Film festivals come and go like sequels to Saw. For every one that manages to make it past its second year, there are dozens whose organizers give up and go home to watch Netflix after their first starry-eyed attempt. The fact that the Woodstock Film Festival has risen to become one of the most respected cinematic summits in the world and is this month returning for its 24th year is noteworthy, indeed. To find out what the festival has planned this time around, we chatted by email with its cofounder Meira Blaustein. The Woodstock Film Festival will take place October 15 to 20 at venues in and around Woodstock. See the festival’s website for a schedule of screenings and other events, passes, and more information.
—Peter Aaron
How does it feel to reflect on the occasion of the festival’s 24th season? What are some standout moments in its history that come to mind?
It is a testament to the passion, dedication, perseverance, and creativity of everyone involved—from the in-house team to the filmmakers, actors, volunteers, and, of course, the audience. Some standout moments include in the first year, when we showed Stop Making Sense at the Bearsville Theater, taking all the chairs out and turning it into a dance floor where everyone, young and old, was dancing from beginning to end of the film. Or in the second year, which took place only nine days after September 11, when everyone who had previously planned to fly in from the West Coast canceled (except for one dedicated filmmaker who got in his car in San Francisco and drove all the way to Woodstock to be a part of the festival), but more and more people came up from New York City, leaving it for the first time after that terrible day, to arrive in Woodstock and finally begin to recover. There have been so many standout moments. Each one is more special and meaningful than the other.
What made you and Laurent Rejto want to start a film festival in the first place? Why host one in Woodstock?
The festival was at first supposed to take place in New Paltz, and at the time the tag line was “Scaling New Heights of Independence” (in a nod to the ‘Gunks). But that ended up falling though, and so the idea of Woodstock came up. An artistic town, with one small movie theater. There were many artists and musicians, but no filmmakers. And conversations with some of the stakeholders in the town then showed clearly that, as one person told us, if Albert Grossman was still alive, he would have loved the idea of a Woodstock Film Festival. And so it was born, quickly, very grass roots. The Hudson Valley in general was an obvious location, Woodstock has been synonymous with being an artist colony, to which the festival became a beacon for artistic talent and a magnet for those seeking a vibrant, creative environment.
The festival is focused on indie films, which makes it markedly different than, say, Cannes or Sundance. How else is it different than other film festivals?
The festival stands apart not just because of its focus on indie films but also because of its unique character, ethos, and the intimate environment it fosters. While so many other great festivals certainly have their own prestige and scale, the Woodstock Film Festival offers a distinctly unique experience, with a community-centric atmosphere, intimacy, and accessibility, and a certain democratic feel to the festival. There’s an absence of red carpets and velvet ropes. Everything—parties, screenings, and events to panels and Q&As—seems to spill onto the streets, where everyone is equal and everyone can meet and connect. There’s a greater sense of inclusivity, and not to mention the scenic and serene setting.
How many film submissions on average do you get ahead of each festival? What’s the process of selecting those that screen at the festival like? What are some basic things you look for when considering films for inclusion?
We receive thousands of submissions from throughout the country and the world, and each year those numbers increase. We have over 30 volunteer screeners who watch the submissions, and a fantastic programming team consisting of feature narrative and documentary programmers, shorts programmers, animation programmers, and other advisors who all contribute to the overall lineup.
What are some of the standout films and event highlights this year?
I love them all, and so it’s hard to pick and choose. But among the panels, some of the perhaps less predictable ones include AI And the Creative Process, which delves into the pros and cons of the advent of AI use in film and beyond. Or Trans Storytelling, which features exciting voices in queer cinema whose authentic visions are shaping the perception of trans communities. Among the documentaries, some of the many standouts include the world premiere of films such as Coastal by Daryl Hannah about Neil Young; Beyond the Gaze: Jule Campbell’s Swimsuit Issue, featuring supermodels such as Tyra Banks and Carol Alt, who will be in attendance; the US premiere of films such as Paul Anka: His Way, about the iconic musician; Wisdom of Happiness, about his holiness the Dalai Lama; The Bibi Files, a work in progress featuring leaked tapes of the investigation on Benjamin Netanyahu; and Viva Verdi!, about the house that Verdi built for retired musicians. Among the narratives some of the standouts include Boundary Waters with the amazing Carol Kane, who will attend; Gazer starring Woodstock native Ariella Mastroianni; the Cannes sensation Anora by WFF alum Sean Baker; and the Sundance breakout story A Real Pain by and starring Jesse Eisenberg and costarring Kieran Culkin. Every film, every panel, every event at the film festival are special and worthy of discovery.
This article appears in October 2024.
