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Music Video Monday: “Here I Am” by Line So Thin

Today on Music Video Monday, we bring you some big rock. Line So Thin’s “Here I Am” has a monumental sound which expresses a very personal sentiment.

“Really for me, ‘Here I Am’ is about the journey of struggle that comes with love and commitment,” says Line So Thin’s Dustin Allen. “Saying, ‘We can make this work, just don’t try and change each other.’ We accept each other for all that we are, the good and the bad, and realizing it was all worth it in the end.”

Blake Heimbach directed the music video, which was produced by his Hotkey Studio. It stars the band, plus MVM frequent flyer Alexis Grace and Ben Abney as a quarreling couple, and Memphis Flyer writer Jon W. Sparks lending gravitas.

If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.

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Music Video Monday: “Golden” by Alexis Grace

Ahh, spring! It’s a time of renewal. It’s the season of flowers. It’s that brief window of time when Memphis weather is nice.

Alexis Grace‘s new music video “Golden” is suffused with seasonal energy. Edward Valibus conjures deep video magic to bring multiple Alexises together — each dressed for a different season — to breeze through her (their?) incredibly catchy new tune.

You can catch the singer/songwriter live at the Hyatt Centric on Sunday, May 7th, and at the GPAC Grove on June 29th. While you’re waiting for those shows, you can watch this video and imagine you’re dancing with Alexis in her amazing kitchen.

If you would like to see your new music video on Music Video Monday, email cmccoy@memphisflyer.com.

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Music Comings and Goings: Alexis Grace, Thomas Bergstig, FreeSol, Andrew Smith. And Sushi Jimmi Returns!

Michael Donahue

Alexis Grace and Thomas Bergstig

If you think you recently saw Alexis Grace around town, you’re right. The Memphis singer, actor, and “American Idol” finalist who moved to Los Angeles with her husband, Thomas Bergstig, in 2017 is back in Memphis. For a while.

“We’re here temporarily,” says Grace. “We came back because of family circumstances.”

Her daughter, Ryan Zabielski, 12, was injured in a car accident. “We did a Go Fund Me (and raised) $15,000 in four days for us to move back so quickly so she could go to rehab.”

Zabielski is “fully recovered from her accident,” says Grace, who says she and Bergstig plan to be in Memphis “right now until December.”

A native Memphian, Grace was a finalist who came in 11th place on season eight of TV’s “American Idol.” For eight years, she was a Memphis deejay on Q-107 FM.

Bergstig, who is from Sweden, is the former music director at Playhouse on the Square. He and Isaac Middleton are the tap-dancing-musical-instrument-playing performers in Swedish Jam Factory.

Grace is working with film productions in Memphis. She played Kellie Pickler’s stand-in in the Hallmark Films production of Christmas at Graceland and she played the part of Pickler’s wedding cake baker in Hallmark’s Wedding at Graceland. “Here’s the funny thing: Kellie is also from ‘American Idol.’ So, we have a lot of similarities in our career and stuff.”

Grace is excited about the film and TV opportunities in Memphis, including the Bluff City Law series, which is filming in Memphis.

She’d love to be a part of that series. “I know a lot of people in town are happy that happened because now they have work. I think it’s really important the city knows about these productions providing work for artists and people who work in the industry right now.

“Take me, for example. I moved out to Los Angeles because I needed to find more work as an artist, as an actor, as a singer. It’s very hard to find work here in the city that sustains a whole family. It really is. Unionized type of work.

“So, the fact that a lot of people who work in the film industry in town travel to work in other cities when they want to be a part of big productions to make money and things, the fact the series and Hallmark are coming here I know so many people who are like, ‘Thank you.’ It’s a really big deal.”

Grace loves living in Los Angeles. “It took about a year. I hated the first year. Well, I miss my family. I’m a big family person and it was weird to not be able to run to my mom’s house if I want to see her. And family get-togethers.”

It’s more expensive to live in L.A., but, she says, “The opportunities that are there are endless in any line of work ‘cause it’s such a big city. But especially entertainment. If you work hard and you’re talented and creative and you’ve got a go-getter personality and you put yourself out there, it will work itself out. It just takes time.”

Grace did a lot of background singing for TV shows in L.A. “And that was thanks to ‘American Idol.’ Because I was a contestant on that show I made a lot of contacts with musicians and vocalists and arrangers. When I moved to L.A. I let them know I was in town. I did a gig with Katy Perry at the Hollywood Bowl, just singing background.”

Swedish Jam Factory will be working on a full-length show this summer, Bergstig says. “We’re creating our show, actually,” he says. “We’re building a full-length show that we can do in theaters.

“The longest we’ve done is 30 minutes. We’re building something more like 70 minutes. It’ll be a lot of tap dancing incorporated with folk music, classical music, electronic music.”

Will Grace and Bergstig stay in Memphis? “You can act and perform anywhere, but if you want to do that for a living, it’s very helpful to live in a place where you can make a living by doing that. Plus, the weather is amazing.You do miss thunderstorms every now and then.”

But will they remain in LA? “Seriously, I feel like at my age and the career that I chose it’s still a little hard to say I’m going to stay in one place forever,” Grace says. “You never know where you’re going to. You never know what your next phone call is going to be.”


Michael Donahue

FreeSol – back in Memphis.

FreeSol is back in Memphis. He has been living in California since 2012.

He’s lead singer of the alternative soul band also known as FreeSol, which formed in 2003.

“Soon as we got dropped from this record deal — Interscope and Tennman Records, Justin Timberlake’s label — I bounced to Cali,” says Free. “‘Cause I always wanted to be in Cali. You know me and Cali have something special. I really wanted to be out there. I went out there to re-find myself.”

He was “let down by the whole record deal.”

“We received a call on a Monday that we were No. 1 priority of Interscope. By that Friday

were dropped. Just some political stuff.”

And, he says, “FreeSol wasn’t a free soul. I had to escape out West. I felt trapped”

In California, FreeSol says he’s been “learning how to breathe. Meditate. Calm down and not chase things so much. It’s like a ‘finding myself-type situation’ right now. I felt like I learned more about what I am. And who I am.”

Now, he’s “chasing a lifestyle and philosophy rather than finance, riches, and fame.”

He’s been able to “live in the moment with happiness.”

FreeSol learned about the marijuana industry while in California. “I just recently got a company called Sweet Cali. A partner and I took it over. It’s been a business since 2014. We’re slowly building that up.”

Sweet Cali is “an edible line. We’re focusing on turning it into more of a lifestyle brand from clothes to CBDs, anything related to marijuana.”

FreeSol never stopped performing, but he says, “I feel like I want to make music again. I want to to do it here. There’s an energy pulling me back home. A lot of love for me. I feel something coming in this direction.”

And, he says, “I’m happy to see so much excitement. So many people doing cool things. So many artists being supportive. I want to be a part of it.”


Michael Donahue

Andrew Smith on guitar with Bailey Bigger…..

Michael Donahue

….and then lap steel…..

Michiael Donahue

…..and back to guitar.

Andrew Smith, former creative director at Highpoint Church, and his wife, Jordan, recently moved to Nashville, where, he says, he’s “pursuing the music thing.”

If you were at the Hear 901 festival back in April at The Bluff, you probably noticed Smith, 25, who moved from instrument to instrument on stage. He backed Bailey Bigger on her set at the show, which featured University of Memphis music students.

“I was playing electric guitar on a couple of songs,” says Smith. “I switched over to lap steel. It was funny. When we made the set list I was thinking of all the changes I had to do, flip flop every single song. It was fun, man. Her songs are great. Her songs are super cool. She’s really talented.”

Smith isn’t a U of M student; he’s a 2015 graduate of Visible Music College.

 “I haven’t really been playing lap steel that long. I got a lap steel for my birthday back in November. I locked myself in my room and tried to learn songs and basic chords I could play with my friends. I played a show around Christmas time with Ben Callicott. Old News. With Kyle and Harrison Neblett. All of those guys are so good.”

Smith, who is from Kansas, began playing guitar when he was 10. “It was because of the iconic scene in Back to the Future when Michael J. Fox grabs that red Gibson 355 and just rips out ‘Johnny B. Goode.’”

He knew it had to be guitar for his first musical instrument. “I knew guitar was way cooler than piano or whatever. I was a little kid. You think like that. I wanted to be [Marty McFly]

in ‘Back to the Future’ and play guitar.’”

Why the Nashville move? “No kids. No mortgage or anything like that. We just wanted to have a little bit of adventure.”

He plans to make trips back to Memphis. “We both have family back in Memphis and definitely will be coming back and forth. I actually still am part of the band I play with called ‘Junior Year.’ Josh Maze, worship pastor at Highpoint, is the front man. We’ll continue to do shows in Memphis as they come up.”

It was “bittersweet to leave Memphis.” But, Smith says, “I’m definitely not going to be a stranger to the 901.”

Michael Donahue

Andrew Smith

……………..
Michael Donahue

Jimmy Sinh and his brother, David Sinh, toast during the grand re-opening of Sushi Jimmi Asian fusion restaurant.


In honor of International Sushi Day – June 18th, raise a glass, and toast Sushi Jimmi, the Asian fusion restaurant that re-opened with a buffet dinner June 15th.

Fans showed Sushi Jimmi some love, and loved them some sushi at the grand re-opening at the restaurant at 2895 Poplar.

Gustavo Gomez, 20, didn’t know it was the grand re-opening. He didn’t know the restaurant was, again, open for business.

“I just got off work,” says Gomez, who delivers pizzas for Little Italy restaurant. “I was passing by going home and I saw people there. I knew it was closed. Man, so sad. Then I see lights and I see people there. I was like, ‘Oh, why don’t I just stop here and see what happened?’ ‘Cause I used to go there a lot.”

He went twice a month before the restaurant closed May 23rd, Gomez says. The rolls are big and the prices are reasonable, he says.

And, Gomez says, “It’s just a cool place to hang out with friends and stuff.”

The Big Boy is Gomez’s go-to sushi roll. “It’s crab and some type of fish and it has this spicey sauce. It’s one of the big ones. I’ve tried other ones, but I always go with that.”

Jimmy Sinh, former owner now head chef, planned to close the restaurant and move to Florida, but his family didn’t want to let the place go. And Sinh already put a lot of money in the restaurant.

Jimmy and his brother, David Sinh, the new owner, and the staff toasted with champagne. Everyone gathered at the front of the restaurant for the bubbly and good wishes.

Michael Donahue

Sushi Jimmi regular Gustavo Gomez was at the grand re-opening.

Michael Donahue

Sushi Jimmi regulars Regan Dickerson and Jaylen Roach were at the restaurant’s grand re-opening.

Michael Donahue

Sushi at Sushi Jimmi’s grand re-opening.

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Spend An Uplifting Evening With Memphis Filmmaker Ben Siler

Memphis experimental film auteur (and occasional Memphis Flyer contributor)  Ben Siler is one of the most fascinating talents this community has produced. Siler’s short films range from the heady to the confessional to the downright weird. His editing is impeccable, and he’s never afraid to tell you exactly how afraid he is.

On Friday, March 29th, Cooper-Young Gallery and Gifts will put on a retrospective of Siler’s work. Beginning at 6 p.m., the gallery will screen a curated collection of the dozens of short film Siler has produced and directed over the last decade. Curator Joel Rose says the films will screen in an art gallery environment, and “you can move freely around the rest of the shop, like an art opening.” Siler will be on hand to meet and greet and answer questions, of which I am sure there will be many. Hopefully, he will also give life advice, like he does in this short film, directed by Robby Grant.

Spend An Uplifting Evening With Memphis Filmmaker Ben Siler

I don’t know exactly which films Rose and Siler have selected for this retrospective, but I will never pass up a chance to share this film. An Indie Grant-funded collaboration with director Edward Valibus Philips, and actors Jessica Morgan and Alexis Grace, “On The Sufferings Of The World” has a unique look that came about when Phillips took his cut and Siler’s cut and superimposed them on each other. It packs more story and characterization into a wordless four minutes than most blockbusters. Watch it now, or regret it later.

On the Sufferings of the World from Edward Valibus on Vimeo.

Spend An Uplifting Evening With Memphis Filmmaker Ben Siler (2)

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Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo

Welcome to our final installment of the Indie Memphis Greatest Hits series, which brings our list of the top vote getters in the Best of Indie Memphis poll to the present day. If you need to catch up, here’s part one, part two, part three, and part four.

Lights, Camera, Bullshit (2014)

It’s hard out there for a…well, you know.

14 years after starring in The Poor And Hungry, Eric Tate joined director Chad Allen Barton and Piano Man Pictures to cast a satirical eye on the whole indie film thing. Tate stars as a filmmaker who comes to Memphis to make art, but finds himself constantly sidetracked by increasingly absurd obstacles. His boss is a delusional crook who wants to stay in business despite the fact that his business has literally burned to the ground. And he being hunted by a terrorist organization who wear masks of Presidents. Lights, Camera, Bullshit is a maze of jokes and old school indie surrealism that takes on the myth of the self-sufficient auteur. Tate puts himself in the tradition of Buster Keaton or Harold Lloyd as the last sane man in a world gone nuts.

Comments from voters:

“The irreverence of the story to all things political as a subplot. The main plot was interesting, dealing with a power hungry record producer who hires a young man to work on a film who has his own ideas…. the diversified cast with so many fine performances. The Memphis locations were also a highlight…Also great photography.”

Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo


Anomolisa
(2014)

Being John Malkovitch and Adaptation screenwriter Charlie Kaufman used stop motion to adapt his stage play about a man drowning in depression who meets and briefly falls in love with a woman at a conference in an anonymous hotel. It’s safe to say that this is not familiar ground for an animation disciple best known for Ray Harryhausen’s skeletons battling Jason and the Argonauts. Anomolisa uses its formal tricks to great emotional payoff.

Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo (2)

Movement + Location (2014)

Lots of people want to move to the big city, reinvent themselves, and forget their past life. That’s Kim Getty’s (Bodine Boling) plan when she arrives in Brooklyn. What’s different about Kim is that she’s from 400 years in the future, a time when the planet is overcrowded, resources are scarce and life is miserable. Who wouldn’t want to go back to the luxury of the early 21st century, when there was enough clean water to boil pasta? The problem is the past—which is to say, the future—is not done with Kim yet. Movement + Location is directed by Alexis Boling, and the combination of shadowy tension and Bodine’s intense performance made this low-budget sci fi a big Indie Memphis hit.

Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo (3)

The Keepers (2015)

The Keepers won the hearts of the Indie Memphis audiences in 2015 by exploring the relationship between animals and people in a humane and empathetic way. With subjects like the staff of the Memphis Zoo and a skittish teenage giraffe, getting people to care was a matter of patience and editing in this cinéma vérité tour de force. “It was a very tight edit,” says Joanne Self Selvidge, who co-directed The Keepers with Sara Kaye Larson. Amy Scott, who was our editor, is a total badass. She started with a 2 1/2 hour cut, and got it down to 70 minutes. I had done all the editing at that point, but Amy was wham bam thank you ma’am done. It was amazing.”

Larson and Selvidge started their festival run with a win at the Nashville Film Festival and made it two for two at Indie Memphis. The director/producers hustled to transform their festival wins into wider success. “We were able to secure national distribution, which was huge. We worked at that. We were approached by a couple of people who thought it seemed like an interesting film…” before signing with Vigil, Selvidge says.

Now on Hulu, the film got a name change to See The Keepers: At The Zoo. Selvidge and Larson were recently approached by Real South to air the film on more than 200 PBS stations across the country, and possibly internationally as well. The pair are currently back in the editing room creating a 56 minute TV version.

The Keepers – Festival Trailer from True Story Pictures on Vimeo.

Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo (4)

Tangerine (2015)

The technological revolution that made the digital indie era possible has only accelerated. When Indie Memphis started, submissions were on VHS. Director Sean Baker shot Tangerine with three iPhone 5s, and it is visually beautiful. But it’s not the gimmick that makes Tangerine special, but the layered performance of Kitana Kiki Rodrigiez as Sin-Dee Rella, a transgendered sex worker just out of jail who tries to get to the bottom of her boyfriend’s alleged infidelity. Indie Memphis was lucky to get one of the defining moments of this film decade.

Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo (5)

Carol (2015)

Indie film hero Todd Haynes brought a Douglas Sirk aesthetic to this period piece of forbidden lesbian love in an America on the verge of a cultural revolution. The list of accolades won by the film is long enough to rate its own Wikipedia page, so if you haven’t seen it, you probably should. 

Voter comment: “One of my favorite films of the century so far, from its resplendently photographed Christmas-mode period trappings to its aching expression of unspoken longing to its “Brief Encounter” cribbing structure, “Carol” is my idea of pure heaven. It’s a coming-of-age story AND a midlife reckoning in which neither lead is a navel-gazing, dissatisfied man, and one of whom is Cate Blanchett. Need I say more?”

Cameraperson (2016)
Every filmmaker finds out quickly that you have to throw out perfectly good material in order to make the whole film stronger. Cinematographer Kirsten Johnson saved memorable shots and moments that didn’t make the cut from her twenty year career shooting all over the world, and then put them all together in this tribute to the emotional power of collage. Cameraperson is one of my personal favorite documentaries ever to screen at Indie Memphis, and I was glad to see I wasn’t the only one that felt that way.

Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo (6)

Jackson (2016)

The human cost of the culture wars is front and center in this arresting doc about the relentless assault on women’s reproductive rights in Mississippi. Jackson won Best Documentary Feature at Indie Memphis 2016, and it’s currently finding a national audience on Showtime.

Voter comment:
“This documentary pissed me off and made me feel hopeless, but it also encouraged me to talk to strangers about these feelings. Our national apathy (veiled contempt?) directed toward women and their bodily agency is unacceptable, particularly when it comes to poor women of color. Jackson didn’t flinch.”

“On The Sufferings Of The World” (2016)

Filmmaker (and Memphis Flyer contributor) Ben Siler is one of Memphis’ most prolific filmmakers. His work got a lot of votes in the our poll, and unexpectedly “whichever Ben Siler film gets the most votes” was a fairly common response. I’ll let his fans speak for themselves:

“Ben Siler was always an unsung hero for me in Memphis movie-making. His strange and unexpectedly poignant short films were always favorites of mine.”

“Just everything Ben Siler’s done. He’s one of the few filmmakers, in Memphis or elsewhere, with a truly unique voice.”

“Ben Siler should be at the top of every list. I idolize him as an experimental filmmaker.”

“Ben Siler is literally a genius and all of his films should be in the Smithsonian.”

The Siler film that closes out our list of Indie Memphis’ Greatest Hits is one of the most radical works ever produced in the Bluff City. Funded by IndieGrant, a program begun in 2014 to give competitive grants to Memphis filmmakers, it’s a collaboration between directors Siler, Edward Valibus, actresses Jessica Morgan and Alexis Grace that started when Siler wanted to marry images with philosopher Arthur Shopenhaur’s essay “On The Sufferings of the World”. It’s most striking feature, the layers of images that are similar but not quite the same, came about when Valibus and Siler were trying to reconcile different cuts of the film. It’s a haunting, beautiful end to our retrospective of the best films of indie Memphis’ first twenty years.

On the Sufferings of the World from Edward Valibus on Vimeo.

Indie Memphis’ Greatest Hits 5: Lights, Movement, And The Zoo (7)

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IndieGrants

Look to the credits of each short film represented in the 2016 IndieGrants bloc, and you’ll find recurring names of actors and crew members collaborating on one another’s projects.

That’s the film community here — a tight-knit family willing to lend a hand to artists scraping up funds to bring their vision to the screen. But what could a DIY filmmaker accomplish with a full crew and professional resources for production? Mark Jones, who started the IndieGrant program in 2014, wanted to find out.

“My starting IndieGrant is both from an artistic point of view and an economic point of view,” Jones, whose resume includes the 2012 comedy Tennessee Queer, says. “Film is art. Film is jobs. I thought that if Indie Memphis could help fund short films, then perhaps one of those short films made in Memphis could get some funding, and then it could be made as a feature film here in the city.”

What started as two $4,500 grants and two $500 grants has grown considerably in just two years. Now, two winning film proposals not only receive $5,000 while two others receive $500, but they are also awarded an additional $2,500 from FireFly Grip and Electric for lighting work and equipment, and, beginning this year, $1,500 from LensRentals and $1,000 for sound mixing from Music + Art Studios.

“I think you’d be hard pressed to find another film festival the size of Indie Memphis or perhaps bigger that gives this much out in grants to local filmmakers,” Jones says.

Seven films, financed between the 2014 and 2015 Indie Memphis festivals, will debut at 8:15 p.m. on November 1st at the Halloran Centre. That includes Sarah Fleming’s Carbike, a city-trotting, sightseer told through the perspective of two Japanese visitors; G.B. Shannon’s touching family drama Broke Dick Dog; the Flyer‘s Chris McCoy and Laura Jean Hocking’s road trip comedy How to Skin a Cat, which depicts the Collierville, Midtown, and rural divide; Morgan Jon Fox’s Silver Elves, an almost dialogue-free, true crime reverie; On the Sufferings of the World, an collaboration between experimental auteur Ben Siler, director Edward Valibus, actor Jessica Morgan, and musician Alexis Grace; Dirty Money, by Jonas Schubach, who also served as cinematographer on Indie Memphis’ closing night feature documentary Kallen Esperian: Vissie d’Arti and Jones’ black comedy Death$ in a $mall Town.

How to Skin a Cat

IndieGrant serves as a launch pad — a motivator to stay accountable and follow through with a film, says Joseph Carr. He’ll make his directorial debut at this year’s festival after a $500 IndieGrant and a few thousand dollars in personal fund-raising. Returns is inspired by the years he worked in a bookstore, watching as the digital takeover made in-store interaction almost extinct.

“The film is a profile of people who love their profession and, while struggling with honest bouts of ennui, continue to provide their service in the face of an uncertain future,” Carr says.

A testament to the community’s kinship, Carr committed to filmmaking after working on Sarah Fleming’s crew as a production assistant. Years later, he was cast in Fox’s play Claws and, later, in Feral. Fox produced Carr’s short, along with two others in the block, Fleming’s Carbike and Jones’ Death$ In A $mall Town. Carr, in turn, produced Fox’s Silver Elves.

Death$ in a $mall Town

“The Memphis scene is like a family, and, at some point, we’re all working on each other’s productions one way or another. It’s always an honor,” Fox says.

Since 2002, Fleming has captured multiple perspectives of Memphis. Carbike depicts the city through the eyes of tourists. Aside from Fox playing an amiable Airbnb host, the dialogue between lead actors Kazuha Oda and Hideki Matsushige is in Japanese.

“[Carbike] is part of a larger series focusing on stories of Memphis visitors — all of which are inspired by true stories,” Fleming says. “I’m a huge fan of this city and enjoy exploring our unique landscape.”

At last year’s festival, Jones was asked why there were only two big winners. Rather than hand two people $5,000 each, why not give 10 people $1,000?

“My response was that I want to see the bar raised,” Jones says. “The IndieGrants are important to me because I want to see Memphis grow as a film city. This is one way I can directly help make that happen.”

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Strong Local Offerings Lead Indie Memphis Lineup

Indie Memphis announced its full lineup for the 2016 festival at a bustling preview party at the Rec Room last night. 

Bad, Bad Men,

The most striking feature of the 150-film collection is the strongest presence by local filmmakers since the early-2000s heyday of DIY movies. The Hometowner Competition boasts six feature films, including Old School Pictures’ Bad, Bad Men, a wild comedy of kidnapping and petty revenge by directors Brad Ellis and Allen Gardner, who have racked up several past Indie Memphis wins. Bluff City indie film pioneer Mike McCarthy will debut his first feature-length documentary Destroy Memphis, a strikingly heartfelt film about the fight to save Libertyland and the Zippin Pippen rollercoaster. Four first-time entrants round out the Hometowner competition: Lakethen Mason’s contemporary Memphis music documentary Verge, Kathy Lofton’s healthcare documentary I Am A Caregiver, Flo Gibs look at lesbian and trangender identity Mentality: Girls Like Us, and Madsen Minax’s magical realist tale of lunch ladies and gender confusion Kairos Dirt and the Errant Vacuum. 

‘Silver Elves’


Usually, Hometowner short films comprise a single, popular, programming block; This year, there are enough qualified films to fill four blocks. Sharing the opening night of the festival with the previously announced Memphis documentary The Invaders is a collection of short films produced by recipients of the Indie Grant program, including G.B. Shannon’s family dramedy “Broke Dick Dog”, Sara Fleming’s whimsical tour of Memphis “Carbike”, Morgan Jon Fox’s impressionistic dramatization of the 1998 disappearance of Rhodes student Matthew Pendergrast “Silver Elves”; Indie Grant patron Mark Jones’ “Death$ In A Small Town”, actor/director Joseph Carr’s “Returns”, experimental wizard Ben Siler (working under the name JEBA)’ “On The Sufferings Of The World”, and “How To Skin A Cat”, a road trip comedy by Laura Jean Hocking and yours truly. 

Other standouts in the Hometowner Shorts category include three offerings from Melissa Sweazy: the fairy tale gone dark “Teeth”; “A.J”, a documentary about a teenage boy dealing with grief after a tragic accident, co-directed with Laura Jean Hocking; and “Rundown: The Fight Against Blight In Memphis. Edward Valibus’ soulful dark comedy “Calls From The Unknown”, Nathan Ross Murphy’s “Bluff”, and Kevin Brooks’ “Marcus”, all of which recently competed for the Louisiana Film Prize, will be at the festival, as will Memphis Film Prize winner McGehee Montheith’s “He Coulda Gone Pro”. 

The revived Music Video category features videos from Marco Pave, Star & Micey, Preauxx, The Bo-Keys, Vending Machine, Nots, Caleb Sweazy, Faith Evans Ruch, Marcella & Her Lovers, John Kilzer & Kirk Whalum, Alex duPonte, Alexis Grace, and Zigadoo Moneyclips. 

Internationally acclaimed films on offer include legendary director Jim Jarmusch’s Paterson, starring Adam Driver; Manchester By The Sea from Kenneth Lonergan; and Indie Memphis alum Sophia Takal’s Always Shine. Documentary cinematographer Kirsten Johnson’s spectacular, world-spanning Cameraperson, assembled over the course of her 25 year career, promises to be a big highlight.

Michelle Williams and Casey Affleck in Manchester By The Sea

The full schedule, as well as tickets to individual movies and two levels of festival passes, can be found at the Indie Memphis web site. 

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Music Video Monday: Alexis Grace

Perhaps Alexis Grace speaks for you this Music Video Monday with her song “I’m So Done”. 

This video by Memphis songstress and former American Idol finalist heralded the release of her first EP earlier this year. Directed by Beale Street Studios’ Bart Shannon and shot by Memphis’ favorite cinematographer Ryan Parker, the video sees Grace confronting her inner demons, in the form of herself. 

Music Video Monday: Alexis Grace

If you would like your video featured on Music Video Monday, email cmccoy@memphisflyer.com.