10 DALLAS OBSERVER • KALEIDOSCOPE Dallas International Film Festival’s 20-Year Milestone Is a Cinematic Love Letter to the City This spring, the Dallas International Film Festival celebrates 20 years of elevating cinematic art and building community in the heart of Dallas. BY PRESTON BARTA F or two decades, the Dallas International Film Festival (DIFF) has been a highlight of the city’s cultural calen- dar and a point of pride for local film lovers. This spring, from April 23 to 30, DIFF marks its 20th anniversary, a rare achievement in a city known for rapid change and reinven- tion. DIFF’s journey began in 2006, long before streaming apps and al- gorithms changed how we watch movies. Back then, a few determined Dallasites believed that film was more than just entertainment — it was an art form worthy of celebration right here in North Texas. Their vision laid the groundwork for what would become one of the most antici- pated cultural events in Dallas each year. The Opening Credits “Film should be placed on the same pedestal as all of the other arts.” That was the foundational dogma of Michael Cain and the late advertis- ing legend Liener Temerlin. When they co-founded the festival, origi- nally under the banner of AFI Dallas, the ambition wasn’t just to show movies; it was to elevate the medium. The duo wanted the filmmaker to be celebrated with the same reverence as the painter or the sculptor. Cain, looking back on those early days, remembers the sheer veloc- ity of it. It was a startup with the energy of a blockbuster opening weekend. Overnight, it became the largest film festival in the South- west. The numbers from that debut year still stagger: 193 films, 25 countries and 30,000 seats filled. “It wasn’t just about getting butts in seats,” Cain says. “It was about proving that Dallas was hungry for this.” And we were. The festival brought a distinct electricity to the city. Suddenly, you could walk into a theater in Dallas and bump into global icons or scrappy indie directors from halfway around the world. It de- mocratized the red carpet. It took the velvet rope and wrapped it around the entire city, inviting everyone inside. The Rock ‘n’ Roll Heart If Cain and Temerlin provided the architectural blueprint, James Faust has been the one keeping the engine running hot. Faust, the atis- tic director, is at the core of the festival’s rock ‘n’ roll soul. A man who explicitly states he likes to “rock and watch movies, not in that order,” Faust has been there since the inception. He started as senior programmer in 2006, bringing a diverse resume that included work with the Asian Film Festival of Dallas and the Texas Black Film Festival. But his tenure at DIFF represents something deeper: institutional memory. Festivals are fragile ecosystems. They rely on the alchemy of fund- ing, public interest and the unpredictable quality of artistic output in any given year. Faust has navigated these waters for two decades. He has seen the name change from AFI to DIFF, as well as the shift from 35mm prints to Digital Cinema Packages (DCP) and digital links. Through Faust’s lens, the festival is more than a showcase; it’s a con- versation. His programming style has always favored the eclectic and the bold — a reflection of a man who pairs a love for the Oakland Raid- ers with a degree in cinema studies from SMU. Under his watch, DIFF hasn’t just played it safe with Oscar bait but rather championed the weird, the wonderful and the obscure. He has ensured that the festival remains a place of discovery, where a viewer can walk in expecting nothing and walk out changed. The Matinee Dreamer Then there is Beth Wilbins, the CEO who has been woven into the fabric of the organization since day one, though she took the helm more recently in 2022. If Faust is the curator of the art, Wilbins is the guardian of the experience. There is a story about Wilbins that perfectly encapsulates why this festival has survived for 20 years. It doesn’t involve meetings, board- rooms, or spreadsheets; it centers a five-year-old girl in Winston-Sa- lem, North Carolina. A reporter once found a young Wilbins and her little brother sitting quietly in front of a television in the middle of the afternoon, dressed in formal evening wear. Beth, wearing a wine-colored crepe dress and a feathered hat, ex- plained simply to the confused reporter: “We’re at the movies.” That reverence, that idea that watching a film is an event worthy of one’s best attire and full attention, is the DNA of DIFF. “We are building community,” Wilbins emphasizes. Under her leadership, the festival has pivoted from being just an 11-day party to a year-round cultural force. She has established programs that connect filmmakers, students and businesses. She understands that for a festival to survive 20 years, it cannot just be a circus that comes to town once a year and leaves – it must plant roots. And those roots have borne fruit. In October 2024, DIFF achieved a “holy grail” status for film festivals: it was named an Os- car-qualifying festival by the Academy of Motion Picture Arts and Sciences. It’s one of only 59 in the U.S. to hold this designation. Dirk Nowitzki with DIFF artistic director James Faust for the festival’s 2015 screening of Nowitzki: The Perfect Shot. Golden Globe-nominated actor Diego Luna attends the 2017 Dallas International Film Festival. Courtesy of Dallas Film Society Courtesy of Dallas Film Society
