The Greater Cleveland Urban Film Festival

It’s For Everyone

Now that the CIFF has wrapped up, movie lovers in Cleveland need not panic. The second annual Greater Cleveland Urban Film Festival comes to Shaker Square Cinema, Thu 4/18 – Sun 4/21, and it’s bigger and better than last year’s.

Peter Lawson Jones, who has masterfully transitioned his career from our County Commissioner to actor (Alex Cross, Made in Cleveland) and filmmaker (Fatherhood 101), offered his unique perspective: “The Urban Film Festival is another piece of the cinematic mosaic we’re developing in our community over the years. You have the Greater Cleveland Film Commission, the tax credit and all the films that are the combined efforts of the Commission and film aficionados. [With locally made films like] The Avengers, Alex Cross and Toy’s House [now Kings of Summer] and many others, there’s a certain momentum here. And when you have a highly successful CIFF and use that energy and take straight into the GCUFF, it becomes another important component. I see it all as part of a grand effort. N.E. Ohio is not only a place to screen films, but also to make films.”

Simone Barros, an NYU film school grad who’s worked with Spike Lee, and with whom I’ve co-taught the Art of Story class at Tri-C, agrees with Peter. “The Greater Cleveland Urban Film Festival is most important because it confirms that Cleveland has a vital and growing audience for documentary and independent narratives. It’s the audience that verifies that Cleveland indie filmmakers can create a financially sustainable local distribution model. The larger the audience grows for the Film Festival, the larger the audience remains to view indie films screening at Shaker Cinemas, Cedar Lee, Capitol and Cinematheque throughout the entire year. It is also highly necessary that Cleveland filmmakers, film educators and students meet and discuss films; sharing resources, techniques and networks makes any community stronger.”

Wesley Harrell Crump, who partners with Simone on numerous production projects, and also teaches film studies at Tri-C, added this perspective as to why the GCUFF matters. “As a filmmaker, ANY festival is important, especially ones that serve to amplify a lesser-heard voice and perspective. That’s a bit of a cliche answer, but in this case, the cliche is the truth. Being that I’m from outside of Cleveland, this festival seems even more important, since in my time here, I’ve seen that Cleveland can be a very, shall we say, racially insensitive town. This isn’t just in regards to black people, but all people of brown skin or ethnic diversity. A festival of this nature opens up the playing field a little bit and allows people who aren’t typically represented to be heard. Of course the real trick is in making adequate use of the platform.”

Speaking of platform, the programming this year is far more vast than at last year’s festival debut and there’s literally something for everyone.

Per Peter, “The Festival is only in its second year. The growth is already overt. What we’ve seen is people taking a smarter approach. Whether it’s the Gay Games or a festival like this, the educational component is the critical piece. Personally, I’m involved three different ways: I have a cameo role in Swing Low, I’m moderating a panel discussion on acting and I’m taking advantage of the workshop for actors. When over, I’ll be a better actor. I’ll have another contact in the industry.”

And the overall impact? “There will be intellectual capital left behind, capital that will be useful when more films come to Cleveland. We’ll have a more educated and a better trained work force. As the festival grows, you’ll see expansion: expanded programming and greater diversity in films that will continue to grow.”

Simone shared a similar perspective. “I thought this year’s expansion of the festival events, such as the master class with Elmu Nelson, is a wonderful way of expanding festival programming to be a full exhibition and learning experience building a vital community around the festival.”

When I asked Simone and Wesley what else they’d like to see in the future, they were very passionate and specific. “In the future, I’d like to see more discussion panels relevant to how to actually make a low-budget or independent film. This is always a major topic, but the discussions usually involve how to ‘fake it til you make it’ or some such similar sentiment. I’d like to view or be a part of a true discussion on how you can turn your existing network into true resources — not just money, but space, logistics, manpower, etc. MOST importantly, how does one get that coveted exposure and media coverage for the work, which would lead to the distribution end,” contributed Wesley.

Adds Simone, “In the future I’d like to see the festival continue with the panel discussions, master class and film forum events but also include more media coverage such as press junket style videoblog or podcast interviews for the festival website and, if the stars align, a more in-depth interview talk show airing currently with the festival. Not only does this boost the public’s awareness of the festival but it moves toward festival programming similar to the Tribeca and Sundance media coverage.”

Getting to the heart of the matter, I asked all three Cleveland filmmakers if there is a difference in the movie-making and movie-going experience for African Americans vs. the general American population. And, if so, how? Each chimed in with a very unique take on things and, yet, an over-arching theme prevailed. According to Peter, “The most obvious difference for African American theater goers is that they’re more quickly and highly attracted (to films) where the African American experience is on display and African Americans are in the cast… If you look at Tyler Perry’s movies, there’s a disproportionate African American audience.”

Wesley concurred. “Films made and financed by the likes of Tyler Perry, TD Jakes and similar people are too one note and focus too much on a narrow and dogmatic view of what ‘blackness’ is as well as too high a priority on religious proselytizing. To paraphrase The Bard, “There are more black experiences in Heaven and Earth, Mr. Perry (and others), than are dreamt of in your filmmaking…”

“Great question! Yes and no,” offered Simone. “Just like among general American filmmakers, indie or innovative Black filmmakers are not readily embraced by popular Black audiences. Ironically that has not always been the case. Spike Lee came up in a time where Black college students hailed his work [and] brought his alternative films to the public eye. However, by the time Julie Dash comes along with her film Daughters of the Dust in 1992, it’s the general indie-going audience that acclaims her film bringing to boarder audiences and not a Black audience that does it.”

The good news is that things are shifting and cross-over is happening.

As Peter shared with me, “The opportunities for African American performers are better than they ever were. The people putting together [film and television] programming are more sensitive. It’s the right thing to do. Economically this makes sense: the broader the cast, the more likely you’re to draw those from these segments to your show.” And yet, the movie-going experience still remains a universal experience. “African Americans want to go to a comedy and laugh and go to a romantic story and cry and go to a horror film and be frightened. The impulses are the same. We [just] like ours with sepia-tones.”

Adds Simone, “I loved seeing non-Black audiences in attendance and seeing non-Black filmmakers screening films at [last year’s] Greater Urban Cleveland Film Festival. The Black community cannot thrive within a homogenous framework — no community does. When the Black community celebrates its diversity it crosses barriers. To see filmmakers of all shades telling stories and experiences of all shades better reflects the diversity of the Black community historically and today. To see audiences of various backgrounds enjoy and relate to the films enforces the power of great films and great storytelling — to walk in the shoes of another person, to see their life through their eyes, and feel their laughter and pain through their skin.

Which is why The Greater Cleveland Urban Film Festival is so critical and why anyone who enjoys being on either side of the camera should attend. Says Peter, “If you enjoy the CIFF, you’ll enjoy the GCUFF. Don’t think it’s exclusively for African Americans. These films tell universal stories, in sepia. Anyone who loves movies will enjoy.”

For films, seminars and events, click here.

Peter Lawson Jones is currently wrapping up production on his documentary Fatherhood 101, which explores what it means to be a successful dad in today’s modern times. Interviews include Edward James Olmos, Tyrese Gibson, Alan Thicke and many others.

Simone Barros and Wesley Harrell Crump are producing All the World Over, a documentary series challenging the narrow definition of Black by traveling the world to talk to Black people in London, Paris, Copenhagen, Hong Kong, Sydney and other international cities.

The Greater Cleveland Urban Film Festival runs Thu 4/18 at 6pm – Sun 4/21 at 7pm @ Shaker Square Cinema, 13116 Shaker Square, Cleveland, OH 44120. http://gcuff.org

Reprinted with permission and gratitude from CoolCleveland.com.