Recent years have also seen a sharpening of the fest’s international entries. Alongside the Kolnoa sidebar, devoted to films that reflect the Israeli experience, programmers created Pan-Asia, geared to examining contemporary Asian culture. Santa Barbara programming director Michael Albright, who joined in 2011, explains, “We felt there had to be some culling in the selection of foreign films. And we wanted to integrate them into the overall programming more effectively,” rather than ghettoizing them as a separate catch-all.
Still, a competitive International category remains; this year’s winner in that category was “Coming of Age,” (“Anfang 80”) a sobering and surprisingly funny look at a pair of octogenarians who fall in love. Meanwhile, a distinctly international flavor permeates the indie feature winner “Babygirl,” a gritty Irish-American hybrid about a Bronx-based Puerto Rican girl grappling with a family crisis. And “Revolution,” an eco-marine documentary from Rob Stewart (“Sharkwater”) took the festival’s social justice prize.
Mindful of the festival’s need to appeal to younger audiences and take advantage of the local student populace (it’s home to UCSB and Santa Barbara City College), Albright and his team implemented a few changes, adding some sidebars and consolidating others. New last year, the Cinesonic section focuses on iconic musicians and their legacy. This year’s entry “Sound City,” featuring Dave Grohl, was one of the festival’s hottest tickets.
Not to be outdone, Santa Barbara’s well-established surfing and skateboarding community finds its own niche in To the Maxxx, a collection of extreme sports films. A pair of surfing docs, “Storm Surfers 3D” and “Discovering Mavericks,” both played to packed houses in prime-time slots.
But perhaps the festival’s most unexpectedly successful addition has been Screen Cuisine, a tantalizing amuse-bouche that Albright cooked up last year to celebrate the culinary appeal of cinema. Given the region’s huge post-“Sideways” appeal to all manner of gourmands and wine lovers, putting a culinary section on the festival menu made sense. This year, “Spinning Plates,” about a trio of extraordinary restaurants, nabbed top honors from festival audiences. Top doc went to “More than Honey,” a remarkable Swiss/German/Austrian co-production about the globally endangered honeybee population.
And yet as popular as these films were among Santa Barbara audiences, the real prize that has eluded the festival is a distribution deal. Too often, notes SBIFF Board president Doug Stone, “I noticed we were not getting certain films because they would pass us over in favor of South by Southwest, Cannes, Toronto – and now Tribeca. I didn’t like the idea that we were missing good films because they didn’t want to show up at a festival where buyers are not present.”
Last year, Stone initiated the festival’s Acquisitions Program, inviting major distributors and sales reps, arranging screenings to minimize potential overlaps, highlighting films with the best sales prospects and making it generally easier for buyers to access the films. While a number of films like “Samsara” and “Starbuck” secured distribution in the wake of the festival – deals that were initiated in Santa Barbara – the most gratifying reward, admits Stone, would be to see that deal signed during the festival.
It’s a prize Stone says is becoming increasingly likely, though he hedges when asked to speculate on this year’s prospects. He also insists the Acquisitions Program is a work in progress. “I’ve always seen it,” he says, “as a five-year plan.”