A lot can change in 25 years. But deadCenter Film Festival’s commitment to bringing incredible films and the people who make them to Oklahoma City won’t.
Since 2000, deadCenter has grown from a single-venue event to an ever-growing weekend packed full of cinematic experiences. This year’s fest is literally bigger than ever, as it showcases over 200 independent short and feature films. Coincidentally, deadCenter will host the world premiere for 25 of them.
This year’s film festival is undeniably special. Though in some ways, it’s bittersweet, too. For Cacky Poarch, 2025’s festival marks her final rodeo as deadCenter’s executive director.
“I’ve cared very deeply about this festival and organization,” Poarch said. “Twenty-five years is just hard to believe. I was just looking at pictures from what seemed like yesterday. But those were taken 10, 15 and even 20 years ago. It’s like watching your kids grow up. It just happens.”
Festival fostering
It’s been a long road for Poarch, who has served deadCenter in some capacity from almost the beginning.
While she’s had the opportunity to work on award-winning documentaries like Faces of the 47th: The Art of Activism and the electrifying concert film, UFOs at the Zoo: The Flaming Lips Live, few contributions compare to elevating deadCenter to the status it claims today. However, her involvement started through a conversation with Melissa Scaramucci, one of Poarch’s closest friends and a similarly accomplished filmmaker.
“I attended the first year and thought it was a great idea,” Poarch said. “In 2002, Melissa and I toured with her film Making Arrangements at other festivals, and she had the idea of taking deadCenter downtown, which is what we did in year three.”
The move was orchestrated by Poarch, Scaramucci, Brian Hearn, Geoffrey L. Smith and deadCenter co-founder Justan Floyd. The “Fab 5,” as Poarch called them, hosted screenings in converted spaces, complete with back-alley parties and some of the heartland’s most dedicated filmgoers.
“Melissa’s energy really got me involved,” Poarch said. “It was always crazy, but we would just make things work. We had that ‘let’s do this’ energy. I mean, we’ve seen festivals take off in other cities, so why not here?”
Ultimately, Poarch and her team’s efforts did more than just make deadCenter “work.” It thrived.
The film festival continued to grow, attracting even more filmmakers while building its own legacy. In a relatively short span, deadCenter became a standout event among thousands of other fests across the nation. And while deadCenter’s current form feels like a far cry from its grassroots origin, its long-term success was always on Poarch’s mind.
“We always had dreams of what it could be,” she said. “We dreamt of it being an Oscar-qualifying festival, that distributors would come and films would be sold here. And all of those things happened.”
Okie forward
deadCenter demands year-round effort from the committee that operates it. Even just getting local filmmakers to participate wasn’t always the given that it feels like today.
“Back in the day, we had to beg people to submit projects,” Poarch said. “That’s completely changed since I came back four years ago. It’s wildly different how much our film industry has grown.”
“Grown” may be a bit of understatement, given how Oklahoma has exploded with film production. Some of the most prominent movies filmed here include Lee Isaac Chung’s Minari and Twisters, Erica Tremblay’s Fancy Dance and, of course, Martin Scorsese’s Killers of the Flower Moon.
While it may have been considered a creative wasteland by those who underestimate it, the last few years alone have helped Oklahoma emerge as an oasis ripe for producing powerful cinema. deadCenter has played a crucial part in cultivating that.
“People understand filmmaking better and recognize it as a real career path for a large portion of Oklahomans,” Poarch said. “There’s something for everyone. Yes, there’s writers and directors and actors, but there’s also catering, electrical, construction and transportation. It’s the perfect industry for our state.”
In fact, deadCenter has persisted through the bulk of Oklahoma City’s biggest developments. Poarch recalled bringing in out-of-state filmmakers in 2005 and 2006 only to shock them with almost nonexistent city life and a terrifying tornado siren at noon.
In a lot of ways, this was ideal for the burgeoning festival. Case in point: shutting down Broadway for a conversation between Spike Jonze and BMX legend Mat Hoffman on 2010’s The Birth of Big Air.
Nowadays, downtown is almost unrecognizable between Myriad Botanical Gardens, Scissortail Park, frequent concerts and the constant buzz of pedestrians. While deadCenter might not block major streets anymore, its presence is nonetheless felt in mid-June. And that presence has paid off in a huge way.
“The fact that we have film studios in the state was hard to imagine back then,” Poarch said. “Stuff like that wasn’t happening 25 or even 20 years ago. I’m proud deadCenter has been a part of that growth.”
deadCenter difference
The film festival has paralleled much of Oklahoma City’s growth, sure, but it has also helped propel it. As its familiar logo implies, deadCenter has a put a massive eye on Oklahoma. And the filmmaking world at large has taken notice.
“deadCenter was started as a platform for Oklahoman filmmakers,” Poarch said. “And as we’ve grown, the submissions have gotten so much better. Now we have to turn down a large amount of people who, despite that, are still making really amazing films. I love the stories being told here.”
As the films at deadCenter gained more traction and acclaim, more people — and press — followed suit. But one thing the festival hasn’t shaken amid its momentous growth is the compassionate heart that makes it so special not just for attendees, but visiting filmmakers.
“Hospitality has remained something that’s very important to this festival,” Poarch said. “We maintain respect for filmmakers. Because I’ve been one at other festivals and have never received the kind of warm welcome and clear communication we offer here. It makes us different.”
For fans and artists alike, that Okie hospitality translates into something truly special. Throw local and national coverage into the mix, and deadCenter can quickly become a launchpad for someone with a big dream and a camera and crew to shoot it.
“There’s nothing like getting your film in front of an Oklahoman crowd,” Poarch said. “Between the continued press, podcasts and the viral moments we create every year … all of that amplifies your presence in the film world.”
When we celebrate filmmakers, the audience reaps the rewards. deadCenter gives attendees the rare opportunities to engage those who create what they see on-screen. This includes an abundance of insightful panels outside the screenings themselves, but also through conversations that happen right after the credits roll, when most of our impressions are freshly percolating.
“It’s amazing for audiences to see something for the first time with a producer, director and the rest of the crew,” Poarch said. “And it’s incredibly special at deadCenter.”
Iconic institution
What makes a film festival isn’t just movies. It’s people who really define it.
Started by Lance McDaniel, deadCenter’s former executive director and one of its formative figures, the Icon Awards recognize Oklahomans who’ve made a profound impact on the heartland’s entertainment industry.
“It’s brought important Oklahomans back here and has really helped us grow,” Poarch said. “This year, we’re honoring five for 25. We include people who’ve succeeded in film and television, but also community icons who’ve made our state a better place.”
Previous award winners include Sterlin Harjo, Bradley Beesley, Gary Busey, Alfre Woodard and Tim Blake Nelson. This year’s class includes:
David Holt: As Oklahoma City’s mayor, Holt’s enthusiasm for the arts has directly led to the state’s continued growth in TV and film. In turn, Holt has helped facilitate significant economic gains for the city, which further the state as an ideal place for filmmakers.
Wayne Coyne: Founder of the state’s legendary rock band The Flaming Lips, Coyne’s no stranger to deadCenter. In 2008, he premiered his directorial debut, Christmas on Mars, at deadCenter to a full, rain-drenched crowd inside a packed circus tent.
Amy Scott: The director of insightful documentaries like Hal and Sheryl, Scott’s work has appeared on major television networks such as HBO and Showtime. Her latest doc, Counting Crows: Have You Seen Me Lately?, screens at this year’s deadCenter.
Adam Hampton: A jack of all cinematic trades, Hampton’s writing, directing and acting have propelled his award-winning career. He appears in three films in this year’s festival: Reverence, Salt of the Earth and The Jurassic Games: Extinction.
Hayley McFarland: This Edmond native is the youngest Icon recognized in this year’s class. But don’t let her age fool you; McFarland has already built a legacy for herself through appearances on ER, 24, Lie to Me, Sons of Anarchy and more.
Every deadCenter Icon has a story, but all of them have proven to make Oklahoma a better, more creative place.
Last dance
Many have made deadCenter what it is today. From the volunteers and committee members to the attendees and filmmakers, all breathe life into the festival. And in return, deadCenter enriches us.
The festival isn’t just something to enjoy; it’s something to be genuinely proud of. Between Oklahoma’s troubling statistics and the periodic national embarrassment, it can be easy to forget what makes the state one of a kind. deadCenter alone doesn’t completely erase our blemishes, of course, but it is an annual reminder that what we offer is truly special.
“When filmmakers visit us, they’re always surprised by how amazing of a place Oklahoma City is,” Poarch said. “That’s always consistent. And I think investing in organizations like deadCenter is a great way to change the narrative. That ripple effect is profound in terms of economic development.”
To Poarch, deadCenter exemplifies what it means to connect people with one another and expose them to ideas that support their experience. The films make for a great catalyst, but the interactions they spark are what allow the fest to resonate with us.
“deadCenter brings people together to watch movies and have thoughtful conversations,” Poarch said. “We have a vibrant community that has real discussions about different topics and ideas. That’s incredibly meaningful and something our festival does very well.”
After the credits roll for the last time on Sunday, Poarch will wrap up preparing the new executive director, who will be publicly announced in July. In the meantime, she’s excited for how the house she helped build will continue to evolve.
“There’s unlimited potential,” Poarch said. “I feel overwhelmingly grateful for everyone who shows up and works so hard on it. There are so many journeys that have started at deadCenter. I’m glad I got be a part of them.”
deadCenter Film Festival runs June 11-15. Passes are available online at deadcenterfilm.org for $225. Tickets for individual screenings are available 20 minutes before each film for $10 each while supplies last. You can also learn how to volunteer and financially support the festival on its website.
Visit deadcenterfilm.org.
This article appears in deadCenter Film Festival 2025.