film spotlight by chris carpenter


PRESENTING THE SAN DIEGO INTERNATIONAL FILM FESTIVAL CHANNEL A VIRTUAL OPPORTUNITY M


any film festivals around the world have had to transi- tion to virtual experiences due to COVID-19. While last October’s San Diego International Film Festival (SDIFF) dutifully did so out of safety concerns, its organizers


have also identified a year-round opportunity to make unique mov- ies available online. To this end, they have launched a new viewing option for film fans in California or anywhere. The San Diego International Film Festival Channel is now offering


access to international features, documentaries and short films, curated by Tonya Mantooth, SDIFF’s CEO & Artistic Director. In keep- ing with the festival’s mission, selected films will “provide perspec- tives designed to start conversations on topics that illuminate our shared humanity.” Each month, a feature film or documentary will be presented along with a short, followed by a Q&A or panel with the filmmakers and/or other influencers. Access to the new channel is an exclusive benefit to MySDFilmFest members. In addition to these special monthly screenings, subscribers will receive a plethora of additional goodies including complimentary access to the fest’s Town Hall Series three times a year; a 15% discount to the San Diego International ShortsFest to be held virtually Friday, May 14 through Sunday, May 16; 15% off October’s 2021 San Diego International Film Festival; plus Festival Spotlight, the festival’s official newsletter loaded with content for film lovers. Interested readers can register at goelevent.com/sdiff/Member- ship/Sale. One can choose between $100 billed annually or $9.99 billed monthly. Since it is an online experience, subscribers do not have to live in San Diego to take advantage of this offer. The films will be available the third Thursday of each month for a 24-hour viewing period. This month’s offering on Thursday, March 18 will be of interest to anyone who loves a mystery-thriller, but it will especially resonate


18 ragemonthly.com| MARCH 2021


with LGBTQ viewers and people of color. Through the Glass Darkly, directed and co-written by Lauren Fash, employs twists and turns galore as well as an excellent cast to weave its compelling tale of backwoods menace. Veteran actress Robyn Lively gives a fierce yet vulnerable


performance as Charlie, a lesbian woman living with her partner Angela in rural Elrod, Georgia. Their young daughter Lily disappears one fateful day and, perhaps understandably, Charlie subsequently develops psychological issues including alcoholism. As her enabling bartender remarks, “Live like tomorrow ain’t coming and yesterday ain’t happened.” When another girl from their town goes missing one year after Lily,


Charlie becomes convinced that there is a connection. The sheriff begins to suspect her in the disappearances, so she sets out to find the kidnapper with unexpected help from Amy, a black reporter played by Shanola Hampton (perhaps best known as Veronica Fisher on Shameless). Elrod is dominated by the wealthy Mama Carmichael (two-time


Tony Award winner Judith Ivey), owner of the local distillery, and her no-good son Trip (hot Michael Trucco of the Battlestar Galactica reboot). The privileges afforded by money, power, race and gender are fully explored in Through the Glass Darkly, as are the related disadvantages to being lesbian or gay, black, poor and female. Charlie sums up her plight best at one point when she says: “Everyone stares at me, but nobody sees.” The movie boasts multiple, powerful twists as it builds toward its


finale. I’m not about to give them away, so you’d better subscribe to the SD Film Fest Channel before March 18 to experience this engross- ing, revealing drama. In addition, the acclaimed short The Fourth Wall will precede Through the Glass Darkly.


sdfilmfest.com


Chris Carpenter has been writing about entertainment since 1996 and a member of Team Rage since 2012. He is a founding member and vice president emeritus of GALECA: The Society of LGBTQ Entertainment Critics.


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36