Boxoffice-July.1995

doesn't draw more stars and (worse) journalists
and spoil the innocence of this hidden
treasure.
THE PLAYERS:
Auteurs Henry Jaglom and Pedro Almodovar
(whose names make an unlikely
match and whose films could never be confused
for the other's] are examples of the
kinds of directors who eat up attention at
this fest.
CLOSE-UP:
Unlike Sundance, the Miami Film Festival
tends to welcome both independent and
mainstream features
with equally open
arms. In recent years,
Miami has played
host to everything
from Warner Bros.
"The Mambo Kings"
and 20th Century
Fox's "Sugar Hill" to
art-house fare like
"Belle Epoque" and
Almodovar's "Kika."
Perhaps owing to
Miami's large Cuban
expatriate community,
Spanish language
(or themed
titles have found a
home in Miami. So
have titles of obvious
local interest, such as
star drawing power,
Troma's Toxic Avenger, the patron saint of AFM.
Buena Vista's recent
and even the lessdeveloped
foreign
"Miami Rhapsody,"
which screened at the fest this past February.
But no project is too small for Miami; so devoid of originality that it's
markets have grown tired of films that are
possible
regular festivalgoers are probably still nursing
memories from 1994 of self-distributing
writer/director Henry Jaglom and star/ cowriter/wife
Victoria Foyt, on hand to deliver
their newest pride and joy,
"Babyfever" The audience seemed to ooh
and aah at every neurotic moment in this
cinematic exploration of the maternal
urges, made by one of the few males in
HoUjrwood who seems to have them.
—Alex Demyanenko
The 13th Miami Film Festival will he held
February 2 through February 10, 1996. For
information, call (305) 576-5873.
AMERICAN
FILM MARKET
ESTABUSIONG SHOTH
The
1995 American Film Market returned
again to Santa Monica, Calif
for another week of film screenings
held primarily for international theatrical
and video buyers, and to promote old and
new product in the 100-plus suites of Loews
Santa Monica Beach Hotel (the AFM headquarters).
AFM is a film event for mavericks,
and 1995 didn't disappoint; as usual,
some low-budget distribution compani(!s
set up shop at various surrounding hotels in
a not-exacfly-aufhorized attempt to save a
few dollars on exhibition fees.
THE PLAYERS:
The Hollywood studios are taking more
and more ofan interest in AFM. Large scale
parties were put on by the attending studios,
with elaborate props and artwork related to
upcoming tides.
As it was in 1994, the emphasis at AFM
in 1995 was on quality. There was still the
usual wall-to-wall availability of the everpresent
erotic thrillers, the neverending karate,
kung fu and cyborg cop action flicks,
and the perennial
teen-oriented comedies.
But films vnth
better production
values, bigger stars
and more original
storylmes tended to
be the hotter tickets
this year
The time of the B
programmer and
the low-rent independent
film company
seems to be
ending. It has become
almost impossible
for such
films to get theatrical
bookings, since
few of them have
literally to substitute one for the next without
noticing the difference.
CLOSE-UP:
Japanese animation ("anime"), a smattering
ofgofhic horror titles, and the ubiquitous
Tioma Films (home of"The Tbxic Avenger"
were among the more welcome AFM icons
on the low-budget end of the totem poll this
year With the studios moving more and
more in the direction of big-budget science
fiction like "Stargate," the lower-budget variations
on futuristic themes found themselves
competing for space with "A" titles
that had a far better chance of achieving
advantageous overseas release patterns.
The general trend in independent film as
reflected at AFM 1995 is toward films with
bigger budgets and at least one major star
Original and more sophisticated storylines
were also major selling points.
—Eric Caidin
CANNES
ESTABUSHING SHOD
For
independents and sales companies,
Cannes' unique bkmd of Festival, Marketplace
and Resort makes it tiie ultimate
location for film viewing and
acquisition. All told, including the competition
and revival sections, a half-dozen tests
under the broad Cannes moniker; al-
fall
most all of them each year offer a selection
of gems and surprises as bright as the glint
offthe pool waters at the Du Cap. Tvo weeks
of concentrated hype and dealmaking
blended with endless parties, screenings
and press conferences make for fierce competition
for attendees' time, but word of
mouth about must-sees spreads quickly;
with more than 100 screenings each day,
finding winners isn't hard.
Although most of the high-profile tides
tend to have been taken for major territories
before the festival, there's usually more
than enough quality product to go around.
As the world's pre-eminent festival (and,
after AFM, the next most productive sales
event), Cannes provides publicity opportunities
second to none. For producers, distributors,
exhibitors and fans, Cannes rarely
disappoints.
THE PLAYERS:
With three Palme d'Or wirmers in two
years (1993 co-winners "Tire Piano" and
"Farewell, My Concubine" coupled with last
year's vvtinner, "Pulp Fiction"), Miramax has
lately been taking top honors here. American
majors were largely in absentia during
last year's May 12-23 run, so the 47th
Cannes suffered a noticeable loss of glitz
compared to years past. But, because studio
attendance is usually geared more toward
publicity than business, the loss was primarily
a cosmetic one.
Among other independents and the minimajors.
New Line Cinema saw excellent
sales for its Jim Carrey starrer, "The Mask,
on the strength of credits and promo reels
alone. October Films also proved its mettle
with some high-profile acquisitions, such as
"Killing Zoe," the writing and directing
debut of QuentinlSrantino associate Roger
Avary (who co-wTote "Pulp Fiction" with
Tkrantino). "The Mask" went on to be huge
in mass-market America, becoming a member
of summer 1994's $100 Million Club;
"Killing Zoe" died at the boxoffice, with
grosses of less than $500,000 during tlie
same play period.
CLOSE-UP:
Small titles are also welcome at Cannes.
Among the many films garnering attention
last year was "Clerks," the $27,000 comedy
made by first-time vniter/director Kevin
Smith and based on his experience as a
convenience-store clerk. The plot: One day
in the life of two clerks. (Th(^ ending:
Miramax acquires, only to face a prolonged
battle over the MPAA's NC-17 rating when
die film's opening in America approaches.
Final boxoffice tally for "Clerks": around
$2.7 million, or approximately 100 times its
production cost.)
Other fest favorites that went on to find
major releases in America inrlucicd ihc
Australian sleeper "Muriel's WcdLiint;" aiui
"Eat Drink Man Woni.m," from liun lor .\n>;
L('(\
—Wtitlc Major
Fbr review anvragc ot this yew's Cannes,
sec this issue and the August issue. For information
on Cannes '96. call (33) 1^266-9220
66 BOXOFTICE