On the opening night of the event, a lone patron mumbled on a mobile phone in a hushed tone within the reception area of the Oakland Museum of California (OMCA). The space is unassuming with the exception of a folding table adorned with flyers, rolls of raffle-like tickets, lists lined with vague names and a few printed t-shirts. The only tell-tell sign that something is happening somewhere in the building is the dull thud of cinema intermittently vibrating the walls and floor. 

In hosting its 10th Annual Oakland International Film Festival, the OMCA plays a significant role in promoting three city-relevant themes, combining cinematography, creativity and culture, all exhibited through independent and small market films.

Although it is not always apparent, Oakland has a long history of supporting its hub of artistic prominence and showmanship. With the most working artists per capita than any American city outside of Manhattan, according to the City of Oakland website, it appropriately hosts an event that displays creations from several unknown and up-and-coming producers and filmmakers about a variety of subjects, spanning multiple movie genres. 

David Roach, executive director of the film festival, provides that the event has a greater purpose than just rolling movies. He views Oakland as a having a great sense of community where people work together and support one another. 

According to the event’s website, this year’s festival presented its showings as portions of three distinct theme groups, namely “Made in Oakland,” which included films showcased that are either made in Oakland and/or made by someone from Oakland; “Black in Oakland,” which promoted networking within the Oakland film community to move the economy forward, and “Healthy Economics,” which focused on utilizing the audience of the festival to increase volunteerism in Oakland to improve schools and the community in general.

The popularity of the festival in showcasing films touching on political issues, social movements and other progressive stances, falls in line with the identity of audience members and the staff collectively.

Myron Potier, graphic designer for the event, describes the festival as “much more popular than I expected […].” Regarding the progress of the executive director, “David has stayed diligent, regardless of sponsorship,” said Potier.

Actors, director and producers of movies shown at this level appreciate the exposure and have benefited from screening of their work at events in years past. Even older films such as “Sankofa” and “The Spook That Sat By The Door” will receive recognition through select screenings.

“It’s going to inspire young filmmakers to continue to follow their dreams of making movies and films, because it’s not a lot of filmmakers that are able to get their movies into the Hollywood scene,” commented talent liaison Aquil Rashid. 

On occasion, the festivities receives its share of star-power like Oyafunmike Ogunlano, the actress portraying the lead character in “Sankofa,” a film about a modern day African-American who ventures to Africa and experiences slavery by traveling back in time. While this film premiered in 1993, Ogunlano, who would speak in person following the film, would highlight the re-showing at this year’s event.

The 10th Annual Oakland International Film Festival displays film features the full weekend of April 6-8, and looks to provide an atmosphere where everyone feels like a star.  Stephanie Slade, producer of “Tektive,” another festival showing says, “[…the event] very diverse and I think a good representation of what’s possible.”