NIFF:  Northampton Independent Film Festival Review

By J.M. Sorrell
TRT Reviewer

It would be impossible to write reviews for all of the films I saw over the course of two November weekends for Northampton Independent Film Festival’s 13th year.  An entire newspaper could be dedicated to comments, articles, interviews, and reviews for the many extraordinary films chosen for this year’s screening.

Behind the scenes, a seriously, hard-working volunteer crew make this happen every year.  A review committee chose 125 films from over 2,000 submissions.  The coordination of the use of venues in downtown Northampton and at Smith College with the schedules of filmmakers, actors, and other film crew who come to talk with audiences and area film students is a feat in and of itself.

My greatest disappointment and surprise (this year and last year) is the low attendance for the most incredible films—some of which may not make it to Netflix anytime soon. 

Attend the short films, everyone.  The comedy shorts, five-college shorts, documentary shorts, drama shorts, mixed bag shorts—you name it, brilliant.  As audience members, you must take the leap to attend these films you may not see otherwise.  Descriptions do not begin to address the talent. 

Memories of My Melancholy Copy Machine tells the story of a lonely office worker who falls in love with a copy machine, who loves him back.  Sound weird?  It was 14 minutes of brilliance, was very touching, and stayed with me.

Also attend the documentaries and obscure films that you may not see again.

The Water Front is a 53 minute long documentary about environmental racism, government bias, and the exploitation of poor, African-American people in a once-thriving community in Michigan.  Its messages are implicit, and the filmmaking is far better than your average Michael Moore movie.

Body/Antibody is a fictional story about a man with OCD who has not left his Manhattan apartment in 10 months.  When he falls in love, the twists and turns that abound will keep you on the edge of your seat.  The writing is skilled and unique, and the two principle (and very talented) actors were on hand with the filmmaker to discuss the film.

Stay Away … A Little Closer is a 41 minute painful and poignant look at the life of John Ford Noonan, a Pulitzer Prize-nominated, Obie and Emmy award-winning playwright who struggles with addiction and mental illness.  The filmmaker brought him to Northampton for a Q&A with the audience.

Freeheld—the story of New Jersey Police Lieutenant Laurel Hester and her campaign to obtain pension benefits for her partner, was shown at Smith.  Cynthia Wade, the filmmaker, is alum of Smith College, and she was on hand for two days to talk with students in class and at the film showing.  This is the fourth time I have seen the 38 minute film, and I was as moved and teary-eyed as the first time I saw it.   Let’s hope this one gets an Oscar nomination.

On the final night of the festival, Jane Clark’s The Touch was shown at Smith College.  It is an 8 minute accounting of the lesbian poet, Renee Vivien, and her relationship with an Islamic woman in Paris 1906.  It was artfully presented, and it raised more questions about Vivien’s depression and health issues near the end of her life.

There have been more LGBT films in previous years at NIFF.  I advise going to www.niff.org to find a way to express what you would like to see at next year’s festival.  Also, sign up to volunteer and be prepared to work hard and have fun.  Seriously, this is one of the best independent film festivals in the country.  Let’s not lose it.

The disappointing stuff ...
People seemed to flock for the opening night screenings, The Future We Will Create:  Inside the World of TED, and the John Sayles movie, Honeydripper—both shown at the Academy of Music.  These films were the least interesting films I saw at the festival.

TED is the inside world of mostly privileged people who get together to create change every year.  The documentary would have drawn me in more effectively, I suspect, if it had been presented in a way that truly honors the intellect and work of those thinkers and artists who attended the conference.

I have long been a fan of John Sayles (ever since Lianna).  I loved The Brother from Another Planet.  Honeydripper was set similar to a Tennessee Williams play, and it portrayed an Alabama town in the 1950’s.  It was too trite, and much of the dialogue was as pedantic as a poor Terrance McNally script.  The stereotype of the bad-ass African-American woman who whoops the man garnered laughs from the audience, and I found it rather boring and overdone, not to mention offensive.

Finally, a heartfelt congratulations and a tip of the hat goes to Jeffrey Dreisbach, the NIFF Director.  Despite the demands and stresses of the festival, he was kind and warm and available every time I saw him.  He seemed to be everywhere and to defy the law of Physics that would say you could only be at one movie at a time.  Rather than draw attention to himself, he continually praised his team.  Get involved and call NIFF at (413) 582-1832.