Much of the excitement at Telluride’s 28^th Annual Film Festival happened off-screen. More than usual this year, my husband Larry and I faced situations filled with suspense, adventure, humor, and exotic food. During a hectic 2001 Labor Day weekend, we got lost in the mountains at midnight, sampled Indian cuisine prepared by a famous director, and received unsolicited advice from Roger Ebert. But before explaining all that, here are my reactions to some of the films we saw at this incredible festival:

Lantana. This unusual missing-persons thriller from Australia reminded me even happy marriages can fall apart. I was impressed by the intense performances of the film’s ensemble cast. Anthony LaPaglia (Murder One) stands out as a detective with more on his mind than solving a crime.

The Cat’s Meow. Peter Bogdanovich directed this version of an incident on William Randolph Hearst’s yacht that resulted in the death of producer Thomas Ince. The movie is notable mostly for Kirsten Dunst’s mature turn as Marion Davies. When introducing his film, Bogdanovich referred to Dunst’s performance as "a gift to us all." I agree. Still, Edward Hermann seemed too pathetic as Hearst, and I had trouble accepting Eddie Izzard as Charlie Chaplin.

A Shot in the Heart. Although made for HBO, the Telluride audience got first viewing of this new twist on the Gary Gilmore story. Giovanni Ribisi is heartbreaking as the younger brother of convicted killer Gilmore (superbly acted by Elias Koteas). Under Agnieszka Holland’s expert direction, this television film should be recognized in several categories come Emmy Award time.

Speedy. My sides still ache from laughing so much at Harold Lloyd’s great silent comedy, especially the carnival mishaps and that amazing street brawl scene. Now I know why Lloyd ranks as one of filmdom’s comic geniuses.

Mark Twain. Ken Burns has another winner with a documentary as humorous and thought provoking as Mark Twain himself. I can hardly wait to see it again when it’s scheduled on PBS.

The Yellow Bird. Faye Dunaway makes her directorial debut with this short film. In Dunaway’s whimsical treatment of a Tennessee Williams story, a young woman rebels against strict parents and the conventions of society. I think The Yellow Bird illustrates Dunaway’s promise as a filmmaker. I was also surprised and pleased by her willingness to talk about her new career.

The Mystic Masseur. I didn’t want this delightful Merchant Ivory film to end. It focuses on one man’s burning desire to become a writer. "Put my picture on the cover," Ganesh insists to the printer of his first book, a catechism about the Hindu religion. The movie showcases Aasif Mandvi’s (The Siege) acting versatility as his character ages. It also shows why Om Puri (East Is East) received one of this year’s Telluride Tributes. Although portraying a manipulative and dominating father-in-law, the veteran Indian actor still made me care about the person he played. Ismail Merchant directed with his trademark classy touch.

Because I had interviews scheduled, I couldn’t attend the screening of Mulholland Drive. And, wouldn’t you know it, Larry talked of nothing else after seeing this latest David Lynch film. I’m sorry I missed it.

Fortunately, I didn’t miss the "Conversation Session" with Peter Bogdanovich. He’s a fabulous storyteller. Joking about mistakes of the past, Bogdanovich confessed his arrogance after the success of The Last Picture Show. "I decided to make a musical even though I knew nothing about them," he said. "When Gene Kelly called me to offer his help, I turned him down because I thought I could handle it. Well, of course, At Long Last Love flopped miserably."

For me, the highlight of the festival came as the result of an invitation to a midnight supper celebrating The Mystic Masseur. However, finding hosts Ann and Vincent Mai’s mountain home became an adventure with almost as much suspense as an Alfred Hitchcock film. No matter how many wrong exits or twists and turns stood in our way, Larry and I were determined to attend that party. Our persistence paid off. Greeted by Ismail Merchant himself, who served as master chef for the occasion, we then mingled with such VIPs as James Ivory, Salman Rushdie, Faye Dunaway, Aasif Mandvi, Peter Sellars, Om Puri, and legendary tabla player Zakir Hussein. Although Roger Ebert failed to appear, he called The Mystic Masseur "a lovely film" after its screening. I told him Larry and I could identify with the main character because our first book had been published during the past year. "Be sure to put your picture on the cover just like Ganesh did," he quipped. "Too late for that, Roger," I replied.

The opening of a new 500-seat theater called "The Galaxy" made it possible for more participants to see the movies of their choice this year. But it was still necessary to stand in line for an hour prior to the showing of most films. The only way to avoid this is to be a patron --- which means paying over $2000 for a special festival pass. Patrons are seated before everyone else. At one event, Larry decided to take a closer look at this lucky group. Leaving his place in line, he checked them out as carefully as possible. "I sense no tension among the patrons, and they sure smell good," he reported.

At last our goal in life became clear. If we earn more money by taking on extra jobs, writing another book, and mortgaging our house, someday we too might be relaxed, sweet-smelling patrons of the Telluride Film Festival.