Fort Tilden, directed by Sarah-Violet Bliss and Charles Rogers
The Great Invisible, directed by Margaret Brown
Festival awards are funny things. One wants someone with some qualifications as jurors, but rarely do those juror's tastes align with the buzz I hear from the non-reserved seats.
Nearly everyone I spoke to in lines at SXSW who saw Fort Tilden pretty much hated it, so of course it won the Grand Jury prize in the Narrative Feature category. The Great Invisible, which won the Grand Jury prize in the Documentary Feature category, was sponsored by the Austin Film Society and received production funds from Tribeca, ITVS, The Sundance Institute, and Cinereach. I didn't think it was the best documentary, but I certainly wasn't too surprised it won given its pedigree.
But first, the Narrative Feature winner.
Fort Tilden is an alleged comedy about two millenials trying to get to the beach so that they can (definitely and possibly) hook up with a pair of guys they met at a party the evening before. Co-director Sarah-Violet Bliss prefaced her remarks by conceding she was "technically generation Y," but she admitted many of the incidents in the film were culled from friends. Her partner Charles Rogers said that "our own issues ended up working their way into the film." What then is a millennial? According to the film, it is someone with no visible means of support who will pay $200 (of her father's money) for a barrel on the street but won't walk out of a store and lose her place in ...1
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