Lost Film Festival - P.A.W. Print - Philadelphia Arts Writers

Scott Beibin.. photo, FilmThreat.com

The surroundings of a film festival can tell a lot about its attendees. Take Cannes on the French Riviera, Sundance among the majestic Rockies, or the Lost Film Festival (LFF) and its punk rock hair cut booth.

More eclectic than elite, the Lost Film Festival began its ninth screening in Philadelphia, running August 17 through August 22. It will present shorts and feature-length films characterized by a political consciousness and portraying general contempt for big business and mainstream media.

As feature-length documentaries such as Fahrenheit 9/11 and Supersize Me have helped make the movie-going public realize that learning can be entertaining, LFF this year will be a celebration of the documentary form. The festival has played an integral role in bringing documentaries to a wider audience.

Liz Cole, who is the booking agent for LFF, doesn't seem surprised at the spike in the documentary's popularity. "We've been dedicated to the documentary for a while now," she says, adding, "I think it's just been recently that the public has simply become bored of fiction, and reality television which is pretty contrived itself."

What started in 1999 as a collective of local musicians and filmmakers collaborating on a two-day film/music/puppet show, has snowballed into a barnstorming tour of narrative shorts, amateur footage, and independent films. In 2003, Festival Director Scott Beibin and friends put even the most venerable rock acts to shame by holding 252 separate screenings across the US and Europe.

As the owner of Bloodlink Records, Beibin was able to book for screenings the theaters, colleges, and union halls he had booked for rock shows. However, LFF has also provided the forum to explore some more unconventional locales as well. "We once played a cave at Carlsbad Caverns," Beibin recalls. "We ran some extension cords out to the cave from our generator. It was actually a pretty cozy space."

But such unique settings are part of the festival's backbone. "I think it's very important to experience information in a non-traditional setting," Beibin says, adding, "People are hungry for information. They're sick of [the networks] and the Hollywood blockbusters."

The punk rock roots of the festival are still apparent in LFF's do-it-yourself aesthetic. By rejecting all corporate sponsorship and working on what barely qualifies as a budget, LFF stays afloat on a small grant from the Foundation Arts, submission fees for festival entries, and the pluck and tireless work of friends.


	Scott Beibin. photo, Philadelphia Weekly

Unlike the haughty atmosphere of more notable indie film festivals, LFF prides itself on placing less emphasis on competition and more on community. One mission of the festival is to assist films that don't have any financial backing. Having established relationships with networks such as the Independent Film Channel, The Sundance Channel and Showtime, and showing one's work at the Lost Film Festival can greatly aid the distribution of a film. "We like to think that [LFF] paves the way for a lot of other indie film makers to say it can be done," Beibin says.

Films like the Ramones' documentary End Of The Century, The Yes Men by directors Sara Price, Chris Smith and Dan Ollman, and Weather Underground (which was an Academy Award nominee for Best Documentary Feature), have all enjoyed success as LFF alums.

In addition to films, the festival offers other entertainment such as the aforementioned haircut booth. This year, Beiban says, LFF will be featuring Pete & Pete karaoke where participants can recite lines from old episodes of the early 90's Nickelodeon show with the 'older' Pete. But be warned. Those who mess up will be slimed ala another Nick classic, You Can't Do that on Television.

LFF bids a farewell of sorts to Philadelphia. This will be the last multi-day festival in the city. Beibin is planning to hold a few screenings here throughout the year, but urges film enthusiasts to take advantage of the upcoming festival, and for budding filmmakers to submit their films.

About 30 films make it through the selection process with each show's lineup shuffled by Beiben much like a DJ or rock band tinkers with its set list from night to night. While on tour, a show typically runs for three hours, but unlike most cinematic colossi, Beiban prides himself on capturing the audience's attention for the whole ride. "For three hours of movies, it moves pretty quickly," Beibin says, adding, "It's almost like a stand-up comedy routine of films."

Jericho's Echo, by San Franciscan Elizabeth Nord, is among the featured films. It documents the underground punk rock scene in Israel and how a generation is choosing guitars over guns to help reform their homeland's societal ills.

Another film, The Take, is a feature-length directorial debut by Avi Lewis, and author Naomi Klein of No Logo fame. It focuses on the plight of Argentinean factory workers depicted during the collapse of the economy and the workers' efforts to reclaim their jobs.

The Corporation, a swipe at big business composed in the tradition of Michael Moore, by Jennifer Abbott, Mark Achbar and Joel Bakan, is presently in theaters and will close the festival.

LFF kicked off at The Church of Divine Energy (a.k.a. C.O.D.E.space) at 48th Street and Woodland Avenue, August 17 to 19. From there, the festival shifted to the Rotunda at the University of Pennsylvania at 40th Street and Walnut Street, August 20 to 22. An outdoor screening of The Corporation will take place at 8pm, August 22 at the University Commons at 36th Street and Sansom Street.

Venues, show times and additional information can be found at www.lostfilmfest.com.