Discover the Hidden Gems at LA’s Indie Movie Festival: Here’s What to Expect!

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In L.A., there are numerous spots to catch a fantastic movie, ranging from the American Cinematheque to theaters owned by Quentin Tarantino, and many more. However, despite the popularity of repertory programming among local film enthusiasts, independent films sometimes struggle to gain attention in this city. The Los Angeles Film Festival aims to shine that spotlight on these up-and-coming indies.

Following the successful sell-out of its 2024 debut, the event centered around Eastside is coming back with an even more daring schedule of events. Jointly organized by Mezzanine, a non-profit programming organization, and Mubi, a film distributor known as “The Substance”, LAFM will take place over one weekend, from April 3 to 6. The festival has already sold out its all-access passes and is now releasing the final batch of individual tickets.

This year’s lineup consists of only 12 main film selections, along with live-action and animated short programs, as well as a series of discussions hosted at the Philosophical Research Society. Highlights include the world premiere of Dennis Cooper and Zac Farley’s surrealist haunted house movie “Room Temperature,” as well as popular picks from festivals like Rotterdam and Sundance. Additionally, there are comedies featuring big names such as Tim Robinson’s “Friendship” from A24, and Chloë Sevigny’s “Magic Farm,” which was acquired by Mubi before its Sundance debut.

Sarah Winshall, one of the festival’s co-founders, expressed her delight, stating, ‘This year seems to be more about unearthing hidden gems rather than a lineup of well-known pieces.’ She was surprised to find that many of the films being considered were new to her.

Micah Gottlieb, our festival’s co-founder and artistic director, states that our goal isn’t to be like Sundance or the best of the festivals. We’re not just copying other curators’ work; instead, we focus on showcasing films that haven’t yet reached L.A. Yet, we don’t accept submissions directly. Instead, we consider recommendations from trusted individuals,” explains Micah Gottlieb, Mezzanine’s artistic director and one of our co-founders.

“It’s a solicitation-based festival, more than a submission-based festival,” Winshall adds.

Gottlieb explains that with numerous submission-based events, the scale can be overwhelming. Since our team is compact, we simply don’t have enough resources to dedicate time and focus to every single one without compromising the festival’s labor sustainability. We aim to avoid the model where filmmakers are charged for submissions and their work is passed off onto interns or volunteers as a primary source of income for the festival, which is a practice commonly seen in major film festivals.

Following the community-led event in 2024, LAFM initiated a thriving fundraising campaign during the autumn season, aiming to demonstrate the public’s interest in independent productions and offering a sound financial motivation for their team’s ongoing dedication.

Winshall stated, ‘This situation enabled us to compensate ourselves and all our staff.’ We approached the community and requested their assistance to repeat this success. It’s feasible to ask people for extraordinary effort with the promise of future rewards, but it’s not fair to ask them to do so repeatedly.

I’m based in the vibrant Chinatown district of Los Angeles now, not far from some of our beloved venues like Vidiots in Eagle Rock, 2220 Arts + Archives in Historic Filipinotown, and the Now Instant Image Hall, which is just a stone’s throw away. My workspace primarily houses Smudge Films, Winshall’s indie banner, as we’ve transitioned to full-time operations this year with LAFM.

Based on the funds we anticipate gathering in the near future, our goal is to expand the festival slightly and accommodate more films. This largely depends on our available resources and budget,” Gottlieb explains.

Winshall mentions that we’re aiming to increase the number of locations we operate in, which were part of our portfolio last year. This translates into more tasks for us. He expresses his concern about growing rapidly, as it’s a common pitfall that many other establishments have faced,” he adds.

The North Star maintains a welcoming atmosphere, which can be described as creating a cozy living room for weekends, according to Winshall.

As a movie enthusiast myself, I’d like to share that this isn’t just targeted at the film industry professionals or those pursuing a career in it. Interestingly, there seems to be an ever-widening chasm emerging between us regular cinephiles and those deeply involved in the industry.

Are there any lessons you learned from last year’s LAFM that led to adjustments for this second edition?

GOTTLIEB: One major focus is arranging additional showings of films this year, considering how swiftly everything was sold out last time. We aim to provide more chances for people to attend. Furthermore, we recognized that we could have been clearer about our standby policy. Almost everyone who waited in standby, even for shows like “I Saw the TV Glow,” were able to get in. Additionally, attendees are welcome to hang out and maintain the friendly, club-like atmosphere we created last time.

WINSHALL: Our expansion is a result of the feedback we received. We’ve transformed our lounge at 2220 Arts + Archives into a central hub this time around. Last year, it developed naturally, but now we’re providing a space for visitors to relax, enjoy some food, and feel at ease between screenings.

This year’s lineup is largely composed of movies that run shorter than even 90 minutes. Is that a conscious programming decision or is it just the nature of the films that the fest considers?

I, for one, find immense joy in seeing a filmmaker pack a powerful punch within such a short runtime as with films shorter than an hour. It’s refreshing, especially when compared to binge-watching numerous episodes of a TV show that often feels filled with unnecessary content. What really stood out to us was the increasing number of distinct Gen Z-centric films that are surfacing. We have “Debut,” created by Gen Z filmmaker Julian Castronovo, and “Cent Mille Milliards,” focusing on a Gen Z sex worker. Our closing night film, “Happyend” by Neo Sora, follows Japanese high school students and delves into the experiences of living in an authoritarian society – a topic that resonates deeply with many given our current global climate. We believe these films not only capture the zeitgeist but also offer perspectives that are both timely and thought-provoking.>

WINSHALL (PARAPHRASING): Currently, we cater to a group of younger residents, and I find it fascinating to contemplate the distinct programs I’ve designed for baby boomers compared to high school students. However, our offerings will always appeal to those who are enthusiastic about cinema, as they can discover their favorites here. It’s essentially for individuals who already appreciate movies. The foundation is set in that love for films.

My read of Los Angeles filmgoing is that repertory programming has become more popular in recent years. Why do you think that is?

I could have a different viewpoint. This place has been around for quite some time. There was a slowdown due to COVID-19, but when I relocated to L.A. in 2004, the New Beverly Cinema, even before it was owned by Tarantino, was bustling with young people like me every week. And I wasn’t alone; it was quite vibrant. With the evolution of our screening choices, the enthusiasm hasn’t really transformed. Instead, it’s shifted due to the locations where things are being screened. In my opinion, that’s a summary of my thoughts on the matter.

GOTTLIEB: People can get just as thrilled about fresh movies as they do about revivals, and we aim to connect Los Angeles’ film scene with the wider cinematic world. We achieve this by featuring films from other festivals, but also by showcasing works by artists like Dennis Cooper, a renowned novelist, alongside authors such as Tony Tulathimutte. Both of these writers are on the fringe of portraying unusual human behavior and sexuality. It’s intriguing to introduce this interdisciplinary aspect into our festival.

WINSHALL: Our conversation with Emily Spivack, an expert in finding significance in ordinary objects, along with comedian John Early, who has a keen eye for films, and Shirley Kurata, a talented costume designer (nominated for an Oscar in “Everything Everywhere All at Once”) – we’re exploring how seemingly insignificant items can transform a movie. We aim to create a unique perspective on film fandom that you don’t typically find at many festivals.

This interview has been edited and condensed.

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2025-04-01 20:19