Works from alternative sector giants Todd Solondz, Sion Sono, Richard Tuohy and John Waters and the world premiere of Australian director Ben Ferris’ urban decay documentary 57 Lawson highlight the 10th anniversary line-up of the Sydney Underground Film Festival (SUFF).
Harbour City audiences attuned to the subversive, political and shocking have been well-served by the internationally recognised event, still programmed by founder Stefan Popescu and wife, Katherine Berger. The 2016 gathering, running September 15 to 18, will present 35 feature-length screenings, including 20 documentaries, 12 narrative features and 3 retrospectives, with 20 Australian premieres in the mix. As in past years, the event will stretch beyond the darkened rooms of its spiritual home, The Factory Theatre in Sydney’s inner-west, and offer masterclass tutorials, exhibition content and panel chats from a diverse range of academic and artistic guest contributors.
Opening night honours have been bestowed upon Weiner-Dog (pictured, top), the latest dramedy of discomfort from underground icon Todd Solondz. Other high profile features include Mexican auteur Emiliano Rocha Minter’s We Are The Flesh (pictured, right), hot off a triumphant screening at Fantasia 2016; SUFF alumni Richard Bates Jr (Suburban Gothic, 2014) with his offbeat shocker Trash Fire, featuring a career-redefining role for Entourage star Adrian Grenier; Japan’s prolific enfant terrible Sion Sono delivers The Virgin Psychics, a raunchy teen-telepathy romp that Variety called a “cheerfully gutter-minded supernatural farce”; and, the Sydney premiere of Billy O’Brien’s cult-bound nightmare-piece, I Am Not a Serial Killer, featuring a welcome (if against type) return to the bigscreen for Back to The Future star, Christopher Lloyd.
Closing out the festival will be the highly-anticipated, fully restored print of the iconic John Waters’ 1970’s trash classic, Multiple Maniacs, featuring Waters’ muse Divine in one of the roles that solidified her counter-culture reputation. Other retrospective sessions include a 25th anniversary screening of David Cronenberg’s Naked Lunch, starring Peter Weller as William Burrough’s drug-addled protagonist; and, a 40th anniversary honouring of Brian De Palma’s high-school horror classic Carrie, which will screen in support of the documentary De Palma, an in-depth career appraisal overseen by A-list fanboys Noah Baumbach and Jake Paltrow.
An impressive 20 mid- and feature-length docos will screen at SUFF, which has rattled cages with rare, occasionally outlawed factual films (in 2012, Keith Allen’s Princess Di conspiracy theory piece, Unlawful Killing, played in defiance of ongoing legalities). In 2016, it has yet to be determined if the suited heavies appointed by Tommy Wiseau, director of the bad-movie classic The Room, will force the festival to withdraw Rick Harper’s making-of doc, Room Full of Spoons, as happened to organisers of the recent Melbourne Documentary Festival (pictured, right; Wiseau, far right, with Harper and crew).
Social issues tackled by the SUFF documentary schedule include internet misuse and abuse (Irene Taylor Brodsky’s Beware the Slenderman; Neal Broffman’s Help Us Find Sunil Tripath), the psychology and passion of the artist (Jai Love’s Dead Hands Dig Deep; Thorsten Shutte’s Eat That Question: Frank Zappa in His Own Words; Laura Israel’s Don’t Blink Robert Frank; Jason Pine and Jason Georgiades’ Desert Age: A Rock & Roll Scene History; Louis Black and Karen Bernstein’s Richard Linklater: Dream is Destiny), human rights in destabilised societies (Nanfu Wang’s Hooligan Sparrow; George Gittoes’ Snow Monkey) and mental health (Justin Schein’s Left on Purpose; Roberto Minervini’s The Other Side).
On a lighter note, all-age audiences can enjoy a vivid wander down memory lane courtesy of renowned author and curator Kier-La Janisse, who offers a two-hour celebration called Saturday Morning All-You-Can-Eat Cereal Cartoon Party. Pyjama-clad patrons can dine on bowls of retro cereal, bursting with sugary anti-goodness, while watching classic animation and giggly PSAs (content details are top secret, apparently).
Since its inception, SUFF has supported the short film sector and in 2016 once again offers its popular short film sessions under the banners of ‘Love Sick’, ‘LSD Factory’, ‘Ozploit’, ‘Reality Bites’ and ‘WTF’. The legacy of the festivals commitment to makers of short films is celebrated in a ‘SUFF Blast From The Past: Short Films 2007-2015’.
For those that embrace the truly cutting-edge, SUFF will present Re:Cinema, which organisers describe as “a program of experimental video and film work that examines the notion of the ‘cinematic’ in relation to the contemporary imagescape.” This will accompany a retrospective of the works of Richard Tuohy and his collaborator, Dianna Barrie (pictured, right), titled Hand and Machine; Tuohy will also host The Chromaflex Experimental Colour Film Workshop at the Sydney College of The Arts. Finally, filmmaking skills will be examined in the Masterclass sessions, with contributors Gordy Hoffman (screenwriting), Ross Grayson-Bell (producing), George Gittoes and Helen Rose (documentary techniques) and Ben Ferris (directing).
The 10th Sydney Underground Film Festival will commence its 4 day schedule on September 15 at The Factory Theatre, Marrickville. Session and ticket information can be found at the event’s official website.