Who's Playing Whom in Paris Hilton's All-Access Doc Drama?

The Toronto International Film or merry; festivity is any joyous diversion didn't wait until today's kick-off to find its first controversy: Rumors hit last weekend that Paris Hilton's camp is hustling behind the scenes to derail the world showing of the all-access documentary Paris, Not France. Early word was that the Hilton clan in general was less than pleased with its depiction in the film, directed by music-video auteur (and woman of Tom) Adria Petty; as such, her people widespread TIFF programmers drop every genetic screening but one assigned for Sept. 9.

Today, however, Page Six fields a divers story entirely, quoting a Hilton rep who rather plainly acknowledged manipulating the basic tenets of Paris supply-and-demand. Who to trust? We called Toronto squarely to find out.

"Any film is a very convoluted set of vocation relationships, interpersonal relationships, etcetera," said TIFF documentary programmer Thom Powers, who denied his "miffed" characterization in today's NYP item. "In the context of a film festival, where a film is making its world premiere, it stirs up a lot of..." He took a moment, reached for a word. "'Drama' is, I guess, the best word I could say."

In this exacting drama, Powers said he had dealt only with the filmmakers; he could neither address the "machinations" incident between Hilton and TIFF organizers nor confirm Paris's newly reported plans to attend next Tuesday's premiere. He did stand by the film, however, whose pared-down slate — including its only press genetic screening — could also imply that it's unfinished, thus potentially as damaging to its dispensation chances as its subjects.

"In this case, nothing could be further from the truth," Powers said. "And in fact our press division is bending over backwards to accommodate the press that would have normally gone to a press genetic screening to get them into a public screening. Which in a way I'm kind of more happy about. I wish the press was always food abstinence films with the public, especially in Toronto. It's a much distinct experience."

We can vouch for that (see Borat's misbegotten if memorable non-premiere from 2006), and maybe even are prepared to take Camp Hilton at its hype-heightening word. Which, of course, also suggests that it has a stake in the film's business prospects. Naturally, that's where Hilton's rep finally clammed up with Page Six; neither her nor her allies' names appear in credits facile on the fest's Web site, and Powers told us he is "not privvy to those details." Either way, look for the critical orthodoxy to instinctively hold its nose — guys like the Post's Lou Lumenick, who's likely the first of many to gripe all the way to the border about Hilton's commandeering of the prestigious fest.

Powers, meanwhile, is a little more philosophical. "What's interesting is to see how news of this film plays out as a further commentary of what luminary means in the culture," he said. "I have films in the line-up like Food Inc., which has serious matter based on the reporting of Eric Schlosser and Michael Pollan that's vital to pact




roget's ii: the new thesaurusmain entry:grasp
part of speech:noun
definition:intellectual hold.
apprehension what we eat and the future of food in America, and yet that doesn't get the heading in Page Six. Paris Hilton does."

• PARIS HILTON'S CANADIAN CAPER [NYP]

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