Philadelphia Weekly

Earlier this year, word got out that the Philadelphia Film Society and TLA Entertainment—the two groups behind the Philadelphia Film Festival (PFF)—were parting ways. And people understandably freaked out.

Filmgoers wondered about the very existence of the fest—scheduled to begin just two months after the announcement of the split. There was talk of lawsuits. And then counter-lawsuits. Even dedicated followers of the story had trouble keeping up with the rapidly changing news.

And then­—almost as quickly as the drama unfolded—the disagreement was resolved. The two groups would stick together for the eighteenth edition of the fest, then go their separate ways. TLA would retain the spring slot but lose the title. (They renamed it CineFest.) The Film Society would keep the name but relocate to the fall.

Following the nasty divorce, executive director of the Film Society and the PFF J. Andrew Greenblatt, along with his colleagues, feels optimistic about the festival’s future.

“It means more films in a market that is tragically underserved,” he explains. “Many other cities that are smaller than us get to experience and enjoy two large and excellent film festivals.” He points to Austin, Texas, which has South by Southwest, the Austin Film Festival and Fantastic Fest. 


But despite their excitement about the new festival, the Film Society couldn’t plan one until 2010 since there had already been a large festival in Philadelphia in 2009.

They settled on October 2010. “We like October for a variety of reasons,” says Greenblatt. “In April you’re sandwiched between South by Southwest and Tribeca [Film Festival], and also the bigger sandwich of Sundance and Cannes. Being in October, you’re after Toronto but far enough to get Toronto movies.”


Yet, Greenblatt says, they didn’t want to wait another 18 months to do one. “We think our members would not have enjoyed us waiting that long,” he admits.


So, this October, there will be the 18½ Philadelphia Film Festival. (The “½” is a nod to Fellini’s 8½ , natch.) Starting on Thurs., Oct. 15, the mini-fest will last only five days—the last one a best-of-fest day which will repeat the most popular attractions.

The Film Society hired the esteemed Harlan Jacobson of Talk Cinema , Variety and USA Today to be the PFF artistic director, and Michael Lerman, who previously worked for the PFF and other major fests, including the Woodstock Film Festival, will serve as program director.


Lerman and Jacobson plan to have about 30 films in the new Philadelphia Film Fest—many from other festivals, including Cannes, CineVegas, Chicago and even Toronto, which wraps just four days before the PFF’s program goes to print. As of deadline, no films could be revealed, but Greenblatt describes the slate—which still had a couple slots to fill—as “probably the best roster we’ve ever had.” 


“We’re getting some really desirable films that haven’t been seen by many places at all. These are all really engaging, hotly anticipated films,” he explains. There is also talk of bringing in more talent to speak before and after screenings.


Looking toward the future, when the PFF returns in full force, it will be longer, but Greenblatt says moviegoers shouldn’t expect a roster as large as previous years. “We’re not looking to 2010 until the day after 2009,” he says. But he doubts the PFF will go back up to the 250 films of last spring’s fest. “That’s too many films. I think you end up with a lot of mediocre films. And that’s not our goal,” he explains, citing the New York Film Festival as a possible model. “New York is fantastic because they’re small enough but big enough,” he says. “They pack a great punch into those days.” He also cites Denver and South by Southwest. “Movies go there, studios want to put movies in there, and people know if you travel to that festival you’ll get the opportunity to see great movies.”


Asked if he fears two film festivals may be too much in this economy, Greenblatt says he’s not worried. “I think there’s room for two festivals. Movies are an escape,” he explains. “People go to movies more in downturn economies because they take their minds off things. They’re enjoyable and they’re relatively inexpensive.” (Ticket prices will remain the same. Films will cost $10 excluding opening night and centerpiece screenings.)


In addition to the festivals, the Film Society will continue its various screening series, including Filmadelphia Classics, Filmadelphia Independents and Filmadelphia Documentaries—which happen on Wednesdays at Ritz East. 


Add the CineFest’s return in the spring, and Philadelphia could have more cinema than it’s had in ages. “Philadelphia misses out on a lot because of a lack of theaters,” Greenblatt says. “Part of our goal is to make the festival go year-round through our various series.” ■