20th Berkshire International Film Festival: Critics Notebook
The 20th annual Berkshire International Film Festival took place from May 28 – 31, and I was fortunate enough to attend for the first time. Featuring 29 features and 29 shorts, the festival curates rising independent filmmakers from all over the world, who screen their works to enthusiastic locals and the film industry. If you’re looking for a fun film festival in a scenic rural area with no paparazzi and no jam-packed crowds, look no further than the Berkshire International Film Festival.
Among this year’s festival lineup were two documentaries that shone a light on education systems on opposite sides of the world. While these systems vastly differ, the paths of the teenage subjects at the center of these docs are quite similar in many ways. Bowie Alexander & Matthew Syrett’s Admission Possible (a world premiere which won the Jury Award for Documentary Feature) and Jeremy Workman’s School for Defectors both portray high-achieving, bright-eyed high school students facing uncertain futures as they aim to transcend the limits of their past and secure futures once unimaginable for their immigrant/refugee families. From New York City to Busan, the humanity of these students, their families, and the encouraging school officials is shown through a compassionate lens, as they seek to overcome obstacles and help one another reach for the stars in a challenging world that expects them to fail. Both films end with the students finding out whether they got accepted into the universities of their choice with trepidation and excitement, the catalyst for what their futures hold. We cheer for them all the way and hope for nothing but the best for what the world has in store for them.
Another film that took the audience’s breath away was Orlando von Einsidel’s hybrid and achingly romantic The Cycle of Love. Blending documentary and gorgeously shot narrative reenactments, it portrays the journey of PK Mahanandia, a Delhi street artist who met and fell in love with a young woman from Sweden in 1977. Long after she departs the country, PK, truly believing she is the one he is destined to be with, makes a choice that many would deem insane. He purchases a bike and travels over 6,000 miles across continents to reunite with the woman he loves. Throughout his journey, his faith is tested but also strengthened through unforgettable encounters with generous locals, tourists, and serendipitous circumstances. I highly recommend seeing this in a theater, preferably with a loved one’s head resting on your shoulder. In case anyone has certain doubts, executive producers Chris Albert and Ryan Harrington (representing the film at the festival) stressed that the events in the film did indeed happen the way they unfolded. Even the festival’s honoree, Karen Allen, sang her praises for the film at the screening. If you need a reason to believe in destiny, The Cycle of Love could be just that.
Taking home the Jury Prize for Narrative Feature was writer-director Walter Thompson-Hernández’s If I Go Will They Miss Me. This visually stunning coming-of-age tale blends naturalistic performances with magical realism that draws the line between a harsh reality and fantasy. This drama shows us life through the eyes of Lil Ant (newcomer Bodhi Dell), a teen living in a Los Angeles housing projects, who struggles to connect with his father Big Ant (J. Alphonse Nicholson) after he’s released from his recent stint in prison. His mother, Lozita (Danielle Brooks), shouldered the weight of providing for her kids during Big Ant’s incarceration. As his father grows further apart from the family over self-doubt and other inner conflicts, Lil Ant begins to experience surreal visions that mirror his fascination with Greek mythology, primarily the tale of Pegasus. He places his father high on a pedestal and (literally) views him as a god, but Big Ant keeps his son at arm’s length. Recalling other black coming-of-age tales, like the classic Killer of Sheep and the more recent My Father’s Shadow, Walter Thompson-Hernandez proves to be an exciting breakout voice in American independent cinema with this beautifully crafted and multilayered testament to family, community, and how we see the world around us.
Another highlight of the festival was Tribute Night, which honored the legendary actress Karen Allen, a Berkshire local and a champion of BIFF since its very start. I had the wonderful pleasure of chatting with her in the week leading up to her tribute, where she made a crowd at a sold-out Mahaiwe Theatre laugh with tales of her start in acting and life on the set of Indiana Jones and Animal House. The conversation on stage was moderated by her longtime friend and veteran production designer Kristi Zea, who’s worked with the likes of Martin Scorsese, Jonathan Demme, Nancy Meyers, Sam Mendes, Barry Levinson, and more. The tribute didn’t come without a few pleasant surprises, such as surprise videograms from Steven Spielberg and former co-stars Harrison Ford and Jeff Bridges – the latter of whom she starred with in John Carpenter’s Starman, which was screened following the talk. Allen takes her role in fostering community and creating opportunities during the festival seriously, and her charisma suggests a commitment that will endure for years to come.
What makes the Berkshire International Film Festival different from most festivals is how welcoming it felt. The sense of camaraderie among attendees makes the festival feel less like an exclusive VIP affair and more like a welcoming community gathering. It was my first time up in the Berkshires, and I hope it won’t be my last time at the festival. I would highly recommend BIFF to anyone who wants to get away for a long weekend, check out some innovative breakout cinema, and seek a quaint yet vibrant place to hang with some fun folks.
