After watching 28 films, attending 4 parties, and consuming a hearty brunch, the 6th Annual deadCENTER Film Festival is over. There were good films, some great ones, and even a horrible one or two. I got to spend the weekend in some great places (OKC Museum of Art, Stage Center, etc.) with great people (filmmakers, fellow film fans). They were truly some of the best days of my year.

The festival started, for us, on Thursday after work. We picked up a couple of All Access Passes at the Museum before heading up onto the roof. Over multiple glasses of cabernet and a sampling of appetizers (courtesy of the always wonderful Museum Cafe), we awaited the first film, Maxed Out, a documentary about the malignant nature of the financial industry. We shared a table with Trisha Johnson and her sister. Trisha showed us a picture of her beautiful daughter, Mitzi, who hung herself with a bedsheet as a result of mounting credit card debt. She talked about her daughter, the fruitless struggles to get legislators to listen, and how the University of Oklahoma profits from predatory credit card companies. Trisha’s story was just one of many featured in the film. At one point, the director, James Scurlock, joined in on our conversation. We had yet to see the film, and still it had already deeply moved us. After the film, it was over to Makers. A bottle of wine, a couple of free cigars, and more film conversation.

On Friday, we started out at Harkins for Last Stop for Paul, a film about the quirky world travels of a pair of friends. From there, it was to the Museum for a movie that wasn’t so good. Filmed entirely in Oklahoma, Surveillance starred Armand Assante as a mall security guard who took his job way too seriously. The film was too confused and begged the question as to how a movie like that even gets made. Brothers of the Head told the wonderful story–in mockumentary form–of two conjoined brothers who were molded into 70′s punk rock glory. Here’s what I don’t get though. Surveillance, a horrible movie, played to a packed theatre. Brothers of the Head, a much better film, played to about a dozen of us. Why does that happen? Afterwards, it was over to the IAO Gallery for some shorts. This collection featured the standouts The McPassion (Happy Meals get the Passion of the Christ tie-in treatment) and Secession (a housewife leaves her family…but only so far as the pantry). This collection also featured a couple of films that played a little too closely to Mirror/Father/Mirror, the experimental film mocked in Ghost World.

On Saturday, it was to the human hamster cage that is Stage Center for more short films. This collection was much better. It featured the excellent Rusty Forkblade and the quirky, Wes Anderson-esque Mr. Malikai Battles the Aeroplane. Then, it was back to Harkins for the documentary feature Downtown Locals (about the lives of 6 NYC subway performers). After breaking at La Luna for too much food and sangria swirls, we headed back to the Kubrick-esque funhouse that is Stage Center. Inlaws & Outlaws was an excellent documentary about people who personify everything that is right about the phrase “I do.” It just so happens that some of those people are gay and don’t yet get to officially say it. Finally, we were off to Kerr Park with folding chairs and a six-pack of Sam Adams for the festival awards and an outdoor screening of Nathaniel Hornblower’s Awesome, I F—— Shot That! Finally, it was to the balcony at Nonna’s Purple Bar for more wine, appetizers and inspiring conversation.

Sunday started out with brunch at the Museum Cafe. Blueberry pancakes for her, and a disgustingly good croque-madame for me. The festival ended at Noble Theatre with the Best of Fest recap of the festival’s best short films. Binta and the Great Idea and Entre Luz Y Sol were certainly deserving of their awards for best narrative short and best documentary short, respectively.

And, then, it was over. I was, admittedly, quite sad with that realization. It was back to a world where MI:III exists to not only be watched but enjoyed. Still, we do have Noble Theatre, Sundance and IFC, and SpotLIT. And, I’m quite happy that I don’t ever have to see that (sorry, LOOK) Show Us Your Shorts (oh, they’re boxers!) spot anymore. The City of DeadCENTER spots, starring Matt Brown, were some of the best stuff I saw during the festival. I do look forward to what Brown, Beau Leland and Kevin Ely have in store down the road (check out their LOOK short, A Cautionary Tale, for a sampling of their talent). Until next year…