The Frameline Film Festival is now underway, and that's a big deal at the Big Gay Frat House. David has been known to buy a season pass and take the season off of work to see practically every film. Kevin is the founder of the Cosmique Movie Awards, so you know he's a huge film fan. And Tim ... ah Tim.
Tim is such a huge fan that he's a major, major donor to the film festival. He has a pair of platinum passes, tickets to every festival party, and is sponsoring the "Queer Duck" film on Pink Saturday. (At one point the BGFH was also going to host a VIP reception for Q. Allen Brocka's "Boy Culture," but that fell through.) He now serves on the Board of Directors for Frameline's Capital Campaign.
This year there is something like 140+ film screenings (a few films are being shown twice) at at least five theaters in the Bay Area, mostly inside San Francisco but a few across the bay, too. The flagship theater, of course, is the historic Castro Theatre. It has the largest capacity, the most comfortable seats, is by far the most beautiful, and of course is the largest, most recognizable landmark in the gayest neighborhood on the planet.
The two other major theaters participating every day of the festival this year include the Roxie and the Victoria, but a few others are hosting special screenings periodically throughout the week: CinéArts @ Empire and, over in Oakland, the Parkway Theater. There used to be a big pecking order in terms of where films were screened: the very best were always at the Castro. But this year, that's changed. In some cases, it appears that Frameline organizers have made a conscious effort to promote the satellite theaters. And in other cases, the movie studios themselves have insisted on using theaters with smaller capacities. (The reason is because they want to generate buzz from the festival before releasing more broadly later in the summer, but they don't want to cut too heavily into their potential general release ticket buyers.)
People with Platinum passes are highest in the pecking order of film-goers. They don't have to wait in line; they just mill about in front and get seated before anyone else. At the Castro Theatre, they don't even have to show up early; the theater has special roped-off seats for Platinum holders (although for crowded screenings, they'll only hold those seats in reserve until about 10 minutes before). We're very grateful that Tim has a pair of platinum passes; it's so nice to be able to waltz up, skip the lines, and still get a good seat. The other theaters don't have the roped-off platinum section, but they still have early admission.
Next are the gold passes. There's a special line for those folks, too. No reserved seats, but they go in early enough that it's generally not a problem finding a good seat. But for a hot film the gold ticket line can go all the way down the block, so it's still prudent to arrive relatively early for a really hot film.
After that, Frameline members (those who donate $35 or more a year to Frameline separate from buying individual tickets) have their own line. There can be hundreds of people in this line; those who want a good seat sometimes show up an hour or more before the film is scheduled to start.
And after that, it's just regular folks who bought a ticket for that showing. They have to resign themselves to the fact that there may be hundreds of other people seated before them even if they show up an hour early.
Of course, with the festival spread across so many theaters, there's often conflict and it's impossible to see everything. Because Kevin works for Gay.com, sometimes he can get screener copies of some films. That's how we got to see The Mostly Unfabulous Life of Ethan Green and Colma: The Musical early. We'll post our reviews of the films later this week.
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