When reviewing the few feature films I caught at this year’s (mostly virtual) New Orleans Film Festival, I found myself constantly writing about how the context of the COVID-19 pandemic shaped my experience with them. It’s been a long nine months since I last attended a film festival in person (French Film Fest, which was snugly slotted in between Mardi Gras and the city’s initial coronavirus lockdown orders), so it was impossible to not compare & contrast this year’s NOFF with similar events in the past.
To the festival’s credit, the programmers addressed this unavoidable preoccupation head-on, platforming a wealth of short films that directly commented on COVID-era New Orleans culture. They also adjusted the scope & structure of the festival to offer as safe of an experience as possible, including an online streaming option for most of their selections as well as a few outdoor, socially distanced screenings for in-person events.
COVID undeniably reshaped my usual New Orleans Film Festival experience this year, at the very least in how it limited the range & volume of movies I could make time for during the fest’s short window. It didn’t halt the ritual entirely; it just hung over it as an unignorable dark cloud.
Here’s a list of the four features I’ve reviewed from this year’s New Orleans Film Festival. CC & I will record a more fleshed-out recap of our COVID-era festival experience on an upcoming episode of the podcast, in case you’re interested in hearing about our favorite shorts from the line-up or our thoughts on the ways the fest had to adapt to the constrictions of a pandemic. This list is a more bare-bones kind of recap: a best-to-least-best ranking of the features we managed to catch at this year’s NOFF.
Each title includes a link to a corresponding review. Enjoy!
A local documentary that captures how drastically different the New Orleans drag scene is now vs. the traditional Southern Pageant Drag scene I remember growing up with. It was great to see a community I love (including a couple friends who perform) documented for posterity, but also bittersweet because the very last in-the-flesh social event I attended was a drag show in March and I miss it very much.
A local documentary about avant garde zydeco-turned-new-wave musician Valerie Sassyfras, who’s a very specific kind of New Orleans eccentric. It’s a jarring mix of fun outsider-art punk aggression and severely upsetting social & mental dysfunction; the exact kind of niche-interest no-budget filmmaking you only see at festivals.
A conceptual art piece about Black women’s relationships with their own bodies and the meaning of “feeling safe.” It’s a little impenetrable the way a lot of experimental essay films can be, but it also packs a powerful wallop when it feels like going for the jugular. There’s also some incredible Nina Simone footage interspersed throughout.
Christian Petzold’s latest is Good, but not entirely My Thing. I can’t imagine being the kind of person who watches The Lure and thinks “What if this was a quiet, understated drama instead?” but apparently that kind of person is out there.