thenationofartists.com

By Elliot V. Kotek
(Oct. 16, 2010)

Heartland Film Festival is an inspirational event. Comprised solely of films that explore human spirit, it successfully stirs a mix of tearjerkers and comedies.

One of the more obvious examples of this is in the way the shorts programs are presented. By combining docs and narratives in each shorts grouping, the audience isn’t left to compare apples to apples but, pardon the analogy, gets the whole fructose salad. A quirky comedy shot in black and white precedes a narrative told almost solely by colorful stills, a documentary set in a remote part of the globe is preceded by a fantastic world of circus freaks and talented troupe members.

More festivals should take note — the audience is titillated by each, separately and uniquely, and enabled to consider their opinions on a range of issues, and a spread of technical and technological feats. They’re not forced to choose to favor supporting the plight of Ugandans over the Carteret Islands’ climate refugees; they can choose both, choose all, and feel entertained and educated in equal measure.

With films numbering around the hundred mark, and filmmakers in attendance amounting to a similar figure, the unity amongst filmmakers at the fest is a tie that binds. I met “140” director Frank Kelly at the festival in 2006 and produced a feature with him in 2009/2010. That project also utilized the skills of another seven Heartland alumni.

Whether it’s the treatment received while in Indianapolis (limousine rides for all, massages for some), the significant awards money that is spread liberally across a group of Crystal Heart Award winners and Grand Prize winners, or simply the enthusiasm of the audiences in this sometimes artistically forgotten part of the country, there is no doubt that this is a festival that works. Next year will be Heartland’s twentieth. Over the first 19 fests, this not-for-profit dispersed $2.3 million to filmmakers. Each year I think the secret will get out, that this will be one of those festivals that blows up, but with 800+ film submissions annually, it is still operating within a shroud of modesty. Maybe that’s appropriate. I, for one, having attended in ’06, ’08 and now ’10, would prefer that this remain a club for those lucky enough to be invited. Maybe the world couldn’t handle this much goodwill.