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In its second official year, the Broad Street Film Festival held a three-evening event last weekend, April 22-24. Unlike last year, however, the festival was not run by Bryan College.

The Broad Street Film Festival is a nonprofit organization under the umbrella of The Community Foundation of Greater Chattanooga. According to a Broad Street Festival news release, the organization’s goal is to “enhance the film culture of Chattanooga by hosting a film festival that provides community exposure for collegiate filmmaking talent as well as educational and networking opportunities for the next generation of filmmakers in the Chattanooga region.”

The events included a screenings of festival films at the Carmike Majestic  12 last Thursday night, which was attended by over 400 people, an informal evening with Director Scott Teems on Friday for the filmmakers and the formal awards ceremony on Saturday evening at the Tivoli Theatre, which was attended by 600 people.

“By far, at least for me, I thought the best part of the festival was having Scott Teems come in to talk about his film. He was able to show his award-winning film “That Evening Sun” and then discuss what it means to be ‘a filmmaker with Christian concerns’–not merely a Christian filmmaker,” said senior Philip Johnston.

‘That Evening Sun’ is a very dark film, but it is not without what Flannery O’Connor would call the ‘almost imperceptible intrusion of grace,’” Johnston continued.

For those who were not filmmakers, however, the awards event at the Tivoli was the main event.

“It’s my favorite Bryan College event, by far,” said junior Kara Nissley in a conversation about last weekend’s awards ceremony.

The night of the awards ceremony began in a grand style, fitting to the million-dollar theater’s grand, Beaux Arts-style architecture. Ticket-holders, dressed in their formal attire, mingled in the lobby of the Tivoli Theatre, amidst the ambiance created both by the theater’s splendor and by the live jazz band from Covenant College.

The awards ceremony itself was emceed by WTCI’s Alison Lebovitz and featured musical talent from Covenant College and Bryan College, including Johnny Cake Mouth and Crew, the Tough Customers, Suite C and a final performance by the Little Foxes.

When asked how he felt the three-fold event went as a whole, Johnston, who instrumental in helping with the Broad Street Film Festival, said that he was encouraged by this year’s films.

“With any film festival you’re at the mercy of the films that are submitted and filmmakers present at the festival,” Johnston said, “and this year the selections were give-and-take, but all in all it was a much more positive collection of films than in previous years. The festival team was really encouraged by the quality of most of the entries.”

The hour is waning. All those months of writing, planning, filming, editing and sweating will hopefully pay off for Bryan film majors anxious to see the results of their latest films at the Broad Street Film Festival in Chattanooga, April 22-24. According to the film makers and those planning the event, the festival should be a dandy.

“I think there are a lot of reasons to be excited about this because there are such a great variety of films coming from Bryan this year,” senior Phillip Johnston said.

Last year, Bryan broke with tradition and featured films not only produced by the Bryan College film department but also by students of Covenant College (Lookout Mt., Ga.). This year, the festival alterations are even more significant.

First and foremost of these alterations is that the festival is no longer going to be a Bryan College event. Rather it is hosted by a separate non-profit organization funded by the Community Foundation of Greater Chattanooga and will be featuring films not just from two schools this year but three (possibly four counting UTC): Bryan College, Covenant College and Southern Adventist University (Collegedale, Tenn.). Southern Adventist has had an established film program for the last 10 years, according to Bryan Assistant Professor of Communication Studies Chris Clark.

Another noteworthy change is that the films will literally be showing on the big screens at the Carmike Majestic 12 movie theater in Chattanooga. This is a tremendous change from last year’s venue at the Bijou.

“This is the biggest step the film culture has taken in presenting its work to the Chattanooga community at large,” Johnston said. “It’s great for the filmmakers and the students.”

The film festival is a three-day event which begins with the showing of the films in the Majestic theater on Thursday, April 22. All the viewings are open to the public. The second day, film students will get the privilege of meeting and listening to independent film director Scott Teems, director and writer of the film “That Evening Sun.” And of course, the awards ceremony will take place the final day of the festival at the grand Tivoli Theater in Chattanooga.

“We stepped it up last year, and I think it’s going to be even better this year,” Clark said.

The awards ceremony will include many of the same elements included in last year’s awards night, according to Clark, with multiple school bands performing, clips shown of the films and obviously the awards and the speeches and lots of tuxedos and fancy gowns. There will also be three new awards offered for this ceremony including awards for Best Documentary, Best Original Screenplay and Best Music Video.

One major alteration to the award’s night as opposed to last year’s will be the length of the actual ceremony, according to Clark. What was three hours long last year will hopefully be trimmed to about one hour and 45 minutes this year. There will also be a professional master of ceremony’s hired for the event as well.

“We’re trying to pull in the city,” Clark said. “We’ll be hitting the media outlets in print, on the Internet, television… many people have given money for this event from corporations and organizations.”

Clark said he highly recommends students become fans of the Broad Street Film Festival on Facebook. Student tickets for the festival will go on sale April 14-16. The ticket will cover the cost of both the film viewings at The Carmike Majestic 12 as well as the awards ceremony at the Tivoli.

I’ll admit from the start that I don’t quite know how to write about Joel and Ethan Coen’s new film “A Serious Man” (newly released on DVD), but I’ll begin with a few things I know for sure. I know that this is a hysterically funny movie and that it made me laugh so hard that my stomach started to ache. I know that it is very personal on the part of the filmmakers and that it is perfectly executed for just that reason. I’m confident that it achieves a polished completeness and finality that many directors only dream of.

But do I understand it?

I wish.

Here’s the rundown: Life is unraveling for physics professor and generally good man Larry Gopnik. His wife, Judith, is having an affair with an aloof family friend and wants a divorce. His brother Arthur (Richard Kind) is emotionally and physically incapable of living alone and spends his nights in Larry’s living room.

The Gopnik children, Danny and Sarah, are pilfering cash from their father’s wallet to buy pot and save up for a nose job. There’s an anonymous person writing nasty letters to the university to tarnish Larry’s good reputation and destroy his chances at tenure. An unhappy graduate student is attempting to bribe him for a better math grade with an envelope of large bills.

Distraught and terribly confused, Larry sets out on a quest to find some balance to the chaos. A devout Jew, he’s advised by his friends to talk to the rabbi. He consults three and they all have different non-answers. Temptations arise, questions go unanswered, doors get slammed in his face, and Larry is confronted with many a harrowing choice, each one compounding the mystery of the Coen brothers’ latest existential riddle.

The Coens know how to harvest the hilarity out of life’s absurdity and A Serious Man is a movie for those of us who can laugh at exaggerated characters put in situations that easily reach a level of gleefully deranged poeticism. Here we have messages written on the back of people’s teeth, a rabbi who quotes Jefferson Airplane, and a perpetually drained cyst all working to prove yet again that these filmmakers specialize in their own brand of niche comedy.

Newcomer Michael Stuhlbarg imbues Larry Gopnik with a jittery, painful unease that makes his strife even more relatable. His character shares many similarities to William H. Macy’s character in the Coen’s “Fargo,” but whereas Jerry Lundegaard caved to criminal activity under the crushing weight of self-pity, Larry Gopnik chooses to fight it out and make the most of his ability to choose. It’s a delicate balance and Stuhlbarg pulls it off beautifully.

In typical Coen fashion, the supporting characters nearly steal the show, particularly Fred Melamed who plays Sy Ableman, the agonizingly serious and overbearing family friend who has stolen the heart of Larry’s wife. Sy Ableman is the kind of friend who thinks it advantageous to uncork a Bordeaux and chat politely with Larry about how his marriage should end. His throbbing, earnest insistence is completely riotous as he suggests that Larry move out of the house to a local motel called the Jolly Roger. “Larry, Larry, Larry,” he intones, “I think, really, the Jolly Roger is the best course of action. It has a pool.”

The story is set in the 1960s and lensed in sharp focus by veteran cinematographer Roger Deakins. Nothing is amiss in this film. Each dramatic and comedic note is pitch-perfect. The characters in the absurd world fit the structure like puzzle pieces.

And that may be the greatest mystery, because when we step back and look at the whole puzzle, it’s hard to be sure what exactly it is. If you took one piece away, the whole structure would fall, but like any truly great piece of art, questions are necessary to interpret why everything fits.

For example: Why does Larry Gopnik suffer so much? Is it as a result of something he’s done? Does he need to make better choices? What does it mean to be a good man? Could Larry ever achieve it? Is it possible for anyone to be truly good?

What can we make of the film’s spare hopeful moments, including a startling intrusion of grace just before the final act? Are these tiny shreds of common grace sufficient to make life worth living? And how does that darned Jewish fable at the beginning of the film relate to the rest of the story?

Much has been said of how “A Serious Man” is a retelling of the Biblical story of Job, that pitiable saint put to the test by the devil to see if he would deny God. Nearly drowned by an undertow of uncertainty, Job had the courage to say of God, “Though he slay me, yet I will trust in him.” Whether you think this wise or foolish, the Coens appear to have a more secular course of action in mind.

The film begins with a proverb from Rashi: “Receive with simplicity everything that happens to you.” Is this the blanket answer to all the questions of “A Serious Man”? I think the auteurs behind it would say yes – and even though it seems like a terribly simplistic retort, they can be applauded for finding a strangely funny, very dark, and surprisingly humane way to announce it.

Students vote on the two films shown in Chapel for the creative film series

by Krissy Proctor
Staff Writer

From a philosophical fish store and the portrayal of fantastical, psychedelic highs to the story of a man awaiting the return of his single, picture-framed heart, students last week laughed, cried and left impressed with the films shown in the Monday and Wednesday chapels.

“I thought it was great, I would like to see more,” junior Glenna Gibbs said Wednesday.

The two creative film projects, consisting of “Animals” and “Maxwell Beasley’s Heart”, were written and produced by students in the film department. The series was meant to expand upon this semester’s chapel theme, Christ Through Culture and the Arts. Jessie Trigger, associate for worship and discipleship, says she wants the shorts to “inspire [students] to consider the powerful medium of film.”

In a poll of 45 students taken after the showing of “Maxwell Beasley’s Heart” 40 said that the films caused them to do just that, and that they would like to see more.

“I liked them,” Kesse Robinson, a junior, said just after “Maxwell Beasley’s Heart”. “It’s hard to put a full message in a short film, but it was like a reminder. They were very good.”

Monday’s film, “Animals”, divided into three sub-films entitled “Frog”, “Fish”, and “Snake”. “Frog” was written and produced by senior Colton Davie and “Snake” by junior Bryce McGuire, while “Fish” was written by senior Elijah Ammen and directed by senior Phillip Johnston.

Freshman Anna LiCausi was most impressed by “Animals: Fish”, the film a majority of students, 35 percent considered to have the best message when questioned for the poll.

“It seemed to me it was ironic,” she said. “’Who doesn’t want to be God from time to time’ is one of the lines from the film and though the main character wants to possess the fish, it falls into the sewer and is probably happily swimming somewhere in the Chesapeake by now. It was like it was God’s reminder that He ultimately possesses our talents and controls our lives.”

“Maxwell Beasley’s Heart” was written and directed by juniors Bryan Saylor and Jordan Pilgrim.

When asked which film students found more appealing, over 55 percent said that “Maxwell Beasley’s Heart” was more to their liking. Freshman Chloe Nardone liked both.

Junior Derek Batt and sophomore Josh Decker act in "Snake" one of three films that made up "Animals"

“The message of both films seemed to be that we need to get out of ourselves and live life the way God meant for it to be lived. With “Frog”, it showed how you need to help those who can’t help themselves and with “Mr. Beasley’s Heart” it showed how you shouldn’t be afraid to fulfill your purpose and get out of your comfort zone, even if your heart does temporarily get stolen,” said Nardone.

High numbers of students declined to comment on both questions, saying it was too difficult to choose between the two films.

“They were both so well done,” junior Julia Pugh said. “I hope the series continues…but I can’t choose.”

Bryan College’s film majors have been working with the Spiritual Formations staff to prepare two films to be shown as part of a chapel series about Christianity in the arts, exploring the idea of living out the Christian faith incarnationally.

The first film, to be shown on Monday, Nov. 30, is titled “Animals.” This film consists of three short films that present different ways in which an animal helps someone to learn about the nature of love, faith and God. These shorts are directed by junior Bryce McGuire, senior Phillip Johnston and senior Colton Davie.

On Wednesday, Dec. 2, a second film directed by juniors Bryan Saylor and Jordan Pilgrim and titled “Maxwell Beasley’s Heart” will be shown. This film also follows the theme of incarnational living as it considers the ways in which people give and receive love by following its title character, Maxwell Beasley, as he loses his heart.

Below is the teaser for “Animals.”

Animals – Teaser from Colton Davie on Vimeo.

Film writer, director, and producer Joe O'Brien lectures on one of his greatest passions, the art of movie making.

by Allison McLean, editor-in-chief

One Friday evening last month, I found myself in the middle of 55Here, a small art gallery in downtown Chattanooga off Market Street for Story & Craft, a film lecture series started by Chris Clark, assistant professor of communication studies.

I will admit that, before I entered the gallery, I was a bit wary, for I thought the fact that I was not a film and tech major would be as obvious as a smudge of coal on white amongst the film students and professionals as they discussed vices and virtues of obscure films, which I had never watched. All I knew was if I was going to be engaged in a conversation about movies, I would precede my comments with, “Well, I’m not a filmmaker, but…”

No such conversations happened, however.

As I entered the gallery, I joined about 40 students and professionals, including students from Covenant, who mingled with each other beneath the low lighting and amongst art pieces, such as a mixed-media sculpture that was made to represent a website’s HTML.

The setting was unusual but pleasant as we brought our coffee cups and scones with us to sit in the rows of black chairs in the center of the gallery where the first lecture for this semester began.

Joe O’Brien, a writer, producer and director of the recent independent film “Endure” began his lecture of the “joys and pains” of his craft: film.

“The start of it all was just passion,” O’Brien said about the beginning of his film career. “You have to do it because it is inside, not because you have the tools.”

O’Brien centered his discussion around film but addressed issues that face any artist.

“It costs to do what you want to do, but it’s a price worth paying,” O’Brien said. “I mean, if it doesn’t cost anything was it really worth doing?”

Unlike my first suspicions, the purpose of Story & Craft is not just about becoming good specialists in filmmaking, Clark explained. Its purpose, like film itself, is broader than that.

Story & Craft is a lecture series “by artists and for artists,” says Clark.

“Story & Craft has a purpose for both filmmakers and non-filmmakers,” explained senior Phillip Johnston, senior communications: film and technology major. “We hope that the series will help film students realize that film is a multidisciplinary art that encompasses many other arts – music, design, acting, writing, etc.”

Clark initiated Story & Craft three years ago as a required lecture series for communication: film and technology majors, but this year it has taken a wider focus.

It is no longer required for film majors, but it is strongly encouraged, Clark explained.

Those who attend not only get the benefit of learning more about their craft, but also networking opportunities. According to Clark, more than three internships have developed out of this program.

The guest speakers, ranged from director Joe O’Brien to next month’s speaker, singer/songwriter Bill Malonee, who was ranked #65 in Paste Magazine’s “100 Greatest Living Songwriter’s Poll.”

“The idea is that potters, filmmakers, graphic designers are all doing the same thing. We are all telling stories, just through a different medium,” Clark explains.

The next Story & Craft will be a lecture/concert. Bill Malonee will be performing some of his music and talking about “Faith, Art, and Cultural Relevance and the Christian Artist.” It will be held at 55Here on East Main Street in Chattanooga on Friday, Nov. 20 at 7:30 p.m.

“If that’s the case, then what’s the point of even talking about them?” you may ask.

Let’s get something straight: The Academy of Motion Picture Arts and Sciences and Hollywood in general is thoroughly devoted to the craft of moviemaking. Sadly, Hollywood often panders to the lowest common denominator—uncritical viewers who are satisfied with anything that makes them guffaw or prevents them from falling asleep in their seats. This is one of the reasons why we see the sad success of films like “Disaster Movie” and “Saw V.”

The Oscars ceremony tends to sidestep popular comedy, action and horror movies in favor of more dramatic ones simply because these films seem to have been made with quality storytelling in mind.

Still, the ideals and worldview of the Hollywood system at large have never permeated an Oscars ceremony as much as this year. The awards for Best Adapted Screenplay and Best Actor both went to the film “Milk,” director Gus Van Sant’s biopic of famed gay rights activist Harvey Milk. The film is genuinely compelling and well made, but it is undoubtedly a piece of propaganda. The acceptance speeches by screenwriter Dustin Lance Black and actor Sean Penn followed suit.

Penn, who played Harvey Milk in the film, sarcastically addressed the audience as a bunch of “Commie, homo-loving sons of guns” and chided those who voted for the ban against gay marriage saying that they should be embarrassed for years to come.

Dustin Lance Black was more pointed in his address: “I think [Harvey Milk would] want me to say to all of the gay and lesbian kids out there tonight who have been told that they are less than by their churches, by the government or by their families, that you are beautiful, wonderful creatures of value and that no matter what anyone tells you, God does love you and that very soon, I promise you, you will have equal rights federally, across this great nation of ours.”

Black does get it right when he says that those children are “beautiful, wonderful creatures of value,” but the rest of the theological and political stew he concocts is far from savory.

Even so, a proper Christian reaction wouldn’t be to jump on the complaint bandwagon and gripe about the terrible state of the world. Instead, our undying focus should be on thoughtfully engaging the gay community with the beauty and power of the gospel that we talk about so much, showing them what Christ’s redemption looks like practically and not just theoretically.

Of course, the ceremony was not all doom and gloom. Pixar’s “Wall-E,” a profound and beautiful film directed by Andrew Stanton (a professing Christian), took home Best Animated Feature and was nominated for a slew of technical awards. “Slumdog Millionaire,” a lightning-paced, colorful film about a kid growing up in the slums of Mumbai, took many awards including Best Picture. It’s a don’t-miss film, and to see Steven Spielberg (a veritable symbol of the Hollywood blockbuster) hand over the golden statuette to a nearly overlooked little film made in India was extremely poetic.

The effects of last year’s writers strike were evident in this year’s crop of Oscar films and will continue to show in the next year. If this is the case, it may be up to filmmakers from other nations and movies like “Slumdog Millionaire” to one-up the collapsing Hollywood system. I, for one, can’t wait to see what they come up with.