There's an intriguing array of films both new and archival that may appeal to classic film fans at Seattle International Film Festival 2025, which takes place in theaters from May 15-25 and online with a selection of films from the main fest May 26-June 1. While the festival doesn't offer nearly as many archival choices as it used to, what it does offer is choice:
Scarecrow in a Garden of Cucumbers (1972)
Holly Woodlawn of Andy Warhol Factory fame gets a perfectly surreal and wacky showcase for her unusual talents in this long thought to be lost, but now restored film. With a Bette Midler song and an unmistakable voice cameo from Lily Tomlin, this fervently unserious flick revels in its gags and unending goofiness. It’s not for common tastes, but anyone with a love for camp, trash, and unconventional wit and hijinks will love it.
The Glass Web in 3-D (1953)
[Screening information]
Though lead John Forsythe is typically bland, this noir moves along at a good pace and is a fun watch. Edward G. Robinson blazes with the charisma our protagonist lacks and, in an amusing touch, plays a collector of art just like he was in real life. The film is an odd choice for 3D, and it was more popular in 2D when it was released, but a recent restoration by 3-D Film Archive should bring new life to the format. Whatever the genre, screenings of 3-D Film Archive restorations are always a blast, and this film should be great with a crowd.
Jean Cocteau (2024)
While using multi-talented artist Jean Cocteau’s own words and images to explore his work has undeniable power, the execution of this film is orderly and conventional in a way that doesn’t mesh with the spirit of the artist. It is pleasant, beautiful, and works both as a tribute and an as introduction for those who are curious about the French surrealist, but ultimately it lacks inspiration. It is nevertheless a must-see for classic film fans at SIFF.
Chain Reactions (2024)
The documentary Chain Reactions (2024) features five writers and directors reflecting on the influential horror flick The Texas Chainsaw Massacre (1974). Ultimately though, the film is about more than one movie. In discussing the effect Tobe Hooper’s grimy masterpiece had on them, Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King, and Karyn Kusama also reflect on the power of cinema itself and how a single movie is infinite in the way it affects each viewer in a unique way. A basic set-up is all that is required with minds this brilliant; director Alexandre O. Philippe was wise to let these knowledgeable and insightful participants mold the creative direction of the film. While it will be most rewarding for Chainsaw fans, any film fan can relate to the way a single movie can shift your perspective and even change your life. That said, the plentiful gore will turn away some viewers.
Riefenstahl (2024)
Leni Riefenstahl is notorious for making propaganda films for the Third Reich, with the jarring pictures of her shaking Hitler’s hand evidence of a lasting scar on a legacy of great film craft. The chilling and gripping Riefenstahl is more about the effect of that association on the filmmaker’s legacy than her work. While physically and mentally strong, Riefenstahl’s ego was easily wounded. She is shown to be elated when she views her own work and infuriated that her association with the Reich has blocked her from the praise she feels she deserves. As a result, she falls into denial, and is shown frustrating multiple interviewers who receive rage rather than remorse when they present her with proof of what she supported. Footage of hate-filled speeches from the time and her own stories of abuse at the hands of Nazi men reveal how much the filmmaker was and remained in denial and cold to the suffering with which she was associated. Informed by newly available archival materials, it’s a complex portrait of a complicated woman which provides plenty of food for thought in the present day.
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