Film

Dallas VideoFest Ends 34-Year Run | Focus on Tributes, Representation and Politics

Kelly Kitchens Posted On September 10, 2021

REMEMBRANCES
In a special pre-festival kickoff 7 p.m. Sun., Sept. 29 at the Angelika, Dallas VideoFest will take an emotional look back to significant people and moments in Dallas film history. With the screening of the 1929 silent film MAN WITH A MOVIE CAMERA event, Dallas VideoFest will pay homage to late Dallas Composer Jack Waldenmaier.
Waldenmaier, who had a dual career in both music composition and music production, hosted the world premiere of his new score to the 1929 silent film at VideoFest 25.

“This was one of those moments during the festival that was very magical,” said Bart Weiss, founder and artistic director for Dallas VideoFest during its 34-year run. “Everyone who was there felt they had seen something very special.”

Held on National Silent Movie Day, the event will honor Waldenmaier and provide an opportunity for festival-goers to celebrate other friends and film industry vets lost during the pandemic.

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Dallas VideoFest34 presents DocuFest+ showcases dozens of documentary features – several premieres – along with shorts Sept. 30 to Oct. 3 at Angelika Film Center – Dallas (5321 E Mockingbird Ln., Dallas).
VideoFest.org

Documentaries explore nonfiction investigations of topics or events deemed worthy of further insight. Its specific storytelling techniques are flourishing like never before – encompassing reportage, memoir, history, and humor. Documentaries have always been an integral part of the Dallas VideoFest experience for 34 years.

TEXAS PREMIERE DOCS
The event features Texas premieres of several films made in Dallas, including Festival-opener PIECES OF US, a film that looks at the personal journeys of LGBTQ+ hate-crime survivors. PIECES OF US screens at 7 p.m. Thurs., Sept. 30 following a Red Carpet for the filmmaker and others at the Festival – a first for Dallas VideoFest.

IN THE PRESENCE OF OTHERS
Dallas VideoFest Founder and Artistic Director Bart Weiss said PIECES OF US and other films featured at the Festival deliver on common DocuFest themes of representation, politics and “the quirky.”

“We’re looking forward to a celebration for the community that gathers each year to experience something different,” said Weiss.

QUIRKY CONTENT CONTINUES
In the quirky category are features of innovative films and filmmakers for which VideoFest has become known – including “Big D,” an annual look at films shot around the world on mobile devices and Tik Toc “Docs,” showcasing documentaries presented in the 30- to 60-second format.

“Tik Tok Docs are an important part of how we point to how things were done in film in the past and how they will be done in the future,” said Weiss. “For years, the festival has screened lots of great shorts, which are so important to the legacy of the Video Fest.” “Big D” screens noon Sat., Oct. 2, and Tik Toc Docs screen 6 p.m. Sun., Oct. 3.

MORE LGBTQ+
Other LGBTQ+ films include BOULEVARD! A HOLLYWOOD STORY about two young songwriters and romantic partners, who find themselves caught in movie star Gloria Swanson’s web when she hires them to write a musical version of SUNSET BOULEVARD.

MORE POLITICAL
Political-themed documentaries focus on timely issues, including the last abortion clinic in Texas (ON THE DIVIDE, 4 p.m. Sat., Oct. 2) and the Hong Kong protests (FACELESS, noon, Sat., Oct. 2).

FILMS ABOUT FILM, ART
Films about Film remains a recurring theme of documentaries that play at VideoFest. This year that includes the final installment of editor Allan Holzman’s series: ART OF DIRECTING, the Israeli documentary IN THE DIRECTOR’S CHAIR SITS A WOMAN, and VJ DIARIES.
Films about Art include JOHN WILCOX-THE RELINQUISHMENT OF TIME, CRUTCH, and JAMES SURLS: THIS PLACE EVERYWHERE about the Texas artist, James Surls’ sculpture at the Dallas Holocaust Museum.

TRULY SPECIAL EVENTS

On Sat. evening, Oct. 2, VideoFest will welcome Houston Filmmaker and Chef Adan Medrano, for a screening of TRULY TEXAS MEXICAN, a documentary focusing on the delicious “Comida Casera” (home cooking) of Texas Mexican-American families. This style of cooking was created by indigenous businesswomen, “Chili Queens,” who rose to fame in the late 1800s.

Following the 7 p.m. screening, patrons will gather at Trompo in Oak Cliff (407 W 10th St #140, Dallas, TX) for a party and meal prepared by Chef Medrano and the Trompo team.

CELEBRATORY OVERTURES
Ending its 34-year run on a celebratory note, the festival will also screen the film FANNY: THE RIGHT TO ROCK Sun. Oct. 3 at Carbaret Drive-in in Richardson (at the lot on the top level in the back of the Shops at Promenade and The Forum Social Club at 300 N. Coit Rd). The after-party celebrating the film and influential all-female band from the 1970s will pick up at The Forum Bar in Richardson.

For Weiss, who conceived and has led the festival ever since its inception in 1987, the end of VideoFest feels bittersweet. “Personally, it’s sad, and in some ways, it’s somewhat of a relief,” he said. “It has been a great ride, but all rides end. I’m looking forward to us all getting together one more time.”

DALLAS VIDEOFEST 34
Fact Sheet

WHAT:
Dallas VideoFest 34 presents DocuFest+ – the last Dallas VideoFest

WHEN and WHERE:

Sept. 29, 7 pm — Dallas VideoFest Tribute and Special Screening of MAN WITH THE MOVIE CAMERA

A special pre-festival kickoff and in honor of National Silent Movie Day, Dallas VideoFest showcases a special screening of MAN WITH THE MOVIE CAMERA as well as tributes to friends and community members who have passed during this time of COVID

Sept. 30 – Oct. 3 — 2 screens
Angelika Film Center – Dallas
Mockingbird Station
5321 E Mockingbird Ln #230
Dallas, TX 75206
Oct. 3, 7:45 pm — FANNY documentary and Closing Night Celebration

Carbaret Drive-In
In the Parking Lot of The Forum Social Club
300 North Coit Road Suite 260
Richardson, Texas 75080

PASSES and TICKETS:
Available online at https://videofest.org/tickets/

Individual Tickets: $10-$15
All-Access Passes: $60
Weekend Passes: $50
Day Passes: $20-$30
Themed Spotlight Passes: $20 (Spotlight Passes include all films in the categories of LGBTQ+, Women, Music and Short Film Blocks)

Connect with VideoFest: (#DVF34)
https://videofest.org/

Sign up for the Video Association Newsletter:
http://tinyurl.com/DVFNewsletter

Facebook:
https://www.facebook.com/Videofest

Twitter:
https://twitter.com/videofest

Instagram:
http://instagram.com/videofest

About Dallas VideoFest:

VideoFest (https://videofest.org/) is now the oldest and largest video festival in the United States and continues to garner critical and popular acclaim. VideoFest prides itself on bringing films to the theater that are rarely available to be seen anywhere else. Films like Experimental/Art Films, Animation, Narrative and Documentary Shorts as well as Documentary and Narrative Features and some hard-to-find Classic TV episodes and Classic Films are often in the mix.

History of VideoFest: Cutting-Edge Art
Merging art and technology since 1987, VideoFest has specialized in independent, alternative, and non-commercial media, presenting hard-to-find works rarely seen on television, in movie theaters, or elsewhere, despite their artistic excellence and cultural and social relevance. Even in a Web 4.0 environment where everything is seemingly available on the Internet, the VideoFest provides curatorial guidance, a critical voice in the wilderness navigating the vast and diverse landscape of media, helping to interpret its cultural and artistic significance. The event provides a communal environment for real-time, face-to-face dialogue between makers and audiences.

ABOUT VIDEO ASSOCIATION OF DALLAS
The mission of the Video Association is to promote an understanding of video as a creative medium and cultural force in our society and to support and advance the work of Texas artists working in video and the electronic arts.  The Video Association of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25, 1989.  It began in 1986 as a weekend event, Video As A Creative Medium, presented at the Dallas Museum of Art by independent curators Barton Weiss and John Held. That first event, which included two nights of video by selected local and national video artists, was a great popular success, which led to the founding of the Dallas Video Festival (DVF) in 1987. Video Association of Dallas also presents the 24 Hour Video Race, the Texas Show Tour, North Texas College Film Festival, Texas Filmmakers Production Fund workshops, Three Star Cinema, and other programs throughout the year.

VIDEO ASSOCIATION OF DALLAS – 1405 Woodlawn Dallas, TX 75208

Film

Dallas VideoFest’s 2021 Festival Will be Its Last

Kelly Kitchens Posted On July 20, 2021

In 1986 Dallas VideoFest was born on the heels of a wildly successful video art program called “Video as a Creative Medium” Bart Weiss co-presented at the Dallas Museum of Art.

At the time Weiss, a filmmaker and film teacher, had been delivering similar programming in Dallas area nightclubs. Embracing the concept of a four-day festival, Weiss brought the first Dallas VideoFest to life inside the DMA’s Horchow Auditorium in 1987.

Now, after 34 years of organizing VideoFest, Weiss has decided this fall’s event (Sept. 30-Oct. 3 at Angelika Film Center – Dallas) will be the last. But, he insists, he is not stepping away from the media world entirely.

Focus on Innovation
That first year at the DMA, in a sense, set the focus for VideoFest for years to come, when Weiss asked Comedienne Edie Adams to showcase the archived work of her husband Ernie Kovacs from the 1950s to early 1960s.

“Kovacs was the first artist working in television to not just stand and tell a joke but to use the camera to tell the joke,” Weiss explained. “Kovacs was exploring what the art form could evolve into, which is what we’ve tried to do with Dallas VideoFest.”

In addition to recognizing innovators with its prestigious Ernie Kovacs Award, VideoFest has also dedicated its platform to filmmakers, who use technologies and techniques to present their work in new and different ways.

Set Apart
Weiss says it’s this focus that has set VideoFest apart from other film festivals.

After a full decade of screening in the DMA — a space that featured five viewing environments, including installations and a video wall — VideoFest relocated to the Dallas Theater Center to retain autonomy in the films it screened.

“We had the whole building, and it was this incredible Frank Lloyd Wright space,” said Weiss. “We had to build everything. There was no screen, projector nor sound systems. We built a universe.”

Weiss reflects fondly on the VideoFest’s “Theater Center years,” a time when the event truly hit its stride. “People could come hang out in the lobby and talk to each other while deciding what they wanted to see next,” he said. “We loved the community aspect of it.”

Adapting to emerging trends and consumer needs, a number of local theaters have hosted VideoFest, including Alamo Drafthouse Cinema, Studio Movie Grill, the Angelika Film Center — during the pandemic — drive-in theater sites. VideoFest also featured a special series called “Expanded Cinema,” where the work was shown on the outside walls of the 23-story, 1001-room Omni Dallas Hotel downtown, while the sound was transmitted simulcast by KXT-91.7 FM radio.

While available space often dictated the quantity and type of material screened, Weiss’s tastes also held sway. “Over the years, programming for the festival has been a reflection of things I’m thinking about,” he said. “Often it was about figuring out what was best at that particular moment.”

In the beginning, Weiss said VideoFest sought to fill a gap for presenting work from underrepresented communities. “It’s never been our intent to have films that would show up in the movie theater the next year,” he said. “We wanted to show things that might not be as readily accessible.”

This focus, he said, has been both a blessing and a curse. Dallas VideoFest never became a celebrity-based festival. Rather it remained a festival focused on the content and aesthetic of film work, rather than a celebrity cast.

Weiss is also proud of Dallas VideoFest’s commitment to championing interactive media — from CD-ROMs and HDTV to virtual reality — when they first arrived on the scene. When VideoFest was held at the DMA, video artists had the opportunity to work with the space’s video wall, which featured stacked monitors.

In recent years, the festival has been broken down into a series of mini-festivals, the Medianale for video art, Alternative Fiction for narratives and DocuFest for documentaries.

Nurturing Talent
Over the decades, Dallas VideoFest has nurtured many previously unknown filmmakers, who have achieved continued success in the film world. Dallas-based indie filmmaker David Lowery screened one of his first films at VideoFest before going on to win a nomination for AIN’T THEM BODIES SAINTS at the 2013 Sundance Film Festival.

The festival also remains connected to the founders of former Dallas animation studio DNA Productions Inc., John A. Davis and Keith Alcorn – Davis a former student of Weiss at SMU. The festival showcased the pair’s animated films for years, including the pilot of JIMMY NEUTRON, BOY GENIUS, which continued for several seasons and became a feature film.

One important initiative for Weiss has been to save the work shown at VideoFest, which the event has done since the second year. “We now have tapes of what is essentially a history of this medium from 1988 to the present,” he said. “In some cases, some of the filmmakers may not have copies of the work we have.”

The Future
As Weiss reflects on the next steps, he says the end of VideoFest feels bittersweet.

“Personally, it’s sad, and in some ways, it’s somewhat of a relief,” he said. “Throughout the pandemic, I know a lot of people have gone through this questioning of ‘what is it important for me to do?’”

Weiss said the nonprofit that organizes VideoFest, Video Association of Dallas, will continue to produce his monthly show on Dallas’ public television station, KERA-TV, FRAME OF MIND, occasionally award the Ernie Kovacs Award and potentially partner with other organizations to continue contributing to Dallas film culture.

On a personal level, Weiss — himself a filmmaker — also has ongoing projects he’s looking forward to committing more time to. These projects include a narrative series called FIRE BONES and two documentary films of his own about the Denton band, Brave Combo, and noted film critics, Andrew Sarris and Molly Haskell. During the pandemic, Weiss produced a series on “How Performing Arts Organizations Can Go Digital,” for the AT&T Performing Arts Center, and he also created a sizzle reel for Dallas Arts Month.

In the future, Weiss said he hopes to reimagine what an organization could be like that does not need a large staff to produce major events but still finds ways to influence culture.