Official Rejection

I had a chance to see this movie at the Idaho Film Festival in Boise, Idaho this weekend. As an emerging filmmaker, I thought it would be great to know the inner workings of the festival circuit. Paul and Scott take the audience on the journey of submitting their film "Ten Til Noon" to various festivals around the country. You get to see what life is like after the cameras are put away, and the work truly begins. Independent filmmakers are unique, because they have to sell their work themselves. This film taught me more than I hoped! I would highly recommend it for anyone who makes films. However, it is also entertaining for those who are not in the business. One woman at our screening loved it -- and she does not make films.

Paul and Scott are amazing. I had a chance to meet them this weekend, and they have a passion for making films. Check out this documentary -- not a dull moment. It's out on DVD in November.

I was impressed w/ what Paul Osborne and his team were able to do w/ this film. Of course, if you've been involved in the Indie film scene for any period of time, the idea that the fest circuit is a bit of a scam has been pretty well known for a long time. Never the less, makes for a fun and engaging watch still.

I was astounded and flabbergasted at some of the absurd naiveté (and stupidity) of some of the filmmakers, in particular Blayne Weaver.... Seriously bro? Why would you even bother flying from LA to Chicago to attend the 2nd annual Chicago Indiefest? Chicago Int FF, yes, Chicago Underground (CUFF) maybe, but some mickey mouse fest no one's ever heard of? Chicago's a great town but talk about walking around blind w/o a cane, not to mention emails like 'your film may be pulled if you don't sell it out..." I may love, and have roots, in the NY Metropolitan area but ask me if I'd fly from LA to NY to attend the Ozone Park film festival, come on:) What that whole scene in Chicago speaks to, as well as the festival circuit in general, is this self aggrandizing, ego stroke that many Indie filmmakers are looking for. Something the OR filmmakers seemed unaware of is the fact that so many of these scam, mediocre festivals exist because there's an endless supply of self serving, ego maniacal saps who want to get in on the circle jerk of saying, "hey, I made a film, check it out." At a certain point filmmakers have to look in the mirror and be realistic about their place in the Industry, if any at all.

Just caught this amazing and brutally honest doc at the Hell's Half Mile Film Fest in Bay City, Michigan. And having worked the fest circuit with two features now, I can say this film rings so true that's it's almost painful to watch in places (and I mean that in a good way).

This is the indie filmmaker's life, this is our humiliation, this is our reward, this is our freakin' angst! OFFICIAL REJECTION plays like the film companion to Chris Gore's Film Festival Guide. It covers the life (and sometimes death) of mainly one feature as it aims for Sundance, then reevaluates. As it aims for Slamdamn, then reevaluates. As it aims for SXSW, then...well you get the picture. And it's not all doom and gloom. (Well, OK, there is a film fest meltdown that has to be one of the most uncomfortable moments I've ever seen on film.) But...there is a (somewhat) happy ending here.

If you have any plans to make a film, watch this movie! Learn from it. These are the rules of film festivals. Realize that you will not be the exception.

I love OFFICIAL REJECTION. It is my life. If you are a filmmaker (or are close to any filmmakers), it is your life too!

I was one of the few who endured this movie at the Phoenix Film Festival- which, big surprise, is largely featured in this mediocre film.

The root of this film is what other reviewers seem to be ignoring- it's about trying to get the film TEN TILL NOON into festivals, and TEN TILL NOON is quite simply a bad film. Netflix it and see if you disagree.

So you have the filmmakers, the director and writer, trying to get it into festivals. Who cares? We sure didn't. Certainly not after the forced pep rally that the head of the Phoenix Film Festival tried to lead.

The whole event made us a. want to avoid film festivals, especially sad little local ones who court bad movie makers thinking we'll find value in them and b. never see a movie made by Paul Osborne again.

The quality of the film is poor. Some of the interviews are fairly interesting, but I guarantee you can find a brief interview with Kevin Smith et al on youtube in under 10 minutes- saving your time and money.

Official Rejection is the true story of a group of filmmakers from all parts who are trying to accomplish a single goal: To get their film in a festival. The focused stars of this documentary find themselves quickly rejected by certain big-name fests, despite the effort required to even be considered for them. Disheartened, but not easily broken, the filmmakers keep sending out their films, to smaller screenings across the U.S.

The journey of this film achieves something big that is a rarity in the documentary genre. It's smirk-out-loud funny from beginning to end. With hilarious animated cut-scenes, to the visible struggles of average Joe directors, to astute observations from the front lines and the flashbacks of everyone involved; every piece of this film makes you grin from ear to ear.

So, it's strange that this same film is also one that tells the horrifying story of self-publicizing, penniless movie creators. O.R. is eye-opening, and easily bests all other attempts at revealing an inside view of the movie industry (notably This Film Is Not Yet Rated). It's one of the only films I know of that even mentions the independent film industry in a truthful light.

Painful it may be, but if your head stops shaking at the absurdity of the festival industry long enough to hear the story being presented, it will completely change your opinions on how you absorb and critique films.