Posts Tagged 'Maryland Film Festival'

MFF Announces John Waters Pick: KILLER JOE and 14 Additional Feature Films

Maryland Film Festival continues to roll out the lineup for our 17th annual festival today, which will take place May 6-10, 2015 in downtown Baltimore and include approximately 50 feature films and 12 short-film programs from around the world.

Today’s announcement includes two special events that have become annual MFF traditions: a film selected and hosted by legendary filmmaker and MFF board member John Waters, and a silent film presented with a live original score by Alloy Orchestra. Waters has selected William Friedkin’s 2011 neo-noir Killer Joe, starring Matthew McConaughey; Alloy will accompany 1926’s Son of the Sheik, starring Rudolph Valentino.

In addition to these repertory-film events, Maryland Film Festival unveiled another fourteen feature films for MFF 2015, including the area premieres of an exciting array of emerging narrative, documentary, and international titles.

Lineup announcements for MFF 2015 will conclude later this week with all remaining titles, including its Opening Night Shorts and Closing Night film. The titles announced today for MFF 2015 are:

6-YEARS_Hannah-Fidell6 YEARS (Hannah Fidell) The director of MFF 2013’s A Teacher returns with the story of Mel (Taissa Farmiga), whose future becomes unsettled when her long-term boyfriend Dan (Ben Rosenfield)’s career aspirations pose a threat to the stability of their relationship. Co-starring Lindsay Burdge and Joshua Leonard, and executive-produced by Jay and Mark Duplass, this poignant drama boasts real relationship insights and resonant, true-to-life performances.

CROCODILE-GENNADIY_Steve-HooverCROCODILE GENNADIY (Steve Hoover) This intense, visually stunning, and morally complex documentary uses a remarkable central character as a window into change and tumult in contemporary Ukraine. Pastor Gennadiy Mokhnenko wages a one-man war against drug abuse and serves as a tough-love father figure to homeless and at-risk youth, squaring off with dealers and intervening in the lives of addicts. But is vigilante action the answer to these problems? Executive produced by Terrence Malick.

DRUNK_STONED_Douglas_TirolaDRUNK STONED BRILLIANT DEAD: THE STORY OF THE NATIONAL LAMPOON (Douglas Tirola) This uproarious documentary, which premiered at Sundance, brings the history of The National Lampoon to raucous life. In 1970, a new counterculture rag spun off from the Harvard Lampoon, launching a comedy revolution impacting not just the printed word but also film, television, radio, and beyond—and giving an early platform to some of the major talents of late-20thCentury comedy.

FIELD_NIGGAS_Khalik-AllahFIELD NIGGAS (Khalik Allah) Street photographer Khalik Allah takes us into the nightlife of 125th Street and Lexington in Harlem, shattering the usual wall between documentarian and subject as he paints portraits of modern street life filled with love and humor, but also hard times and regret. An immersive documentary with a unique visual sensibility, Allah’s film comes to MFF fresh from wowing audiences at True/False and Sarasota.

FOR_THE_PLASMA_Bingham-Bryant_Kyle-Molzan_FOR THE PLASMA (Bingham Bryant and Kyle Molzan) A young woman joins a friend in a sleepy town in Maine, where they use computers and digital cameras to observe a nearby forest, collecting abstruse data used to make stock-market predictions.  This challenging, idiosyncratic piece of cinema-as-puzzle finds a film language all its own; shot on Super 16mm, it also boasts an evocative score by experimental composer Keiichi Suzuki.

FRAME_BY_FRAME_Alexandria-Bombach_Mo-ScarpelliFRAME BY FRAME (Alexandria Bombach and Mo Scarpelli) This SXSW-premiered documentary follows four photographers in contemporary Afghanistan. These members of an emerging free press risk life and limb to fill the photojournalist void left by the withdraw of international media—not to mention make up for lost time, as photography was banned under Taliban rule. Their images and stories are unforgettable.

GIRLHOOD_Celine-SciammaGIRLHOOD (Céline Sciamma) In a tough suburb of Paris, teenager Marieme navigates an often harsh, male-dominated world—her life taking a new turn when she finds a place within an initially hostile all-girl gang. From the director of Water Lilies and Tomboy comes an emotionally rich drama that wowed audiences at Cannes, Toronto, and Sundance, driven by an unforgettable lead performance from Karidja Touré.

IN_THE_BASEMENT_Ulrich-SeidlIN THE BASEMENT (Ulrich Seidl) The director of the staggering Paradise trilogy, all three films of which were presented within MFF 2013, returns to the realm of intimate documentary with this stylized, disturbing, and darkly hilarious work. The basements of Austria open up to Seidl’s camera, revealing private lives built around such underground worlds as shooting ranges, taxidermy, BDSM, and Nazi memorabilia.

JUAJA_Lisandro-AlonsoJAUJA (Lisandro Alonso) Viggo Mortensen stars as a Danish engineer who’s travelled to Patagonia with his teenage daughter to work for the Argentine army. When she disappears, he ventures out in pursuit, embarking on a journey full of crises physical, emotional, and existential. Lisandro Alonso (MFF 2010’s Liverpool) works here not only with one of contemporary cinema’s greatest performers, but also a bold new visual approach.

KILLER_JOE_William-FriedkinKILLER JOE (William Friedkin, 2011) Legendary filmmaker John Waters has selected a favorite film to host within each Maryland Film Festival since its inaugural 1999 edition. This year’s choice is William Friedkin’s Texas-set neo-noir, with Matthew McConaughey as a cop who doubles as a hitman, and Emile Hirsch as a drug dealer who summons “Killer” Joe’s services—but quickly finds himself in over his head.

LIMBO_Anna-Sofie-HartmannLIMBO (Anna Sofie Hartmann) In a small port town in Denmark, high-school student Sara (Annika Nuka Mathiassen) grows increasingly fascinated by her young professor Karen (Sofía Nolsøe Mikkelsen), and her challenging ideas about gender, art, and life. This work of patient beauty screened at Rotterdam, San Sebastian, and SXSW, and will be hosted at MFF by guest curator Matt Porterfield (the director of Hamilton, Putty Hill, and I Used to Be Darker).

THE_REAPER_Zvonimir-JuricTHE REAPER (Zvonimir Jurić) From Croatia comes this tense and moody drama about a quiet loner haunted by his criminal past—and by other residents of his small town, who won’t let him forget. When he stops one night to come to the assistance of a woman stranded by the roadside, his evening takes a strange turn, launching three intertwined plot threads that recall Haneke in their grim outlook and narrative potency.

REBELS_OF_THE_NEON_GOD_Tsao-Ming-liangREBELS OF THE NEON GOD (Tsai Ming-liang, 1992) Over the last three decades, Tsai Ming-liang has produced one of the most impressive and distinct filmographies of our time, each starring unique presence Lee Kang-sheng. This is where it all began: Tsai’s first feature film, set amidst the streets, malls, and arcades of Taipei youth culture in the early 1990s. Newly restored, and enjoying its first release on the U.S. big screen.

SON_OF_THE_SHEIK_Performed-by-Alloy_OrchestraSON OF THE SHEIK (George Fitzmaurice, 1926) MFF favorites Alloy Orchestra have introduced new generations to the wonders of silent cinema with their innovative scores for films including The Lost World, Metropolis, and Man With a Movie Camera.  Now they return to MFF to accompany screen legend Rudolph Valentino’s final film, an adventure classic from the director of Mata Hari.

TIRED_MOONLIGHT_Britni-WestTIRED MOONLIGHT (Britni West) Gorgeously shot vignettes built around a mix of local non-professionals and seasoned performers (including Girls’ Alex Karpovsky) coalesce into a rich and poetic portrait of a pit-stop town in Montana situated amidst stunning natural beauty. Tired Moonlight premiered at Slamdance 2015, where it took home the Jury Award for Narrative Feature, and went on to screen within such prestigious festivals as New Directors/New Films and the International Film Festival Rotterdam.

VENICE_Kiki-AlvarezVENICE (Kiki Álvarez) It’s payday, and three female coworkers at a hair salon in Havana head out for a night on the town, their moonlit partying encountering unexpected twists and yielding surprising personal revelations. This exciting independent Cuban/Colombian co-production not only gives us rare access to an insider’s view of Havana, it also displays a refreshingly frank and empowered take on female sexuality.

Today’s new announcements join the 20 features already announced for MFF 2015, including the world premiere of Stephen Cone’s ensemble drama HENRY GAMBLE’S BIRTHDAY PARTY.

MFF Alum Rory Kennedy’s LAST DAYS IN VIETNAM Opens Today at the Charles Theater!

LDVMFF Alum Rory Kennedy‘s new award-winning documentary about the chaotic final days of the Vietnam War, LAST DAYS IN VIETNAM, opens in Baltimore today at the Charles Theater.  Click here to purchase tickets.  LAST DAYS IN VIETNAM premiered at the 2014 Sundance Film Festival.
Perhaps the most striking thing about LAST DAYS IN VIETNAM, Rory Kennedy’s eye-opening documentary about the 1975 evacuation of the American Embassy in Saigon, is how calmly it surveys what was once among the angriest topics in American political life. The story is full of emotion and danger, heroism and treachery, but it is told in a mood of rueful retrospect rather than simmering partisan rage. Ms. Kennedy, whose uncle John F. Kennedy expanded American involvement in Vietnam and whose father, Robert F. Kennedy, became one of the ensuing war’s most passionate critics, explores its final episode with an open mind and lively curiosity. There are old clips that have never been widely seen and pieces of information that may surprise many viewers.
– The New York Times, 9/4/14

Rory Kennedy’s award-winning documentary ETHEL screened within the 2012 Maryland Film Festival and again as part of the MFF/WYPR Spotlight Series.

Film Synopsis
During the chaotic final days of the Vietnam War, the North Vietnamese Army closes in on Saigon as South Vietnamese resistance crumbles. The United States has only a skeleton crew of diplomats and military operatives still in the country. As Communist victory becomes inevitable and the U.S. readies to withdraw, some Americans begin to consider the certain imprisonment and possible death of their South Vietnamese allies, co-workers, and friends. Meanwhile, the prospect of an official evacuation of South Vietnamese becomes terminally delayed by Congressional gridlock and the inexplicably optimistic U.S. Ambassador. With the clock ticking and the city under fire, a number of heroic Americans take matters into their own hands, engaging in unsanctioned and often makeshift operations in a desperate effort to save as many South Vietnamese lives as possible.

MFF Alum, Filmmakers, and Writers on Zulawski’s strange POSSESSION!


Andrzej Zulawski’s 1981 art-house horror film POSSESSION lands in Baltimore for three screenings over the next week as part of The Revival Series at The Charles Theater.  It’s not a film for everyone, especially not the faint of heart. But MFF director of programming Eric Allen Hatch cites the film as a favorite, combining some of the best elements of such dark and brooding filmmakers as Kubrick, Fassbinder, Cronenberg, and Breillat. In celebration of the restored, uncut 35mm print of the film finally landing in town, he asked some MFF filmmaker alum and Baltimore-based culture writers who have been affected by the film to share their thoughts.

********NOTE: Minor SPOILERS and unfettered language follow***********


POSSESSION changed the way I thought about performance in film. Isabelle Adjani is so believably explosive in every scene; swinging recklessly from performance art to painfully personal direct address. The entire film feels very dangerous, in the best possible way, and also happens to contain some of the most haunting images I’ve ever seen on screen. Go see this movie! Even if you hate it, it’ll be a worthwhile experience.


JOHN BERNDT, Baltimore cultural force of nature (RED ROOM, HIGH ZERO, BERNDT GROUP)

Zulawski’s POSSESSION is exactly what every narrative film should be from my perspective: A remake of Antonioni’s RED DESERT as if directed by David Cronenberg and shot in 80’s Berlin, with an ambiguous and vertiginous craziness that borders on unique irresponsibility. For instance, Isabelle Adjani having a miscarriage in the subway (one of the greatest scenes ever shot); creeping things that seem more at home in the first ALIEN film; Sam Neil going berserk in a rocking chair. Add to it an unforgettably sleazy German guru named “Heinrich” who evokes the best of Klaus Kinski and Brother Theodore at once without a trace of humor, and you have a film that flawlessly, effortless makes no sense and is thoroughly turgid and creepy for 127 minutes without being boring or lapsing into self-parody—a movie that can only expand your mind, and, well, make you feel weird.



There is no classification for Possession– that would mean order, boundaries, rules.

There is no order when you’ve got the devil inside. 

If you’d like to meet the devil—and I do have a strange fascination with meeting the beast—go home and play a record backwards and draw pentagrams with marker on your floor and read Faust

If you’d like to wildly make love to the devil– go see Possession

It is one of the most influential works for me in its tenor and ability to transcend logic… yet it disturbingly makes sense… 

I was trying to end with a sentence that summed up its influence, but that would be too logical.



“Possession by Andrzej Zulawski: Histrionics, Surveillance, and Sex”

Possession validates the histrionics and explores the shattered subjectivities that arise when relationships fail. I’ve read the “histrionics” framing of Possession in another review, I don’t remember who wrote it, but it really hit me personally so I’m adhering to it. Having a split subjectivity, that of being both the subject and the object of one’s own existence, the do-er and the done to, the private and the watched, the surveilled and the self-policed, is a familiar phenomena of embodiment. Zulawski uses Cold War-era Berlin as a grey backdrop, the postmodern police state in which omniscience itself is problematic, and all the colors and moods of identity, of existence, are oppressed by the greyness of the eye of the State. Possession exists in the place where divorce meets war. The self is split between its own perception and its knowledge of being perceived, and there is a violence implicit in both ends of this perception. This type of subjectivity can be doubled, or at least magnified, when in a relationship with an other, and Isabelle Adjani’s performance of Anna brutally displays outwardly that inner breaking of glass, slamming of bones, slitting of throats, destruction of restaurants, and various forms of public bleeding that occur within some of us when those relationships fail, and those subjectivities no longer split but literally shatter, becoming other people, self- abusive, bleeding, screaming, homicidal freaks who in the case of Possession have demonic meltdowns on train platforms and give birth to tentacled monsters. To any onlooker this behavior is histrionic. It is thus doubtlessly seen as histrionic to the object-identified self, resulting in an endless cycle of self-conscious and self-aware hysteria, paranoia, panic, and self-inflicted pain. “Histrionic” is a word with a historical and linguistic attachment to women. Anna is desperate, violent, maniacal, cruel, sadistic, masochistic, ridiculous, validation-seeking, neglectful, incoherent, obscene and ultimately selfish but never whiny or insincere. Anna’s behavior takes her figural, inner subjective experience outward, into the literal world. Her miscarriage of faith is both an actual miscarriage and the birth of a monster, a better monster than the options already in place for her. Her histrionics are valid, as those from whom she seeks to free herself have not experienced her without sexual benefit or archetypal male indulgence.

Anna is involved with two men: a seemingly static, stable, gentle husband; and a lascivious, narcissistic lover with more muscle than substance. Though seemingly opposite archetypes, both men are too thoroughly self-impressed with their own neuroses to understand what she is actually up to, and what’s going on in the part of her that is not surveilled by an outer other. All she really wants is to be holed up in a dirty warehouse with a bandage on her throat and a private monster who will fuck her and expect nothing. With no one watching. No police, no children, no husband, no lover, no art, no dancing, no closet, no refrigerator, no groceries, no combing of hair. This woman wants to be left alone to experience her own sex. Is this kind of sex possible in the postmodern police state? Have we been watched, judged, aestheticized, fetishized, and physically tormented by the social construction of relationships to the point that our desires no longer have a home within a realist framework? Must the fantasy of being both alone and having the availability of an accessible state of pleasure be manifest through inhuman form? And if so, how do we keep these forms alive?




There’s nothing I admire more than a filmmaker who takes risks to visualize our darkest fears and anxieties. You will never see another film that even compares to the raw performances and visceral filmmaking techniques that Zulawski employs in Possession, the most epic story of obsession.

Zulawski’s Possession lays bare the unfiltered intensity of emotions that people go through during a breakup. As a filmmaker, he is able to transform us into a world where falling out of love feels like the apocalypse. The landscapes in Possession even match the characters’ dismal feelings about each other. This film is probably the most important cautionary tale about addiction.

Being in love is like a drug. And once that drug is taken away from us, we want it back and will go to all lengths in order to do so, even if the other person is not the same person we fell in love with in the first place. This film shows the horrors that happen when someone clings to a love that no longer exists.

It is no surprise to me that Possession is Zulawski’s most personal film. Films are therapy for the soul, and what better way to exert one’s destructive feelings than to do so on the big screen rather than in real life. I happened to be going through a breakup when I first saw Possession, and it struck a nerve. All the difficulties of moving on from a person were outwardly and explicitly exposed on the screen: the ugliness, the horror, the withdrawal, and the feelings of being torn up from the inside. As soon as love is stripped away from us, we try to solve the mystery of how such a thing could occur. At the core, Possession is a mystery about finding out what causes such a love to disappear, but the real horror is ultimately realizing that there is no answer to this impossible question.

There are many films about disintegrating marriages, but none that show the extreme inhumanity of possessive love as much as this film does. As such, the term “possessive love” is an oxymoron because it is clear that love does not exist when someone tries to possess another person, even more so when that person is clearly possessed by someone (or something) else. I won’t even mention what creature possesses Isabelle Adjani in this film— you just have to see for yourself.

This movie has clearly possessed me and is a masterpiece that everyone should see, especially for anyone who has ever gambled on love and lost big time.

For the broken hearted,

Love always,

But not in an addictive junkie way,

Lauren Wolkstein





You can find free, metered and paid parking options within a two block radius of The Charles Theatre. Click here to view a map of all available parking areas!

The Box Office is located in the tent village across the street from The Charles Theatre (1711 North Charles Street). We accept all major credit cards. Tickets will be available for the entire weekend at the box office. Click here for prices and more information!

Tickets will also be available on location at the MICA Brown Center (1301 Mount Royal Avenue) and The Windup Space (12 West North Avenue) for their respective programs.

If you have purchased a Groupon, just print it out and bring it to the Tent Village Box Office in order to exchange it for tickets.

The Box Office will open daily at 10am and close 15 minutes after the last program has begun.

Click here to view the MFF 2011 Film Schedule.


In the event of a sold out screening, a standby line will form at the entrance to the tent village, and we will sell empty seats based on availability.


All-Access passes and Friends of the Festival ticket packages will be available for pickup in the lobby of the MICA Brown Center tonight starting at 7pm, and then at the Friends of the Festival table in the Box Office tent for the rest of the weekend.

If you are a Friend of the Festival you can see free films before 6pm tomorrow! Just come to the FOF table to pick up your pass.


Click here for a comprehensive guide to food options at MFF!

Finally if you have any questions, or need assistance, don’t hesitate to ask one of our many friendly volunteers who will be available throughout the weekend!




RETURNS MAY 5-8, 2011!





The Maryland Film Festival is now seeking volunteers!  Have fun!  Earn free screening vouchers! Be part of the excitement in Downtown Baltimore, May 5-8, 2011! At the 13th Annual Festival, we need more volunteers than ever to support filmmakers as well as the diverse, eclectic community of film lovers in Baltimore and throughout Maryland. Many volunteer opportunities are available:  Box Office, Tent Village, Filmmakers Lounge, Theatre Ushers, and more! You will be our front line ambassador, greeting guests from around the world!

REQUIREMENTS:  Volunteers must be at least 18 years of age, must enjoy serving the public, and must be committed to fulfilling assigned shifts.

BENEFITS TO VOLUNTEERS:  In appreciation of your assistance, you receive an MFF limited edition t-shirt and for each four (4) hour shift worked (and you can work as many shifts as you’d like), you earn a free screening voucher or $5 toward merchandise. Water and light snacks will be provided during your shift. The week after the festival, you are invited to a special “Volunteers Only” screening of one of the most popular films of MFF 2011.

SPREAD THE WORD: Please help us to recruit other committed volunteers.  Inviteyour friends and family, co-workers, fellow students, church members, and others who at least 18 years of age or older!  We can’t have too many volunteers!

HOW TO VOLUNTEER: To receive a volunteer application, please contact us today! If you have already emailed us to sign up, you will receive an application shortly by email.

PLEASE NOTE: The last day of the festival is on Sunday, May 8, 2011, which is Mother’s Day.  Please keep this holiday in mind when you sign up to volunteer.

Street Team Volunteers
Come to the Festival offices and pick up posters to distribute in Baltimore City and other areas. Earn screening vouchers early.

Tech Checks
Report to Tech Supervisor. Work with filmmakers before/during screenings to ensure quality picture and sound presentation. Act as communication liaison between filmmaker and projectionist. See some movies during shift. SOME KNOWLEDGE OF FILM PRESENTATION (including digital) AND A BASIC TECHNICAL VOCABULARY NECESSARY. Students of film and video encouraged to apply.

Filmmakers Lounge Crew
Help with Filmmaker Hospitality, answering questions, etc. Keep areas clean and tidy. Assist MFF staff as necessary.

Tent Village Staff
Work with the public, answering questions, directing foot traffic,emptying trash cans, running errands, assisting Tent Village Coordinator with events. Keep areas tidy, organized.

Box Office Tellers
Sell tickets to festival programs, answer questions about the festival, accurately records ticket sales.  Must be friendly and outgoing and have customer service experience and cash handling experience.
Box Office Captain

Assist the Box Office Manager in training and supporting ticket sales tellers, make certain ticket sales tellers are recording sales properly, handle escalated patron issues, provide change for tellers, and work one shift each day of the festival.Must be friendly and outgoing; have customer service experience and supervisory skills.Must have prior festival experience as a box office teller.Able to work in a fast-paced environment.

Box Office Stand-By Line Captain

Supervise line assistants during the entire festival.  Manage the stand-by line when programs sell-out.  Must be friendly and outgoing, have customer service experience and prior festival experience.

Box Office Call Center Rep

Answer incoming calls to the festival and sell tickets to festival programs.  Must be friendly and outgoing and have customer service/call center experience and good communication skills.

Box Office Line Assistant

Manage the flow of traffic at the main box office. Assist the Stand-By Line Captain during program sell-outs.Must be friendly and outgoing.

Merchandise Table Staff
Sell Merchandise. Interact with the public, answer questions, etc.

“Friends of the Festival” (FOF) Table Staff
Help sell Memberships to become a “Friend of the Festival”. Interact with the public, answer questions, etc. Must be outgoing and friendly, sales experience a plus.


MICA Location Support

Answer questions, direct patron foot traffic, help sell tickets and usher at a very low-key and laid back satellite location, MICA Brown Center.


MD Film Fest Onsite Phone Support

Answer phones, answer questions, provide driving/walking directions, venue information. Provide light administrative support. Report to Film Festival Staff, who will provide training.


Theater Captains


Report to House Manager and assist with crowd flow as patrons enter and exit screenings.


Theater Ushers
Report to Theater Captain on duty. Greet public, answer questions. Tear Tickets, help usher as needed. Help tidy between screenings.

Opening Night Crew

May 5th. 6:30pm – 12am (probably get out

earlier) Help load in and set up opening night party, etc. Enjoy yourself at the gala affair while still helping to keep things running smoothly during the festivities. Help break down.


Closing Night Crew


May 8th. 6:30pm – 12am (probably get out earlier) Help load in and set up, enjoy yourself while providing support for closing night party, also aid in break down.

Monday Clean Up
After the festival, help with the clean up. Traditionally understaffed, yet very important, we will offer extra rewards to those who sign up early.

Volunteer Floaters Who Are Up for Anything!

Assist in covering any of the above positions to ensure coverage, relieve volunteers who need breaks, assist with general cleanliness, and help festival goers who appear lost.  Flexibility and friendliness are key.

Shuttle Drivers
Drive filmmakers and visitors in large passenger vans while in full communication with other drivers and with the Travel and Transportation Coordinator.


Jaimes Mayhew
Transportation & Hospitality Coordinator


For all other positions please contact

DOGTOOTH Nominated for an Academy Award!

Congratulations to MFF 2010’s DOGTOOTH, which against long odds was nominated for an Academy Award in the category Best Foreign Language Film! If you missed this edgy Greek thriller at the festival and during its late-Fall theatrical run at The Charles, as of this week you can now catch it on DVD. Here’s a New York Times piece commenting on this year’s foreign-film nominees…

ALIEN Director’s Cut (GUNKY’S BASEMENT #3) presented by Dan Deacon and Jimmy Joe Roche

FREE FOR FRIENDS OF THE FESTIVAL! (Call 410.752.8083 for more info)

ALIEN Director’s Cut
Thursday, January 27, 9pm
The Charles Theatre

TICKETS ($5) available for advance purchase at:

Video Americain, Charles Village
3100 Saint Paul Street

Atomic Books

3620 Falls Road

Red Emma’s

800 St. Paul Street


The third film in GUNKY’S BASEMENT is Ridley Scott’s director’s cut of his horror/sci-fi classic ALIEN!

A 35mm print screens for just $5 Thursday, January 27th, 9pm at the Charles Theater. Don’t miss it!

Awesome silkscreened posters created by Nolen and Bruce of Post Typography for this screening coming soon!

Gunky’s Basement is an ongoing MD Film Festival series curated and hosted by Dan Deacon and Jimmy Joe Roche. All films screen from 35mm prints for $5 on select Thursdays on the largest screen at Baltimore’s historic Charles Theater, and have original silkscreened posters created by Baltimore artists. The previous titles so far have been John Carpenter’s THE THING and Alex Cox’s REPO MAN.

Join Friends of the Festival today to see ALIEN Director’s Cut, all future GUNKY’S BASEMENT screenings, and more FREE movies all year-round!

TOMORROW: Dan Deacon and Jimmy Joe Roche present REPO MAN in the next installment of Gunky’s Basement!

FREE FOR FRIENDS OF THE FESTIVAL! (Call 410.752.8083 for more info)


Thursday, December 9, 9pm
The Charles Theatre

TICKETS ($5) available for advance purchase at:

Video Americain, Charles Village
3100 Saint Paul Street


Get ready for the second film in GUNKY’S BASEMENT, the new Maryland Film Fest series curated and hosted by Dan Deacon and Jimmy Joe Roche: Alex Cox’s cult classic REPO MAN!

This irreverent, modern-classic dark comedy is set in the punk wasteland of mid-80s LA, stars Emilio Estevez and Harry Dean Stanton, and boasts a soundtrack that includes Iggy Pop, Circle Jerks, and Black Flag.

Don’t miss this rare 35mm screening of this indescribably unique 1984 film! Again, it’s just $5 for a 35mm print, hosted by musician Dan Deacon and artist Jimmy Joe Roche.

$5 advance tickets will be available at Video Americain Charles Village (3100 St. Paul St.) until Wednesday 12/8, and silkscreened posters created for this screening by Baltimore’s own ROSE CHASE will be available at the door.

Roger Ebert said of REPO MAN, “Repo Man comes out of left field, has no big stars, didn’t cost much, takes chances, dares to be unconventional, is funny, and works. There is a lesson here.” Read his full review, originally published in January of 1984, here:

And other reviews on Rotten Tomatoes, where Repo Man is 97% “fresh,” here:
Join Friends of the Festival today to see REPO MAN, all future GUNKY’S BASEMENT screenings, and more FREE movies all year-round!

Maryland Film Festival Announces Job Opening: Operations & Development Manager

Maryland Film Festival is now accepting applications for the Operations & Development Manager position.



Working closely with the Director and Marketing Manager, this full-time staff position, oversees key operational and development functions. The Operations & Development Manager is responsible for all communication with sponsors and funders, as well as developing new sources of funding, with special emphasis on potential partners outside our region.  This position works closely with the Director as liaison to the Board of Directors, and is responsible for all communication with board members, including coordinating board and committee meetings. Other key responsibilities include assisting in the hiring and management of key seasonal staff for the annual Maryland Film Festival as well as directing operations for the festival’s annual fundraiser.


The ideal candidate will be highly motivated, energetic, and have excellent organizational skills, as well as the ability to lead a team and be effective and flexible in a fast-paced work environment.  The ability to multitask under pressure and interact with all types of people in stressful situations is essential. The ideal candidate should have a full commitment to film and the special role film festivals can play in bringing audiences and films together; as well as a strong passion for Baltimore, the film/arts community and non-profit work.  Familiarity with Maryland Film Festival and/or other film festivals is a major plus.


The ideal candidate will have work experience in event planning, marketing, grant-writing, and team management/recruitment; must be proficient with Microsoft Excel, Word, and ACT (database management); experience with design programs like Adobe Photoshop & Ilustrator are a plus.


Compensation: $2600/ month, plus health benefits



Send your resume & cover letter to Director Jed Dietz at: jobs[at]

Only candidates selected for an interview will be contacted.  No telephone inquiries, please.


Announcing: Melina Giorgi to depart from Maryland Film Festival

A Letter from Director, Jed Dietz:


To the Extended Festival Family-

Melina Giorgi, Maryland Film Festival Operations and Development Manager, is moving to California in January to be closer to her family and to pursue her longstanding interest in photography. Her contributions go back to 2002 and are numerous and important.

Melina started volunteering for MFF in 2002, while she was a student at Towson University. From the beginning, it was clear she got the combination of friendliness, efficiency, and informality that we strive for. She rose through positions of ever-increasing responsibility. She assisted Taryn Gentry, Operations & Development Manager for MFF 2007, and took over her position when Taryn and her family moved to North Carolina in June, 2007.

Since then, Melina has been working closely with me on exploring new MFF funders, both in and out of our region.  She was the coordinating staff person on a ground breaking grant from the Warhol Foundation that allowed us:  1) to increase our foreign film component at the annual festival, including filmmaker participation, and 2) to significantly step up our year-round filmmaker advocacy by creating a Filmmakers Taking Charge Conference during the MFF (initiated and partially funded by Board member Stephanie Carter) and by bringing films back for theatrical runs in Baltimore.

Melina  has also played a key role in coordinating MFF Staff and Board activities, most importantly by helping to establish an annual fundraising event. The two fundraising events we’ve held so far continue our goal of connecting filmmakers to audiences in special ways, and have raised important funds for the ongoing MFF operations.

With Melina’s help, I’ve already started thinking about the next organizational steps for us, and we will start a national outreach after Thanksgiving.

We’ll miss Melina, we’ll welcome her back at every opportunity, and our good wishes will follow her.