Categories
News The Fly-By

MEMernet: Brooks and Run, Dia de los Muertos, and Indian Spice

Memphis on the internet.

Brooks and Run

“The front of Memphis Brooks Museum of Art looked like a hit-and-run crime scene today,” Tom Bailey wrote on Facebook. “Someone driving a van plowed through the front lawn and plaza, striking the 62-year-old installation of three statues, Spring Summer Fall, which for decades have graced the front of the museum.”

Día de los Muertos

Posted to Facebook by Overton Square

Well before the hit-and-run incident, a Día de los Muertos parade left from Overton Square to the Brooks for a fun, holiday event with loads of Las Catrinas, authentic food, and amazing music and performances.

Indian Spice

Posted to Reddit by u/Manephian

“Nothing spices up Downtown like an Indian wedding,” wrote u/Manephian this past weekend. Sounds about right to us.

Categories
Film Features Film/TV

Hometown Filmmakers Dazzle at Indie Memphis

More than 170 films screened at the 26th Indie Memphis Film Festival, which ran from October 24 to 29, 2023. Audiences flocked to the opening night film, Raven Jackson’s mesmerizing All Dirt Roads Taste of Salt; Jeanie Finlay’s documentary Your Fat Friend; a sneak preview of Jeffrey Wright in the blistering satire American Fiction; and even Celine and Julie Go Boating, a 50-year-old, three-hour experimental film from French director Jacques Rivette. The biggest ovation this reporter witnessed was for Joann Self Selvidge and Sarah Fleming’s searing documentary Juvenile: 5 Stories, which brought the Friday night audience at Playhouse on the Square to their feet.

Memphis-based filmmakers provided many of the festival’s highlights. In the shorts categories, A.D. Smith’s masterful sci-fi short “r.e.g.g.i.N,” Mark Goshorn Jones’ “Squirrel Meets Boris,” Noah Glenn’s “Bike Lane Ends,” Martina Boothe’s “Dare,” and Janay Kelley’s “Kiss Me Softly” stood out in an extremely competitive field. Among the eight Hometowner feature films, Jessica Chaney’s I Am packed Playhouse with its empowering message for Black women overcoming anxiety. Sissy Denkova flew directly to the festival from Bulgaria, where she was promoting the theatrical release of her heartfelt comedy Scent of Linden, to present it to the Memphis immigrant community which inspired it.

At least one filmmaker made Indie Memphis history at Saturday night’s awards ceremony. Zaire Love is the first director to ever win both Best Hometowner Narrative Short (for “Etto”) and Best Hometowner Documentary Short (for “Slice”) in the same year. (In 2017, Matteo Servente won Best Documentary Short and a special MLK50 social justice award for a narrative short. Love is the first director to win Best in both categories.)

The festival jury awarded Best Narrative Feature to Mountains, director Monica Sorelle’s story of Haitian workers facing gentrification. Best Documentary Feature went to Going to Mars: The Nikki Giovanni Project, directors Joe Brewster and Michèle Stephenson’s portrait of the Tennessee-born poet. Alicia Ester’s documentary The Spirit of Memphis, which was one of two festival films with scores by IMAKEMADBEATS, won Best Hometowner Feature. The Best Departures Feature, awarded to experimental and cross-genre works, went to Sebastián Pinzón Silva and Canela Reyes’ La Bonga. The Sounds Feature award for best music-related film went to Clyde Petersen for Even Hell Has Its Heroes, a documentary about Seattle doom metal pioneers Earth.

Donna and Ally, winner of the Craig Brewer Emerging Filmmakers Award at Indie Memphis 26.

In the National Shorts category, “Benediction” by Zandashé Brown won for Narrative, “This Is Not A Sports Film” by Lily Ahree Siegel won for Documentary, “Amma Ki Katha” by Nehal Vyas won in Departures, and “Be Thyself” by Daniel Rosendale won the After Dark category, which includes horror and sci-fi. In the Music Video categories, director Jasia Ka took home the National award for “Slut” by Pollyanna, and Lawrence Shaw won the Hometowner category for “If You Feel Alone at Parties” by Blvck Hippie, led by the director’s brother Josh Shaw. The Duncan Williams Screenwriting Award went to The Feeling That the Time for Doing Something Has Passed by Joanna Arnow. The Ron Tibbett Soul of Southern Film Award, a special jury prize that dates back to Indie Memphis’ origins, went to Mississippi River Styx by Andy McMillan and Tim Grant, which also received an honorable mention from the Documentary jury. The Craig Brewer Emerging Filmmaker Award went to Donna and Ally, which was jubilantly accepted by director Connor Mahoney and the cast. Best Poster Design went to An Evening Song (For Three Voices).

Two short films you will be seeing at future Indie Memphis Film Festivals are “55 South” by Best Hometowner Feature winner Alicia Ester and “Friend Shaped” by Lo Norman, both of which were awarded $15,000 IndieGrants.

The Vision Award went to Molly Wexler, the local producer and Indie Memphis board member who stepped in to run the festival while they searched for new leadership in 2021. The Indie Award, given to Memphis film crew members who have proven themselves invaluable over many productions, went to Laura Jean Hocking, who may have also set another Indie Memphis record by editing three feature films, two music videos (one of which she also directed), and a short film that appeared in this year’s festival.

Black Barbie won the Audience Award for Best Documentary Feature at the 26th Indie Memphis Film Festival.

The Audience Awards, as determined by ballots passed out during festival screenings, were announced on November 1. Zaire Love added to her hardware haul by winning the Audience Award for Best Documentary Short with “Slice”, while A.D. Smith took home Best Narrative Short with “R.e.g.g.i.n.” The Audience Award for Best Hometowner Feature went to The First Class by Lee Hirsch; the documentary about Crosstown High screened before a sold-out audience at Crosstown Theatre. The audience chose Josh Cannon’s pastoral music video for Bailey Bigger’s “Arkansas Is Nice” as their favorite. For Poster Design, the audience voted for Juvenile: 5 Stories.

Juvenile: 5 Stories‘ Audience Award-winning poster. (Courtesy True Story Films)

In the national competition (which should really be renamed the international competition), the Audience Award for Best Narrative Feature went to Lisa Steen’s Late Bloomers. For documentary feature, Indie Memphis ticket buyers chose Black Barbie. You can read my interview with director Lagueria Davis here. The Sounds feature Audience Award went to Augusta Palmer’s The Blues Society. You can read Alex Greene’s interview with the director about this important Memphis story at this link. The Departures feature choice was The Taste of Mango by Chloe Abrahams.

In the National Shorts categories, the top vote-getters were “Hickey” by Giovanna Molina for narrative and “Please Ask For It” by Allison Waid for documentary. The Departures winner was “Prep” by Raymond Knudsen, and the music video prize went to directors Seretse Njemanze and Jehnovah Carlisle for “So Misunderstood” by Jaklyn.

Categories
Politics Politics Feature

The Mackler Moment: A Parable

Can Knoxville state Senator Gloria Johnson, she of last spring’s “Tennessee Three” and a heroine of sorts among Democrats, actually unseat the GOP’s Marsha Blackburn in the 2024 U.S. Senate race?

There is an illustrative case — that of James Mackler, a Nashville lawyer and former Iraq war helicopter pilot, who made bold to put himself forth as a candidate for the U.S. Senate in 2018 for the seat then held by the retiring moderate Republican Bob Corker.

Meanwhile, out of the Republican MAGA ranks, seeking the same seat, came the aforementioned arch-conservative Marsha Blackburn, then a congresswoman. The then still existent state Democratic establishment, two years into the Trump age, didn’t trust a novice Democrat like Mackler, no matter how promising, to take on Blackburn, so talked Tennessee’s recent Governor Phil Bredesen, an old-fashioned conservative Democrat, out of retirement to become their candidate.

Mackler dutifully withdrew, biding his time.

History records that both Bredesen and Nashville Mayor Karl Dean, the last two name Democrats to carry the party banner into battle, were both routed in 2018, Bredesen by Blackburn (who would end up a cover girl on The New York Times Magazine) and Dean by Bill Lee.

Mackler was still on the scene and considered it his time to take on the next Senate race in 2020, where he would be opposed by the GOP’s Bill Hagerty, a former ambassador and state economic development commissioner. What was left of the Democratic establishment, in something of its last go-round, thought Mackler was right and timely, also, and got behind him.

Alas! Mackler and the party establishment withheld their considerable fundraising receipts from a five-way Democratic primary, hoarding them for the forthcoming race against Hagerty, and never even got to the general election. Mackler was upset in the primary by one Marquita Bradshaw, an environmentalist from Memphis who had no ballyhoo whatsoever and had raised virtually no money.

What she did have was an emergent standing among Memphis Blacks as a progressive candidate (though a nonmember of the now-expiring party establishment).

What she had was enough to win 35.5 percent of the primary vote, outpolling poor Mackler, who had 23.8 percent. Between the primary and the general, Bradshaw upped her campaign kitty from $22,300 to $1.3 million (a major-party nomination is still worth something), but lost to Hagerty, once again polling 35 percent.

Jump to last week, when the Beacon Center, a conservative think tank, released the results of two Emerson College polls — one measuring incumbent Blackburn running for reelection against Gloria Johnson, another matching her against Bradshaw, regarding the Memphian, once again as a prospective Senate candidate.

Beacon had Blackburn running ahead of Johnson by 49 percent to 29 percent, with the balance undecided. Against Bradshaw, Blackburn’s margin was smaller, 48 percent to 36 percent.

What Beacon did not do was match the two Democrats against each other, testing what might happen in a primary encounter.

But, given the example of Mackler, the already actively campaigning Johnson might wonder, as do we. Might she suffer an unexpected defeat to Bradshaw, a la Mackler?

Word from the Democratic establishment (yes, it still exists, though barely) is that Johnson has digested the lesson of Mackler and will pour a generous amount of the substantial funds she has already raised for a primary contest.

That will take pace in August, and we shall see what we shall see.