The screening of Compensation brought deaf and hearing audiences alike to the festival. Lead actress Michelle Banks, who spoke with an ASL interpreter, introduced the screening along with co-star John Jelks. Banks welcomed the audience to the screening before the show, explaining what makes the film special is that it is, at its heart, a love story, following two sets parallel lives at both ends of the Century. Also, to her knowledge, it is the only film of its kind, dealing with issues of deafness and race. At the post screening Q&A, the audience's enthusiasm was apparent. Michelle invited a deaf audience member who was signing his question to come closer so she could see him! "Come closer," she signed. Questions ranged from what Michelle and John's future plans entailed (Michelle will be moving to L.A. while John is developing another film with Zienabu irene Davis), to what it was like to have such distinct film at Sundance, where the fare tends to be somewhat more commercial. John explained that the film's unique qualities allowed it to stand out in the crowded marketplace. Michelle added that she was overwhelmed by all the energy and enthusiasm for the film.

"One of those things" continued as the demons crept into Theatre 3-for the screening of Danny Plotnick's Wild Kingdom began with a few technnical glitches. The projectionists, who are doing a wonderful job to remedy such demonoid intruders, and eventually fixed the situation-but the fight with the Theatre 3 projector gremlins was not over. Danny, who has traveled the world with his films, and has projected them in bars, basements, classrooms, and church halls, handled the show with grace. In his introduction, he explained that the strangest thing about film as an art form, was the arbitrary imposition of length as a determining factor in the commercial viability of a project. He pointed to a wall panel, "It would be like saying, 'no painting smaller than this can be shown at the Museum of Modern Art.'"

Danny's screening was followed by a riveting panel called "Filmmaking Outside the Mainstream," moderated by Shael Stolberg, and featuring Plotnick, M.M. Serra, Mike Kuchar, and Jeanne Finley. (A more detailed description of this to follow…)

The political thread started earlier in the day with This is Cuba and Long Night's Journey into Day, was picked up by Kevin McKiernan's Good Kurds, Bad Kurds. As I introduced the film, I commended Kevin for bringing such an important issue (the plight of Kurds in Turkey) to light-an issue that has been woefully inder-reported in the mainstream media. I related a quick story to the audience: "In Park City, where I first saw this film, I was amazed at the post-screening discussion…Kevin managed to generate a serious political debate in a place where the level of most people's political commitment is limited to latte or capachino." McKiernan invited some of the Kurdish participants in the film up from D.C. "This is really the raison d'être for a film festival," McKiernan confided in me after the screening. "To open people's eyes and to start people thinking about this issue."
-GW, 3:07 PM

Saturday (part 3) John Hazlett introduced his debut film Bad Money thus, "I always feel like the applause I am getting now is stolen-because you don't know what you are clapping for, yet. Let's talk after the film." His caution was unnecessary however, as the audience did indeed enjoy the film. During the Q&A, questions ranged from the difference between making a film in Canada and the U.S. to budgetary issues, to casting. "I cast Graham Greene in the part of the disgruntled businessman because his agent let it be known he was looking to play non-native roles. He gets about a box load of scripts a day. He's always the guy on the horse. Medicine man comes to village. Saves village. Native guy meets boy with cancer. Cures cancer. Medicine man makes village disappear." As for Karen Sillas, who is a strict vegetarian-the role of the entrepreneur who abandons her vegetarianism and starts serving black market meat, Hazlett says, "Her agent was nervous she was either going to love the role, or HATE the role. Luckily she has a sense of humor."

"One of those things…" struck again at the screening of Searching for Roger Taylor. The projectionists, and I went searching for Sarah Jacobson's short film, Ladies and Gentlemen the Fabulous Stains: Behind the Movie. It seems that wires were crossed and those of us expecting Sarah's film to arrive in hand (it is a Beta tape), should have called in advance to confirm. Sam Green called me on the cell p[hone to tell me that he sent it, but to date, the film has not arrived. If you have seen a tape labeled Ladies and Gentlemen the Fabulous Stains: Behind the Movie, and addressed to the Maryland Film Office, please email us at info@mdfilmfest.com with more information.
-GW 6:01 PM