Drunken Film Fest Oakland
Stay Gold Deli
2635 San Pablo Ave, Oakland
October 7, 2024
Another balmy October summer eve in Oakland and another year of Drunken Film Fest. This fall’s edition was the seventh annual, and once again I am kicking myself for not scooting my butt out to more nights of the festival, but am thrilled to have caught at least one full night of films. Held at different bars each night (or theaters, as the initial two evenings of feature films were presented this year) and offering a new slate of films for each new locale, the festival showcases films from near and far, with narrative and experimental, some short, some sweet, and more than a few silly.
Stay Gold kept patrons fat and happy with BBQ and beers (or in some of our cases, tofu and cider, please don’t judge too hard), and DFFO hosts greeted, seated, and directed guests with warm hospitality, despite the hard surfaces at hand. Our seats, once one of those immensely friendly and helpful staffers lugged them over for us? Empty kegs. Our sightline? In a corner, imperfect. The food call-out and tear-your-favorite-title ballot systems? Not ideal (striking through the name with pen feels “too harsh,” per the host). But the films? Excellent.
With the exception of two highly stylized pieces I had a strong distaste for, the overall caliber of the selections was superb—including an absolutely overwrought alien exploration that could have been great but instead I found quite dreadful, and not in the fun anxiety producing blood pumping way. Some provided childlike fun with some deeper thought-provoking and inspiring undercurrents, like Zaire Love’s “Slice,” and others, like Édith’s Jorisch’s “Mothers and Monsters”—tagline “Aww!”—wove the rich visuals and arced storyline of classic film into a bite-sized 15 minute meal.
To our delight, several creators were present, including local filmmaker Shirin Mori, but perhaps most importantly, artist Kate Parnell, subject of Michael Arcos’ “Orange From Memory.” This and the final not-super-short of the night, “Nepotism, Baby,” by tij d’oyen, were far and away the highlights of the night. Clocking in at 14 and 11 minutes respectively, each garnered repeated and delighted laughs from the rapt audience.
Orange From Memory examines the work of artist Kate Parnell, a Virginia-based illustrator whose scope of content has narrowed drastically since 2019 and who had flown out for the occasion to hawk her wares and hang with us fellow art freaks. Her project, entitled “Garfield from Memory,” is a fabulous backdrop for her understated presence and easy laugh. The paintings are truly unhinged but very thoughtful and extremely fun, and the film follows suit; narrated by a lilting and high-pitched German voice, the film throws the audience into a world churning with busty cats and the unexpected human connection found through a grumpy orange feline.
Council, the rich, hot, and criminally underappreciated subject of “Nepotism, Baby,” and absolutely bodied by Betsey Brown, shares the dark side of celebrity. Unfulfilled by her flailing acting career and deeply bored by her actress mother’s fame, she strikes out for herself in the only way she knows how—other than arson, her favorite hobby, that is—to make a name for herself and herself alone. Brown portrayal of Council’s wild expressions, off-the-rails determination, and tender brokenness are a delight to behold, as are the ridiculous writing and clever filming. We’d all take more than the 11 minute 45 second run time, I’d wager.
D’oyen’s first short is on my to-watch list now, and next year I will be sure to arrive earlier, and more frequently, to DFFO’s offerings.
