One film festival is not like another. As film festivals proliferate, and become either a test market vehicle or a substitute for distribution, there are, however, certain similarities - a mix of pre-release of local and national films without distribution, Q&A sessions, panel discussions, and of course, festivities.

Each of the festivals I attended recently had all of these trends, but there are distinctive differences.

The Festive Festival

Paul Boghosian and David Kleiler at the Imagine Brunch at the Nantucket Film Festival. Photo courtesy of Paul Boghosian.

Provincetown is, by definition, the most festive - the gay-est, so to speak. With the abundance of exotic shops and cafes on the Main Street, and the six screens all are within a 10-minute walk from one another, the festival blends right into the resort community from Connie Francis live to the sing-along SOUND OF MUSIC. It is impossible not to have a good time. And who could miss John Waters (who presented the vastly unseen Belgian shocker BAXTER - beware the dog who thinks), ride down the street on his bicycle or watch the parade of costumed people on their way to THE SOUND OF MUSIC. The festival also has substance insofar as the open-house panel discussions, which included residents and politicians. There were Ted Hope and Jim Schamas from Good Machine, producer Christine Bachan (KIDS, BOYS DON'T CRY), Waters, and Norman Mailer - the latter two already have houses in the area.

The only drawbacks were the film program and presentation. The selections were generally sound, but had already seen other festivals. In fact, about 1/3 had already been shown at Boston's "Women in Film and Video Festival" just two months earlier. That is no accident since both festivals were programmed by the same people. All of the new films had distribution, so the festival served as a sneak preview of films that festival goers will get to see anyway - and soon - with THE ANNIVERSARY PARTY and SONGCATCHER already out and HEDWIG AND THE ANGRY INCH due in early August. This is lazy programming! Furthermore, three of the seven programs I went to were unannounced - no introduction, no announcement, no nothing. This is something I've never seen in a festival.

Director P.J. Laing acknowledges the problems and certainly does deserves a lot of credit for bringing off such a large and ambitious festival. Laing and her team did provide an excellent chance to mix with people. No matter what my reservations, I plan to increase my presence at Provincetown the next year.

The Other Side of Paradise

On the one hand, the Maine International Film Festival in Waterville, ME, is the best programmed film festival in New England. But it also is among the least festive.

As do most festivals, it has the sneak preview qualities - but there is a mix of esoteric films and great, underappreciated films like GEORGE WASHINGTON (which won the audience award) and Kirby Dick's CHAIN CINEMA. Neither of these will have commercial showings in Maine. The program is mostly put together by Ken Eisen, who runs the Railroad Square Cinema in Waterville and is co-owner of Shadow Releasing - a distributor of quality films like LATCHO DROM. Ken has great taste and is extremely knowledgeable. He is something of a local hero, and is known by his patrons, -many of whom are indeed, followers. In fact, at one screening, the presenter announced, "I haven't seen this film, but Ken tells me it's excellent." No mention of Ken's last name. Everybody knows him. In many ways, this is Ken's sandbox.

But that brings me to another issue. In three of the five programs I attended, the presenter admitted to not having seen the film - including the opening night of the festival with an audience of patrons, sponsors, and politicians. That may be honest, but it's bad form (that may reflect Ken's disdain for the sneak preview component of film festivals).

Although the program was great, it was not particularly supported by the atmosphere of Waterville. It is not a very festive place. There really weren't any festival parties and the two receptions I attended were at City Hall (one without wine and beer). One didn't see patrons hanging out and sharing their thoughts on what they had just seen. Perhaps because of that, the festival doesn't draw many from outside the region - in spite of this year's award to Sissy Spacek. So few come from outside that the Waterville paper actually made note of out-of-state licensee plates in the Railroad Square parking lot. Maybe there were ten.

But - the festival grew by over 1/3rd this year - thanks, I'm sure, to Ken's developing an audience that trusts his taste and judgment. Ken Eisen is certainly the best film festival programmer I know.

Saving the Best for Last

The best of the three recent festivals and perhaps the best film festival in New England is the Nantucket Film Festival - dedicated to the art of the screenplay.

It is almost as festive as Provincetown (although audiences for HEDWIG AND THE ANGRY INCH had to be quite different), and it has almost as good a mix of programs as Waterville. Where Nantucket stands out is in the mix of people it attracts, and the way they interact.

Having completed its sixth year (I have gone for the last five), the festival has experienced both growth and growing pain. In its early years, the emphasis seemed to lie on getting glitzy New Yorkers and minor celebrities to attend. But each year I have seen an increasing number of New England industry professionals. It is almost like a professional conference.

For the first time this year, there was a New England sidebar, showcasing four New England feature films in addition to a sneak preview of Brad Anderson/Scout Production's intense horror film, SESSION 9, shot in Danvers. This came at the suggestion of board member Bingham Ray, co-founder of October Films. It worked out beautifully. With the growth of independent film production in New England. These filmmakers had a chance to mix with nationally known figures like Arthur Penn (BONNIE AND CLYDE and ALICE'S RESTAURANT), Walter Bernstein (THE FRONT, THE TRAIN, and THE MAGNIFICENT SEVEN) who was awarded the Lifetime Achievement in Screenwriting Award, former producers rep. and independent film guru John Pierson, former Phoenix critic/LOLITA scribe Steven Schiff, legendary indie film maverick/producer Kit Carson (DAVID HOLZMAN'S DIARY, BREATHLESS, BOTTLEROCKET), and more.

All the venues were within walking distance of one another, and Nantucket abounds in cafes and restaurants. The parties were nightly and crowded. Of the New England film festivals, it is still the best for professional exchange. There are Q&A sessions following almost every screening, and staged readings - all of which provide multiple opportunities for the sharing of ideas and information.

This year was a triumph for founders Jill Good and Jonathan Burkhart. They want to continue. And, to be fair, my only problem over the years has been with the program selection. This year I saw no worthwhile short films that I hadn't seen elsewhere, and during the years, I've seen some of the worst independent films, in my experience, at this festival. Nantucket programming needs help in their program selection and they ought to expand the showcase of quality New England films.

Nevertheless, the Nantucket Film Festival provides the best total film festival experience of any festival in New England. May it continue.