Tag Archives: siff cinema at the uptown

SIFF 2012 Full Lineup Announced, Tickets On Sale NOW

Depending on the resiliency of your browser’s cache, the all-new, but still-familiar SIFF 2012 Festival website started appearing on various local internets sometime before Thursday’s lunch hour, complete with a festival calendar, film descriptions, trailers, and all sorts of other bells and whistles including MvB’s beloved “screw the site, all I want is SIFFTER!”

Yes, the flashy film sorter seems to be updated with this year’s lineup to help you narrow the choices to your favorite Martial Arts Erotic Coming of Age Detective stories. But, alas, the pocketable, insanely useful iPhone version iSIFF still seems to be stuck in 2011 (why it doesn’t exist as a year-round resource for SIFF’s year-round programming remains among Seattle’s enduring mysteries). And one last question, if we may: Why is the SIFF Lounge conveniently located near no other festival venues (closest one Cinerama) at Henry & Oscar’s, aka Belltown middle of nowhere?

But all that being said, let’s get ready to festival! Like some rough beast, its hour come round at last, the 2012 Seattle International Film Festival is snuffling at our door. Are you ready for 460 films from 75 countries (273 features, 64 documentaries, 187 short films)? Are you prepared to take in 61 world premieres, 36 North American premieres, and 24 U.S. premieres? Of course not! Don’t be ridiculous.

That’s why in the coming weeks we’ll be hivemindmelding to help you figure out what…tenth, let’s say, of this festival is best worth your time. And really, if you see half of those, you’ll feel it in your flattened tuchus by the end. [Full disclosure: The SunBreak is a media sponsor of the festival, which means we get listed in tiny, tiny type somewhere on their site, and get to give you free tickets–ed.]. If you can’t wait for our crystal ball readings, but know that you like, for instance, to laugh, be scared witless, see the future, or find yourself horribly depressed by the bleak state of the environment/familial betrayals/human rights/the economy, SIFF re-upped last year’s experiment of organizing the festival into user-friendly Pathways.

Let’s hash through the details (and DEFINITELY reacquaint yourself with last year’s pro-tips): Get yer series passes here. The Opening Night film is local gal Lynn Shelton’s Your Sister’s Sister, this Thursday, May 17 @ McCaw Hall. Here’s the gala tix, and here’s the even-fancier SIFF 2012 Red Carpet Experience.

In terms of in-city programming, this year’s map is a little more compact with most regular screenings taking place downtown at Pacific Place, in Capitol Hill at the Egyptian and both Harvard Exit screens, and on SIFF’s home turf in lower Queen Anne with three screens at the Uptown and one at the Film Center. Once again, the festival will take the show on the road to Renton, Everett, and Kirkland, but we have enough trouble catching everything in Seattle and don’t expect to venture beyond city limits.

ALL OF THE GALAS:

In addition to the opening and closing night soirees, the festival is packed with parties. As a Saturday Gala (a gala because of the day of the week?), there’s Robot and Frank, May 19 @ Pacific Place Cinemas, even though EW totally reviewed it last June. There’s a second (another?) Saturday Gala: As Luck Would Have It, May 26 @ SIFF Cinema Uptown and the locally-shot Friday Gala (forget it) the Details, June 8 @ Egyptian Theatre. The film at the Centerpiece Gala (now THAT’s a real gala) for the tres French the Chef, June 2 @ Egyptian Theatre and at the Gay-La, it’s the appropriately titled Gayby, June 6 @ Egyptian Theatre. Locally-filmed Grassroots, an adaptation of the true Seattle story of monorail evangelizing Grant Cogswell’s ill-fated campaign for city council, closes the festival with a gala screening at SIFF Cinema Uptown followed by a boozy party at the Grand Hyatt. For extra credit, use the existing monorail to get from the Queen Anne screening to the downtown party. PRO TIP.

But wait, there’s more. Some presentations are more special than others:

  • Brave, see Pixar’s latest on June 10 @ Pacific Place, a few days before it goes into wide release.
  • Diaz – Don’t Clean Up This Blood fictionally recreates the clashes at the 2001 G8 summit (timely!) June 1 & 2 @ SIFF Cinema Uptown; June 5 @ Harvard Exit
  • The Last Reef 3D, takes you on a 40 minute underwater voyage, no SCUBA certification required on June 3 & 4 @ Pacific Science Center IMAX
  • People Like Us finds young Captain Kirk and Effie Trinket dealing with earthbound family drama on June 4 @ SIFF Cinema Uptown; June 5@ Egyptian Theatre
  • Trishna brings Tess of the D’Ubervilles into contemporary Rajasthan, India by way of Michael Winterbottom. May 18 & 20 @ SIFF Cinema Uptown

And this year, SIFF also pays tribute to a couple of film legends, bringing them into the company of film lovers for the right price. But don’t hold your breath, as these are cancellation-prone:

  • An Evening with Sissy Spacek feat. Badlands, June 7 @ SIFF Cinema Uptown
  • An Evening with William Friedkin feat. Killer Joe, June 9 @ Egyptian Theatre

LIVE PERFORMANCES
Live music is scaled back this year compared to the past few. Personally I’m a little scared of Emerald City Visions: A Hip-Hop Reinterpretation of The Wiz, curated by Larry Mizell, Jr and staring rising stars of Northwest hip-hop June 1 @ The Triple Door, but these things usually turn out to be memorable.

Can’t wait? “Enjoy” and start decoding the SIFF 2012 official “trailer” (which, as clever as it is in squeezing so many film references into two and a half frenetic minutes, you will quickly grow to hate once you see it in front of six or so films):

Janie Jones is Not Just a Clash Song

It’s also a feature film running at SIFF Cinema at the Uptown—née the Uptown Theater–through Sunday. Additionally, Janie Jones is the title character of the film, played by an older-than-her-years Abigail Breslin. Here, Little Miss Sunshine is all growns up as a thirteen-year-old who’s had to mostly take care of herself, no thanks to her meth-head mommy (Elizabeth Shue). Mom dumps her daughter for rehab, and so Janie ends up with the struggling rocker dad Ethan Brand (Alessandro Nivola) she never knew.

So now Ethan and Janie have to learn to relate to each other as family, while also dealing with band politics, money problems, and life on the road. Good think Janie’s a chip off the old block and a burgeoning musical talent as well! Writer-director David M. Rosenthal used his life as a jumping-off point, as he didn’t meet his own daughter until she was ten years old, and you can tell the material is personal. He’s crafted a story that’s true to the rawness of this emotional journey, while the cliches are ironed out by his gentle touch and the chemistry between the two leads.

I’m always impressed with the acting ability of Alessandro Nivola, who has previously sung on-screen in Laurel Canyon, Junebug, and Ken Branagh’s Cole Porter-tinged Love’s Labour’s Lost. Meanwhile, Abigail Breslin had never played music professionally, but she picked up the guitar and learned for the film. Irish singer-songwriter Gemma Hayes wrote the songs played by young Janie, while Eef Barzelay of Clem Snide scored the film and wrote all of Ethan’s songs.

Janie Jones plays at SIFF Cinema at the Uptown through November 6.