthrough Director and Independent Film, and hopefully more opportunities. There has been no announcement or update on her IMDB page.
But she is definitely one to watch. Here is my review of “Test Pattern,” which is now available on Starz (subscription) and to rent via video on demand platforms, such as Amazon, Google Play, DirecTV and others.
A New Female Filmmaker’s Voice Emerges In Realistic ‘Test Pattern’
By Lynn Venhaus In a powerful feature-length film debut, Shatara Michelle Ford presents a gripping, relevant view of how traumatized women are still treated in the aftermath of sexual assault and the prevailing patriarchy about womanhood and consent.
Ford, who grew up in St. Louis, wrote and directed “Test Pattern,” which was shown at last year’s St. Louis International Film Festival. It won the inaugural Essy Award for best narrative feature, which is given to a film shot in St. Louis or made by a St. Louisan.
It’s about how an interracial couple’s relationship is tested after Renesha (Brittany S. Hall) is sexually assaulted and her live-in boyfriend Evan (Will Brill) drives her to several hospitals in pursuit of a rape kit.
Defying stereotypes, and with its exploration of identity and race, this work has flourished on the festival circuit, and as of Feb. 19, Kino Lorber is distributing it as a video on demand through their Kino Lorber Marquee platform (https://kinomarquee.com)
Ford’s realistic drama veers into psychological horror as everything about Renesha’s girls’ night with best friend Amber (Gail Bean) turns into a nightmare, from the predatory actions of brash e-commerce entrepreneur (Drew Fuller) to its day-after blurry, drugged, foggy trauma.
Not only does Ford delve into these ongoing systemic issues, but also features a frustrating quest to seek answers and justice that serves as an eye-opening indictment of health care inequities.
It is a lot to take on in one film, and Ford has much to say, but she uses one couple’s experiences as an intimate portrait of modern relationships and the framework to look at external forces affecting life today.
Using flashbacks in key moments, self-assured Ford establishes a loving opposite-attracts relationship between an easy-going white tattoo artist, Evan, a superb Will Brill, and a bright, beautiful black development director, Renesha, played shrewdly and delicately by Brittany S. Hall.
Interestingly, they meet during an innocuous girls’ night out of drinking and dancing. Their awkward encounters lead to a first date, then a first night together, then fast-forward to ‘now.’
As their mutual attraction has led to commitment, they have moved in together in a small starter house in Austin. Convincing in every way, their performances are intertwined in a truth.
Bored with the corporate world, Renesha has started a new job working for a non-profit, the Humane Society.
That night, her pal Amber wants to celebrate, so she reluctantly goes to the Hacienda Social Club. Everything that unfolds screams “bad idea” – Amber, eager to party and already losing her inhibitions, falls prey to a pushy guy, Chris, (Ben Levin), who is toasting a business deal with his friend.
The flashy white guys keep the champagne flowing as they pressure each girl to drink more and dance – and despite Renesha’s repeated attempts at no, and that “I have a boyfriend,” she is stuck in this situation with her fun-loving friend, who is having a good time.
At some point, Renesha is slipped a “roofie,” the illegal date-rape drug Rohypnol, and when incapacitated, she is taken to Mike’s apartment, where he rapes her. She wakes up with little knowledge of how she got there or what happened.
A concerned and devastated Evan wants answers, insistently pursues a rape kit, but Renesha doesn’t want to go through the process. The tense journey does not go well, as each deal with their own emotional responses while facing the bureaucratic red tape of health care hell and a police report.
What is in no doubt is that they have been forever changed as a couple, tested both by gender roles and prejudice.
At only 88 minutes, the film leaves out some pertinent details, and the abrupt ending is not satisfying. But Ford’s flair for dialogue and crafting authentic characters is strong.
Cinematographer Ludovici Isodori’s has contrasted the two storylines masterfully, locations are well-chosen for a low-budget indie, while Robert Oyuang Rusli’s string-heavy score accents an entire gamut of emotions. Tchaikovsky’s “The Waltz of Flowers” from “The Nutcracker Suite” is a clever choice for a compelling scene.
Oscar Wilde’s quote, “Everything is about sex, except sex, which is about power,” is used as the film’s tagline, and Ford has wisely applied it to a modern exploration of how women are conditioned about sex and consent. Add institutional racism from a black woman’s perspective and the power shifts between couples, and you get one potent thought-provoking film.
“Test Pattern” addresses similar territory that “Promising Young Woman” tackles and will add more to the national conversation.
Like the impressive female-directed and written 2020 social commentaries “The Assistant” and “Never Rarely Sometimes Always,” with this film, Ford proves she is an exciting new voice. Her name can be included in the growing list of formidable female directors with something to say.
Shatara Michelle Ford
“Test Pattern” is a 2019 drama written and directed by Shatara Michelle Ford, starring Brittany S. Hall and Will Brill. It is not rated and the run time is 1 hour, 22 min. The film is available as a video on demand through Kino Lorber Marquee. Lynn’s Grade: B+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
