Drunk Film Festival Oakland
The Continental Club
Oakland
Oct. 13, 2023
The last night of the sixth annual Drunken Film Festival took place at Oakland’s Historic Continental Club on a cozy Friday night, with zombies lurking in the wings.
The 11 works on the lineup that evening spanned the categories of U.S. and world narratives, avante-garde, documentary, animation, and music video. Admission was free, drinks were not; as Drunken Film Fests’s website says, “we might have some drinks, but we’re more about getting drunk on film.”
The eclectic lineup made it easy to do so. I caught the last half of the evening and realized shortly into the first film that it was truly my loss that I had arrived late to the party. Films ranged from dark and thought-provoking to uplifting and comedic, some of them doing it all at the same time.
I have not been able to stop thinking about the last film of the evening, Soon-to-Be a Zombie, directed by Yuki Saito. Originally released in Japan, it’s played at a number of film festivals, including Palm Springs International Short Fest and Short Shorts Film Festival & Asia.
The rich imagery supported the haunting storyline of an aspiring young undergorund idol, Remi, who finds fame elusive until she is infected with a zombie virus that turns her into an overnight celebrity. Somber greens and dank greys, punctuated by the jovial yellows and lavenders of some performance scenes, make up the film’s color palate. The stylized visuals are particularly powerful as we see (spoiler alert) Remi transform into a zombie live onstage. The sterile spotlight juxtaposed with the pan of a shadowy crowd accentuates the drama. As the stunning meets the grotesque, we are reminded the two have never been that different to begin with.
In addition to the visuals, the music and sound lay the foundation for the film’s impact. We are introduced to the idols’ catchy, reoccurring song at the top of the film, sung by a hopeful Remi as she innocently applies her makeup, which adds to the thrilling tension as the sinister underbelly of Remi’s world is exposed. The crispness of the dialogue, as well as the zombie sounds, give the feeling of being inside the film. The piece is in Japanese, and while I was very grateful for subtitles so that I could catch the intricacies of the well-crafted storyline, it would have still been very enjoyable from a simply sensory standpoint.
Soon-to-Be a Zombie evoked in me a simultaneous sense of intrigue, familiarity, and sadness. It read as a commentary on celebrity and the general human desire to be seen and loved for who we are. The character of Remi is instantly beguiling, endearing, and human. This makes her transformation into a monster all the more disturbing. Watching her gain fame and admiration only when she is forced to completely let go of who she is, I thought hard about the masks we wear, values we cast aside, and parts of self we lose to gain power and “success” — and more broadly, what we give up to be accepted by society. I’m not sure if this was the artist’s intent or just my comparative lit degree talking, but nonetheless, I was moved by this film and stirred by its characters.
While the films were rolling, the audience was silent and attentive — a rarity at such a well-attended event. I was seated in the back bar area, where the overhang made it difficult to see the screen. It was also difficult to hear what was being said on the mic in between films from where I sat, which was disappointing, because I have no doubt it was brilliant based on both the quality of the films and the audience reaction. I would love to see the large space used to better accommodate more folks in the main room so nobody misses out on the fun. All that being said, the Continental Club is a stunning place for this event, and with a few little tweaks, it has the potential to be a perfect marriage for the film festival.
This year’s Drunken Film Fest spanned six nights and showed a total of 68 films. The fest partners with local bars and venues to present this totally free (except for the drinks) event. According to the SF Chronicle, all drink sales go to the establishments, and the only way the festival itself makes money is through selling posters. For lack of a better word, it’s really awesome that those of us not on a Sundance budget can still enjoy top-quality independent film in the presence of others who are just as excited to be there.
When the lights came up, I walked out wanting more, and not just because I was late. It’s a treat to see such quality art alongside a crowd whose appreciation is palpable. I am both compelled to explore more work from these talented artists and eager to more fully engage with next year’s Drunken Film Fest.
You can find out more about Drunken Film Fest here.
