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The most notable panel was "Farewell to the Forty Deuce," a personal look at the sleazy days of 42nd Street before it got sanitized by politicians washing their hands in the pockets of real estate developers. Presented by June Lang and Jeff Krulik, panelists included Frank Henenlotter, director of the feminist classic, Frankenhooker, who presented clips from Something Weird’s video archive of rare ’50-’60s sex loops; Josh Alan Friedman, author of Tales of Times Square, who reminisced about the heyday of exploitation films, and exchanged teenage sneaky peaky stories with Henelotter; and Uncle Lou Amber, chauffeur to the strippers who had nothing but kind words to say about all the women he drove to oblivion. June Lang presented clips from her forthcoming documentary Farewell to the Deuce featuring Allen Ginsburg, porn maven Al Goldstien, and the cheeky Quentin Crisp who slyly proclaimed, "pornography is the endeavor to sell sex for more than it’s really worth." But the panel, and possibly the whole festival could be summed up by the awe I felt sitting behind Rudy Burckhardt as his films Square Times and Sodom and Gomorrah played on screen. His camera penetrated the faces of the hookers and patrons from the ’60s, while lingering on storefront windows with signs such as, "we give plaid stamps." Yes, 42nd Street once was this sexy place where it was okay to bring the wife and kids, and here was this artist who brought that history to my eyes; an old-timer who’s still making art, who’s survived it all in spite of the odds.




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The International Competition, restricted to first- and second-time filmmakers, offers the Golden Alexander, a grand prize worth about $45,000, for best full-length film, which went to Yoichiro Takahashi’s unhurried teens-in-summer story, Fishes in August. (The lead’s sexual frustration sometimes matches one’s own in wanting the summer to turn to another season, another mood.) The Silver Alexander, worth about $27,000 prize was shared by Petr Zelenka’s ambitious slice of surrealism, Buttoners, from the Czech Republic, and The Flight of the Bee, a story of a poor teacher who digs a public latrine to embarrass a rich neighbor, by co-directors Jamshed Usmanov from Tajikistan and Korean Byoung Hun Min. Samira Makhmalbaf’s The Apple got a special mention, and a Special Artistic Achievement Award went to Kwangmo Lee’s affectingly written coming-of-age story, Spring in My Hometown. The Best Director nod went to Constantine Giannaris for From the Edge of the City. The inspiredly loopy God’s Got My Number, tracking the antics of a shy would-be womanizer by France’s Bruno Podalydes won the Heineken Audience Choice Award. 041b061a72


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