Now in its eighth year, the Independent Film Festival of Boston (or Biff, as I affectionately call it) has solidified its position as New England’s premier film event, only getting better as times goes on. Biff celebrates all that is alive and burgeoning in independent filmmaking by trotting out its typically diverse lineup of narrative films, documentaries and shorts, featuring work by established directors and fledgling first-time filmmakers, and boasting name stars and young up and comers, .
This is my fourth year covering the festival for PopMatters, and in that time I’ve been fortunate enough to see some great diamonds in the rough. I’ve also seen some real dogs that never should have made it past the vetting process of the festival board—or even been allowed for consideration in the first place. Sadly, I’ve spent more time trying to sort out schedules and conflicts than seeing actual films, and whiffed on seeing films that broke out of the festival to have some popular success (e.g. 500 Days of Summer, from last year) in favor of films that I thought would do better (Beeswax, also from last year).
In fact, this has happened so often over the last three years that this year I’m consciously going against all my instincts. (Hopefully this will prove as successful as it did for George Costanza).
So, on to the films – and there are a lot of them. They need previewing, watching, and reviewing. I’ll be doing a little of the first and a bit of the latter in these posts, but mostly I’ll be holed up over the weekend and well into next week, at the Somerville Theater in Somerville, or the Brattle Theater in Cambridge. (The great joke of the Boston Indie Film Festival is that very little, if any, of it is ever actually held in Boston).