Six major studios, owned by global conglomerates such as Time Warner and Rupert Murdoch's NewsGroup, control Hollywood, determining what films get made, how they're made, and how they're made available to the public. This nation's film industry is driven by one thing and one thing only: market share. If the stock prices drop, so does the other shoe. Which is why the chances of a mainstream movie being worth seven bucks admission are about as likely as François Truffaut springing from the grave to remake Honey, I Shrunk the Kids. Which is why there are film festivals.

Spawned at Cannes and reinvigorated by Sundance, film fests now number in the thousands. Besides gathering together cineastes and celebrating the medium, these events should provide the opportunity for ordinary Joes and Janes to see films inspired by artistic vision rather than by test screenings, tracking indicators, and gross-after-negative point returns. The Miami Film Festival falls short by drawing heavily on movies that are either corporate releases or prize winners from other festivals, and by overloading its schedule with Latin fare.

The much less calculated Fort Lauderdale event follows a populist policy, disregarding potential carping by critics and taking an aggressive approach. Films shouldn't be made for critics, and growth maintenance may be good for events, but it's not good for filmgoers. FLIFF's Gregory von Hausch has defined his event's mission as giving opportunity to young filmmakers and bringing films to South Florida that would not otherwise show here. At this past fall's FLIFF, one-third (43 out of 120) of the movies were by first-time directors. Features were acquired from Iran, Austria, the Czech Republic, Denmark, Finland, France, Germany, Ireland, Italy, Luxembourg, the Netherlands, Spain, the United Kingdom, and Algeria, as well as North and South America. FLIFF also has reached out with sidebar events, called minifests, in Miami, Hollywood, and Boca.