PIGLFF : Ten Years of Queer Cinema- P.A.W. Print

The lights go down. A techno beat thumps. On the screen, in hand-drawn animation, two attractive men eye each other. Numbers intermittently flash, counting up from one. The men kiss and begin to undress each other. As the action becomes more intimate, we reach ten. So began the tenth annual Philadelphia International Gay and Lesbian Film Festival (PIGLFF), which was held July 11 to July 27.

With a trailer like this (and a corresponding one depicting two women), it's no wonder The Out Traveler Magazine declared this festival to be the "sexiest." That's only one distinction that separates PIGLFF from the scores of gay and lesbian film festivals around the country.

PIGLFF is largest gay and lesbian film festival on the East Coast, beating out New York by virtue of more screenings and ranking third in the country after San Francisco and Los Angeles. Last July, it hosted 51 features, 22 documentaries and 64 shorts from 22 countries.

Besides distinguishing itself through comparative size, the event also boasts an edge via the published proficiency of Artistic Director Raymond Murray. Murray's book, Images in the Dark (Penguin, 1996), is considered an essential reference text for queer cinema. Says Operations Manager Claire Brown Kohler, "I think we're the only [queer festival] that has that kind of expertise."

Kohler and Murray respectively are the chief operating officer and the president/chief executive officer of TLA Entertainment Group, which sponsors the Philadelphia Film Society (PFS). Both PIGLFF and the Philadelphia Film Festival are produced by PFS. TLA's specializing in the distribution of gay and lesbian cinema gives the festival a leg up on competitors when it comes to acquiring movies. "Because of, I think, the strength of TLA," Murray explains, "sometimes we can get films that other film festivals can't get."

Murray cites as an example, A Home at the End of the World, which is a new film starring Colin Farrell that screened to a sold-out crowd at the fest. Cowboys and Angels, a charming Irish comedy, had a sneak preview at the fest and will, in fact, be distributed by TLA later this year.

A lot has changed since the first festival in 1995. Gay and lesbian culture has become more mainstreamed. Managing Director Thom Cardwell points out that the opening night of the festival was in direct competition with a Will & Grace marathon.

In addition, the number of films in the festival has more than doubled, as has the number of countries represented. The diversity of the storylines of the film has likewise evolved. "Different types of stories… are being told than there used to be," says Andrew Preis, Director of Media Relations, "It used to be just all sex, or coming out." Preis points out that now there are genre films such as Hellbent and Make a Wish, which are, respectively, gay and lesbian horror films.

Over time, the stature of the festival within Philadelphia has grown considerably, with mainstream press like the Philadelphia Inquirer, Metro Paper, Courier Post, City Paper and others devoting substantial column inches and sometimes even cover stories to the event. It is no longer, says Preis, "this very, very targeted little event that's only of interest to the gay and lesbian community."


	Thom Cardwell. photo detail, GPPN

The reputation of PIGLFF outside Philadelphia has likewise evolved. National sponsors, such as Avis, Absolut, Amtrak, and Spirit Airlines have joined local businesses such as Lamberti's, which has supported the festival from the very start in backing the event. Representatives of other festivals now regard PIGLFF to be a must-attend event. Delegates from gay and lesbian festivals in Miami, Florida, Washington, DC, Long Island, New York and Providence, Rhode Island have attended this year's fest. A delegate from Reel Pride, Michigan actually interned in the film festival office.

PIGLFF has also garnered a reputation in the industry for guest appreciation. Preis elaborates, "We've had some filmmakers tell us that they've fought with their agents because we're [held at] the same time as [the L.A. festival] Outfest. And the agent says, 'Go to Los Angeles!' And the filmmaker says, 'I want to go to Philadelphia.' 'Why do you want to go to Philadelphia?' 'Because I have a better time in Philadelphia!'"

This year's guests included director/actor Alan Cumming (the films The Anniversary Party and X2), actress/writer/director Guinevere Turner (the film Go Fish, the Showtime series, The L Word), and producer/director Lee Daniels (the film Monster's Ball, and the upcoming film The Woodsman). Each guest received the festival's Artistic Achievement Award. In addition, former Daily Show pundit and radio personality Frank DeCaro presented a hilarious retrospective of gay themes in mainstream cinema. Scott Thompson, of "Kids in the Hall" fame, took part in an uproarious staged reading of Another Gay Movie, a new screenplay from Edge of Seventeen writer Todd Stephens.

Work on the festival begins over a year in advance, with Cardwell lining up sponsors and locations (the dates for next year's festival are already set). Murray scours film festivals around the world for new material. One of this year's darker, funnier movies, Testosterone, was discovered at last year's Toronto Film Festival.

Once the films are selected, themes begin to emerge and form the core of the festival's program. This year's recurring motifs included gay parenting and partnering and multiculturalism. "It is interesting," notes Preis, "that marriage and parenting is such a hot topic [in America] but most of the films [at PIGLFF] that deal with that are foreign." These included the Spanish film Bear Cub, which is about a gay man raising his nephew and the Swedish film Immediate Boarding, a gender-bending family film that puts a new twist on The Parent Trap.

At least one American film at the festival--- such as the poignant documentary Tying the Knot, deals directly with the issue of gay marriage. The cover of the festival program also evokes this topic. It depicts two sets of miniature grooms and brides set atop reels of film that are arranged like a wedding cake. But the most noticeable impact of the highly polarized political climate characterizing the festival may be an increase in attendance. "Ticket sales are up," Kohler notes, adding, "Now [as to] whether people are wanting to come into an affirmative atmosphere after doing so much battling against negativity, I don't know. It'd be an interesting poll to take among the audience."

At ten years of age, PIGLFF has much to be proud of, but much to look forward to. "Sometimes [change] moves very slowly," says Cardwell, "So, I think five years from now there'll still be a gay and lesbian film festival. There'll be a reason for that. It'll still satisfy a need."

Additional information about the PIGLFF and other Philadelphia Film Society events may be obtained by visiting www.phillfests.com.