Love permeates SFFS's francophone film series.
Love permeates SFFS's francophone film series.
Love permeates SFFS's francophone film series.
Mill Valley amps up the star wattage in its annual mix of local, international titles.
Mill Valley amps up the star wattage in its annual mix of local, international titles.
Mill Valley amps up the star wattage in its annual mix of local, international titles.
The 34th Mill Valley Film Festival continues at a number of locations, with a number of notable guests, including directors Gaston Kaboré and Luc Besson. See Dennis Harvey's extended preview on SF360 for the full story. More info and film schedule at mvff.com.
The 34th Mill Valley Film Festival continues at a number of locations, with a number of notable guests, including directors Gaston Kaboré and Luc Besson. See Dennis Harvey's extended preview on SF360 for the full story. More info and film schedule at mvff.com.
Up-and-comer Joseph Gordon-Levitt is so good he compensates for the cancer comedy's shortcomings, even if he can't erase them.
Up-and-comer Joseph Gordon-Levitt is so good he compensates for the cancer comedy's shortcomings, even if he can't erase them.
Up-and-comer Joseph Gordon-Levitt is so good he compensates for the cancer comedy's shortcomings, even if he can't erase them.
Up-and-comer Joseph Gordon-Levitt is so good he compensates for the cancer comedy's shortcomings, even if he can't erase them.
Sentimental French film is no top-shelf vehicle, but Depardieu savors it as if it were the rarest vintage Bordeaux.
Sentimental French film is no top-shelf vehicle, but Depardieu savors it as if it were the rarest vintage Bordeaux.
Sentimental French film is no top-shelf vehicle, but Depardieu savors it as if it were the rarest vintage Bordeaux.
Unhurried, character-driven story demonstrates the filmmaking finesse that’s brought Romanian cinema to the fore. Though it had made an occasional international impression before—notably with a long history of Cannes entries and prize winners—few could have anticipated the splash Romanian cinema would create in the last few years. Or that the attention paid it would bring a number of often long, difficult, obtuse movies out of their usual habitat (the festival circuit) into theaters around the world. The collapse of Communism and execution of Romania's quarter-century dictator Nicolae Ceausescu in 1989 freed the filmmaking industry from strict governmental control and propagandic content. But it took until the middle...
Unhurried, character-driven story demonstrates the filmmaking finesse that’s brought Romanian cinema to the fore. Though it had made an occasional international impression before—notably with a long history of Cannes entries and prize winners—few could have anticipated the splash Romanian cinema would create in the last few years. Or that the attention paid it would bring a number of often long, difficult, obtuse movies out of their usual habitat (the festival circuit) into theaters around the world. The collapse of Communism and execution of Romania's quarter-century dictator Nicolae Ceausescu in 1989 freed the filmmaking industry from strict governmental control and propagandic content. But it took until the middle...
Gavin O'Connor does a remarkable job making his two-and-a-half-hour fight film gritty, involving and as credible as humanly possible.
Gavin O'Connor does a remarkable job making his two-and-a-half-hour fight film gritty, involving and as credible as humanly possible.
Gavin O'Connor does a remarkable job making his two-and-a-half-hour fight film gritty, involving and as credible as humanly possible.
Gavin O'Connor does a remarkable job making his two-and-a-half-hour fight film gritty, involving and as credible as humanly possible.
Mona Achache's first feature relies heavily on an 11-year-old narrator, but it's 60- and 65-year-old actors who steal the show.
Mona Achache's first feature relies heavily on an 11-year-old narrator, but it's 60- and 65-year-old actors who steal the show.
Mona Achache's first feature relies heavily on an 11-year-old narrator, but it's 60- and 65-year-old actors who steal the show.
Clio Barnard's ‘The Arbor’ takes a fascinating and unconventional look at Andrea Dunbar's brief, brilliant career.
Clio Barnard's ‘The Arbor’ takes a fascinating and unconventional look at Andrea Dunbar's brief, brilliant career.
Clio Barnard's ‘The Arbor’ takes a fascinating and unconventional look at Andrea Dunbar's brief, brilliant career.
Thrill ride 'Point Blank' loses nothing in translation—it's a prime example of cinematic globalization.
Thrill ride 'Point Blank' loses nothing in translation—it's a prime example of cinematic globalization.
Thrill ride 'Point Blank' loses nothing in translation—it's a prime example of cinematic globalization.
John Michael McDonagh's first feature echos the blackly comedic tenor of his ('In Bruges') brother Martin's oeuvre.
John Michael McDonagh's first feature echos the blackly comedic tenor of his ('In Bruges') brother Martin's oeuvre.
John Michael McDonagh's first feature echos the blackly comedic tenor of his ('In Bruges') brother Martin's oeuvre.
'Cameraman: The Life and Work of Jack Cardiff' is a lovely portrait of an innovator and consummate craftsman.
'Cameraman: The Life and Work of Jack Cardiff' is a lovely portrait of an innovator and consummate craftsman.
'Cameraman: The Life and Work of Jack Cardiff' is a lovely portrait of an innovator and consummate craftsman.
Fassbinder's retro-chic, thought-provoking 'World on a Wire' finds the 'future' is now.
Fassbinder's retro-chic, thought-provoking 'World on a Wire' finds the 'future' is now.
Fassbinder's retro-chic, thought-provoking 'World on a Wire' finds the 'future' is now.
Fassbinder's retro-chic, thought-provoking 'World on a Wire' finds the 'future' is now.
Fassbinder's retro-chic, thought-provoking 'World on a Wire' finds the 'future' is now.
PFA opens Hands Up! with a double-bill of Polish New Wave legend Jerzy Skolimowski's early European works, 'Deep End' and 'The Shout,' both featuring bleak comedy, dynamic camera work and soundtrack contributions by then-avant touchstones (Can and Genesis, respectively). The series runs through August 25, see Dennis Harvey's in-depth coverage here. More info bampfa.berkeley.edu.
Pacific Film Archive’s ‘Hands Up! Essential Skolimowski’ surveys the Polish director’s confounding oeuvre.
Pacific Film Archive’s ‘Hands Up! Essential Skolimowski’ surveys the Polish director’s confounding oeuvre.
Pacific Film Archive’s ‘Hands Up! Essential Skolimowski’ surveys the Polish director’s confounding oeuvre.
'A Better Life' succeeds as an L.A.-set remake of bleak Italian neorealist classic 'The Bicycle Thief.'
'A Better Life' succeeds as an L.A.-set remake of bleak Italian neorealist classic 'The Bicycle Thief.'
'A Better Life' succeeds as an L.A.-set remake of bleak Italian neorealist classic 'The Bicycle Thief.'
'A Better Life' succeeds as an L.A.-set remake of bleak Italian neorealist classic 'The Bicycle Thief.'
Ficks’ ‘Watch out for Children’ triple bill features a long lost career-lanching teen-drama gem.
Ficks’ ‘Watch out for Children’ triple bill features a long lost career-lanching teen-drama gem.
Ficks’ ‘Watch out for Children’ triple bill features a long lost career-lanching teen-drama gem.
YBCA digs a delightfully disturbing live Kinski document from the archives.
YBCA digs a delightfully disturbing live Kinski document from the archives.
The San Francisco International LGBT Film Festival delivers internationally as well as locally made films of every identity and genre stripe.
The San Francisco International LGBT Film Festival delivers internationally as well as locally made films of every identity and genre stripe.
The San Francisco International LGBT Film Festival delivers internationally as well as locally made films of every identity and genre stripe.
An historical-romantic novel in screen form, 'Bride Flight' offers all the pleasures (some guilty ones) of a film made half a century ago.
An historical-romantic novel in screen form, 'Bride Flight' offers all the pleasures (some guilty ones) of a film made half a century ago.
An historical-romantic novel in screen form, 'Bride Flight' offers all the pleasures (some guilty ones) of a film made half a century ago.
A documentary digs into New York's 'No Wave' movement that briefly flourished in the late 1970s and early ’80s.
A documentary digs into New York's 'No Wave' movement that briefly flourished in the late 1970s and early ’80s.
A documentary digs into New York's 'No Wave' movement that briefly flourished in the late 1970s and early ’80s.
The adventure of Another Hole in the Head Film Festival requires you risk seeing the occasional dud to seek out the gems.
The adventure of Another Hole in the Head Film Festival requires you risk seeing the occasional dud to seek out the gems.
The adventure of Another Hole in the Head Film Festival requires you risk seeing the occasional dud to seek out the gems.
The adventure of Another Hole in the Head Film Festival requires you risk seeing the occasional dud to seek out the gems.
The Castro's Elizabeth Taylor retrospective brings the actress back to her most devoted fans. The first and last time I attended the now-defunct Taos Film Festival, it gave a tribute to Elizabeth Taylor (who lived in the area), allowing me to spend an hour sitting about ten feet from one of the most famous movie stars ever. Arriving by wheelchair with a little dog on her lap, she was petite and attractive, though infirmity had taken its own toll on her figure. She was also funny, candid, unpretentious, occasionally ribald, passionately serious about her causes (especially AIDS research and education), and a little dotty—occasionally she'd drift off on some strange...
The Castro's Elizabeth Taylor retrospective brings the actress back to her most devoted fans. The first and last time I attended the now-defunct Taos Film Festival, it gave a tribute to Elizabeth Taylor (who lived in the area), allowing me to spend an hour sitting about ten feet from one of the most famous movie stars ever. Arriving by wheelchair with a little dog on her lap, she was petite and attractive, though infirmity had taken its own toll on her figure. She was also funny, candid, unpretentious, occasionally ribald, passionately serious about her causes (especially AIDS research and education), and a little dotty—occasionally she'd drift off on some strange...
Oliver Stone reflects on his own heated past, and the world’s, as he accepts the Founder’s Directing Award onstage at the Castro Theatre during SFIFF54.
Oliver Stone reflects on his own heated past, and the world’s, as he accepts the Founder’s Directing Award onstage at the Castro Theatre during SFIFF54.
Oliver Stone reflects on his own heated past, and the world’s, as he accepts the Founder’s Directing Award onstage at the Castro Theatre during SFIFF54.
A soundtrack staple in the Denis oeuvre, Tindersticks play their beautifully brooding music live to clips at SFIFF54.
A soundtrack staple in the Denis oeuvre, Tindersticks play their beautifully brooding music live to clips at SFIFF54.
A soundtrack staple in the Denis oeuvre, Tindersticks play their beautifully brooding music live to clips at SFIFF54.
Terence Stamp has treated acting not as a job, but as a restless quest for new frontiers.
Terence Stamp has treated acting not as a job, but as a restless quest for new frontiers.
Terence Stamp has treated acting not as a job, but as a restless quest for new frontiers.
Christine Vachon examines her varied indie successes while offering notes on the world of change engulfing cinema.
Christine Vachon examines her varied indie successes while offering notes on the world of change engulfing cinema.
Christine Vachon examines her varied indie successes while offering notes on the world of change engulfing cinema.
Ozon's Deneuve vehicle, filled with comedy and politics, travels well.
Ozon's Deneuve vehicle, filled with comedy and politics, travels well.
Ozon's Deneuve vehicle, filled with comedy and politics, travels well.
Kiarostami’s ‘Certified Copy’ is a puzzling provocation that gets better with multiple viewings.
Kiarostami’s ‘Certified Copy’ is a puzzling provocation that gets better with multiple viewings.
Kiarostami’s ‘Certified Copy’ is a puzzling provocation that gets better with multiple viewings.
“At times William S. Burroughs seemed less the author of fiction than a creation of it,” writes Dennis Harvey in SF360; director Yony Leyser offers what Harvey calls a "fascinating, impressionistic" treatment of the subject in ‘William S. Burroughs: A Man Within.’ Leyser and other special guests offer a Q&A following the showing of their film, Tuesday, March 15. More at roxie.com.
A new Burroughs documentary revisits a familiar story, but delivers fresh insight.
A new Burroughs documentary revisits a familiar story, but delivers fresh insight.
A new Burroughs documentary revisits a familiar story, but delivers fresh insight.
Apichatpong Weerasethakul returns to the jungle, and full-on magic realism, with 'Uncle Boonmee.'
Apichatpong Weerasethakul returns to the jungle, and full-on magic realism, with 'Uncle Boonmee.'
Apichatpong Weerasethakul returns to the jungle, and full-on magic realism, with 'Uncle Boonmee.'
Apichatpong Weerasethakul returns to the jungle, and full-on magic realism, with 'Uncle Boonmee.'
SFFS Screen's 'How I Ended This Summer' is a taut drama set in the Arctic.
SFFS Screen's 'How I Ended This Summer' is a taut drama set in the Arctic.
A festival whose curation was called "stupefyingly good" by Dennis Harvey in SF360.org last week, the Noise Pop Film Series complements the live music it's meant to accompany as the likes of Feist, Devendra Banhart and Tom Ze cross the screen. More at 2011.noisepop.com/film.
Weissman and Weber's 'We Were Here' pulls a surprising degree of hope and inspiration out of the AIDS tragedy.
Weissman and Weber's 'We Were Here' pulls a surprising degree of hope and inspiration out of the AIDS tragedy.
Weissman and Weber's 'We Were Here' pulls a surprising degree of hope and inspiration out of the AIDS tragedy.
Noise Pop brings the noise as well as great filmmaking to its annual music-and-movie event.
Noise Pop brings the noise as well as great filmmaking to its annual music-and-movie event.
Noise Pop brings the noise as well as great filmmaking to its annual music-and-movie event.
Neither tragedy nor grand romance, 'Come Undone' captures an evocative everyday mess.
Neither tragedy nor grand romance, 'Come Undone' captures an evocative everyday mess.
Sofia Coppola's 'Somewhere' nails the spiritual erosion of constant, effortless indulgence.
Sofia Coppola's 'Somewhere' nails the spiritual erosion of constant, effortless indulgence.
Sofia Coppola's 'Somewhere' nails the spiritual erosion of constant, effortless indulgence.
'The Strange Case of Angelica' finds Manoel de Oliveira, at 102 years old, in fine form.
'The Strange Case of Angelica' finds Manoel de Oliveira, at 102 years old, in fine form.
'The Strange Case of Angelica' finds Manoel de Oliveira, at 102 years old, in fine form.
Sword, sandals and a sinister real-life epilogue: 'Deathstalker' earns top billing in a Midnite for Maniacs evening at the Castro. As one of 1982's bigger box-office hits, Conan the Barbarian accomplished two things. First, it finally made a movie star out of thick-bodied, thicker-accented Arnold Schwarzenegger after several failed attempts. Second, it spawned a legion of cheaper imitations cashing in on the early 1980s' seemingly bottomless need for films to fill cable airtime and video rental shelves. (Remember, until that time there the only commercial outlets for movies were theatrical release and network TV—so these were entirely...
Sword, sandals and a sinister real-life epilogue: 'Deathstalker' earns top billing in a Midnite for Maniacs evening at the Castro. As one of 1982's bigger box-office hits, Conan the Barbarian accomplished two things. First, it finally made a movie star out of thick-bodied, thicker-accented Arnold Schwarzenegger after several failed attempts. Second, it spawned a legion of cheaper imitations cashing in on the early 1980s' seemingly bottomless need for films to fill cable airtime and video rental shelves. (Remember, until that time there the only commercial outlets for movies were theatrical release and network TV—so these were entirely...
'The Sound of Music' stretches its music empire into a new century with popular sing-alongs and a new home-entertainment release. When we look back at the 1960s, the phenomenon that was—and still somewhat is—The Sound of Music seems like an anomaly. But at the time it was more like the solid rock of reassuring constancy that masses clung to as waters of bewildering change rose all around them, a three-hour oasis of clean living and cheerful melody that wouldn't go away—no matter how many antiwar protesting, unisex...
'The Sound of Music' stretches its music empire into a new century with popular sing-alongs and a new home-entertainment release. When we look back at the 1960s, the phenomenon that was—and still somewhat is—The Sound of Music seems like an anomaly. But at the time it was more like the solid rock of reassuring constancy that masses clung to as waters of bewildering change rose all around them, a three-hour oasis of clean living and cheerful melody that wouldn't go away—no matter how many antiwar protesting, unisex...
The year closes with six weeks of strong foreign and arthouse awards-seekers as well as solid franchise holiday entertainments.
The year closes with six weeks of strong foreign and arthouse awards-seekers as well as solid franchise holiday entertainments.
The year closes with six weeks of strong foreign and arthouse awards-seekers as well as solid franchise holiday entertainments.
'Client 9' makes the case that Wall Street, not women, brought Eliot Spitzer down. This month commenced with the most stellar edition yet of what's become America's favorite political pasttime, a game we call Out with the (Sorta) Old, In with the (Kinda) New. Payback was especially directed at the current administration's failure to get the economy back to booming. Yet as one of the year's biggest documentaries, Charles Ferguson's Inside Job, noted, conservative politicos and their allies were very much in on the policies that got our collective piggy bank broken and looted in the first place. Though it can certainly stand on its own merits, Client 9 (which opens at local theaters this...
'Client 9' makes the case that Wall Street, not women, brought Eliot Spitzer down. This month commenced with the most stellar edition yet of what's become America's favorite political pasttime, a game we call Out with the (Sorta) Old, In with the (Kinda) New. Payback was especially directed at the current administration's failure to get the economy back to booming. Yet as one of the year's biggest documentaries, Charles Ferguson's Inside Job, noted, conservative politicos and their allies were very much in on the policies that got our collective piggy bank broken and looted in the first place. Though it can certainly stand on its own merits, Client 9 (which opens at local theaters this...
From 'Tongues Untied' to 'Black Is.....Black Ain't,' Marlon Riggs' art was a series of radical acts that were both overdue and ahead of their time. Two decades ago, in post-Reagan America, the arts were under fire—one lit by a very particular religious right match. Feeling the heat was the National Endowment for the Arts, a then 25-year-old institution already pretty pitifully funded by comparison with most other developed nations’ governmental arts support. But the small portion of NEA grants that helped avant-garde or otherwise edgy art—as opposed to, say, the local Gilbert & Sullivan society or annual craft fair—provided plenty of opportunities...
From 'Tongues Untied' to 'Black Is.....Black Ain't,' Marlon Riggs' art was a series of radical acts that were both overdue and ahead of their time. Two decades ago, in post-Reagan America, the arts were under fire—one lit by a very particular religious right match. Feeling the heat was the National Endowment for the Arts, a then 25-year-old institution already pretty pitifully funded by comparison with most other developed nations’ governmental arts support. But the small portion of NEA grants that helped avant-garde or otherwise edgy art—as opposed to, say, the local Gilbert & Sullivan society or annual craft fair—provided plenty of opportunities...
'When in Rome,' or outside it: NIC offers fresh voices, new locations.
'When in Rome,' or outside it: NIC offers fresh voices, new locations.
'When in Rome,' or outside it: NIC offers fresh voices, new locations.
'When in Rome,' or outside it: NIC offers fresh voices, new locations.
Rick Prelinger’s efforts at preserving ephemeral films have made him indispensable to the cinema of San Francisco—and the world.
Rick Prelinger’s efforts at preserving ephemeral films have made him indispensable to the cinema of San Francisco—and the world.
The latest finds from France's national cinema play in an SFFS showcase.
The latest finds from France's national cinema play in an SFFS showcase.
The latest finds from France's national cinema play in an SFFS showcase.
A series at the Roxie mines the fault lines in Robert Altman's varied oeuvre.
A series at the Roxie mines the fault lines in Robert Altman's varied oeuvre.
A series at the Roxie mines the fault lines in Robert Altman's varied oeuvre.
A look at Phil Spector brings back memories, if not that loving feeling.
A look at Phil Spector brings back memories, if not that loving feeling.
'Change of Plans' charts an eventful year in the lives of a dozen or so disparate Parisians.
'Change of Plans' charts an eventful year in the lives of a dozen or so disparate Parisians.
'Change of Plans' charts an eventful year in the lives of a dozen or so disparate Parisians.
'Change of Plans' charts an eventful year in the lives of a dozen or so disparate Parisians.
A Greek film incriminates the viewer.
A Greek film incriminates the viewer.
A Mechanics' Institute series appreciates Leo McCarey's genius with comedy.
A Mechanics' Institute series appreciates Leo McCarey's genius with comedy.
A Mechanics' Institute series appreciates Leo McCarey's genius with comedy.
A festival and awards-buzz favorite since its January Sundance premiere, The Kids Are All Right has real depth and drama yet is largely comedic in tone.
A festival and awards-buzz favorite since its January Sundance premiere, The Kids Are All Right has real depth and drama yet is largely comedic in tone.
A festival and awards-buzz favorite since its January Sundance premiere, The Kids Are All Right has real depth and drama yet is largely comedic in tone.
The San Francisco Silent Film Festival offers its now expected collection of rare finds, live music and early film amazements
The San Francisco Silent Film Festival offers its now expected collection of rare finds, live music and early film amazements
The San Francisco Silent Film Festival offers its now expected collection of rare finds, live music and early film amazements
Resnais remains elusive and detached, his films beautiful abstracts of intellectual rather than emotional impact.
Resnais remains elusive and detached, his films beautiful abstracts of intellectual rather than emotional impact.
Maren Ade’s second feature is striking for what it doesn't do as it follows ordinary lives through a failing relationship.
Maren Ade’s second feature is striking for what it doesn't do as it follows ordinary lives through a failing relationship.
Hirokazu Kore-eda's Air Doll is a conceptual gamble pulled off with a master’s grace and subtlety.
Hirokazu Kore-eda's Air Doll is a conceptual gamble pulled off with a master’s grace and subtlety.
Frameline34 takes a fresh look at Andy Warhol's world while offering a view to the world of international LGBT cinema 2010.
Ondine finds Neil Jordan back on personal terra firma with a story (his own, in conception and screenplay) that sits exactly on the thin line separating reality and fantasy.
For many, the mother of all brain-scrambling cinematic boondoggles is Troll 2; a documentary takes stock of the phenomenal success of this epic failure.
It s not a laugh-out-loud film, but Looking for Eric can be considered a comedy…in comparison to just about any other Ken Loach movie you could name.
A literary adaptation filled with first-class actors in sumptuous settings, City doesn't fall too far from the familiar Merchant-Ivory tree.
Former San Franciscan Jack Stevenson returns from Denmark to promote the U.S. publication of Scandinavian Blue: The Erotic Cinema of Sweden and Denmark in the 1960s and 1970s.
William Shatner has survived as a unique sort of elder showbiz statesman, one who is willing to be the butt of jokes because he is in on them.
Bruce Conner, the sculptor, painter, photographer and filmmaker who loomed large in the Bay Area's shifting avant-garde currents for 50 years, resurfaces with Three Screen Ray.
Judging from Saturday night s festivities, half the capacity Castro Theatre audience had worked on or otherwise invested in Joshua Grannell a.k.a. Peaches Christ s debut feature.
Few would argue that a good movie often starts with a good story. Yet it has been the screenwriter s lot to be underappreciated.
You know someone is well liked when they re used as the standard by which you fall short.
Through most of its history, the Festival has featured revivals of restored classics and little-known gems. This year s selections run an unusually wide gamut.
How many foreign stars do U.S. moviegoers know? Not many, alas. My favorite living French actor, André Dussollier, appears prominently in two high-profile festival films.
Inuit peoples—the indigenous cultures rooted in Arctic regions from Alaska to Greenland—have an honored place in film history, dating to Flaherty's Nanook of the North.
When television first became a dire threat, Hollywood fought the small screen by making the big one really big with vast spectacles worth leaving home for.
YBCA s month-long, six-part Human Rights and Film series closes with two documentaries on the Arab-Israeli conflict made 35 years apart.
One of the heroes of South Korean cinema's recent renaissance wisely sticks to home terrain with his follow-up to The Host.
The Center for Asian American Media, formerly known as NAATA and founded to nurture Asian American filmmakers as well as counter ethnic stereotypes, has accomplished that and more.
There will probably never be a theatrical release for James Benning's landscape movies. Amazingly, Ilisa Barbash and Lucien Castaing-Taylor have scored distribution and made a splash.
William Hurt didn't fulfill the promise of major stardom in the 80s, but it's become clearer that he probably didn't want that.
Wasn't it just yesterday that Cinequest was the scrappy upstart amongst Bay Area festivals? Apparently not: San Jose's annual cinematic blowout is entering its third decade.
With its comfortable suburban setting, flashback structure and mystery-suspense framework, My Son, My Son is, by Herzogian standards, almost mainstream-conventional. I said almost.
YBCA has sustained a major place in S.F.'s cultural landscape without receiving the due it would have had its mission been narrower and more easily defined.
Last month's nominations announcement was anticipated with unusual interest, largely because the Academy reverted to ten Best Picture nominees, a practice abandoned in 1943.
Steve Buscemi is one of those actors people are instantly happy to see on screen, even if their recall stretches no farther than, Hey, it's that guy!
Tragically underrepresented in the Bay Area's densely packed world of globally oriented film festivals is the land(s) of our erstwhile colonial rulers!
Writer-director Andrea Arnold created a stir with her first feature Red Road, but her new film is arguably an even stronger work.
As soon as the silent era hit sound circa 1927, musicals became a leading genre worldwide. How could their appeal possibly die out?
Horror movies were once dismissed by most grownups (and nearly all critics) as juvenile, silly, even offensive. Val Lewton seriously challenged that thinking,
In late January, many tune their radar to the snowy, showy glare of Sundance. With Noir City here, the stay-at-homes are the luckier ones.
You could make a case for Tati as the last great silent comedian even if he didn't begin making features until two decades into the sound era.
The release of Avatar puts a fitting capstone on a frenzied campaign by studios to reintroduce stereoscopic 3-D to audiences in 2009.
Claire Denis proves her unpredictability and versatility as a director with the 2008 release 35 Shots of Rum.
Shannon and Ryan own the screen in the contemporary indie noir The Missing Person.
Dennis Harvey weighs in on the upcoming films of the holiday season.
Highlights from the 2009 San Francisco Silent Film Festival winter event.
The San Francisco Museum of Modern Art honors the 40th anniversary of The Cockettes with a one-night-only program.
Dennis Harvey weighs in on the upcoming films of the holiday season.
This little no-budget film has picked up a slew of festival prizes for its character depth, unpredictable storytelling, humor and warmth.
The 13th New Italian Cinema festival finds the political and personal mixing more frequently than you'd find in any assortment of U.S. narrative films.
The PFA is offering a rare overview of Bergman's European films in the series, A Woman's Face: Ingrid Bergman in Europe.
The documentary chronicles several large-scale pranks devised in the hopes of fooling corporate/government event attendees and/or the media.
Francois Truffaut’s The 400 Blows is being revived as part of San Francisco Film Society’s second annual French Cinema Now festival, which runs the week of October 29 through November 4 at the city’s Clay Theatre.
After ripping it up at various genre fests, the Bay Area indie horror flick settles in for a theatrical run at the Red Vic.
At their respective festival tributes, the actors gave entertaining and revealing onstage interviews.
Probably no one pushed the artistic carte blanche of "pink" films further—at least into the realm of serious political engagement—than the Japanese auteur.
The program offers a surprisingly potent mainstream industry presence, with tributes to A-list types more frequently seen at the multiplex than at the art house.
The Roxie's Best of Columbia Noir seroes features great films capitalizing on a simple formula: a girl, a guy and a gun.
High-concept cabaret-act favorite in the Bay Area who sidelines as a filmmaker, Cory McAbee (The American Astronaut) speaks about his latest, Stingray Sam.
The movies of William Klein are suffused with the same impudence, social commentary and aesthetic surprise found in his photos.
The release of Woodstock provides an opportunity to look back on Ang Lee and Schamus's very impressive, diverse screen resume.
Bay Area favorite Bob Goldthwait, whose pop culture moment seemed to expire in the mid '80s, returns with comedic vengeance via World's Greatest Dad.
Flame & Citron, one of the most expensive Danish films ever made, is an historical drama that plays like an espionage thriller.
This fanboy-anticipated New Zealand-produced film set in South Africa, with gang activity, theft, riots, and ever-mounting interspecies hostility, is a summer breakout.
Josef von Sternberg's The Salvation Hunters caused a small sensation within the industry when it appeared, and is visually assured time capsule of urban poverty.
Vampires are still the It Ghoul of our cultural moment and South Korean film Thirst is as precisely crafted as it is gleefully over-the-top in content both carnal and carnivorous.
The Desert of the Tartars is a story in which the grim certainty that "Nothing will ever happen" is a slow poison that drives men to madness, suicide or other inglorious ends.
Aaron Aites and Audrey Ewell's documnetary, Until the Light Takes Us examines the dark intersection of local Norwegian history and Death Metal.
Director Armando Iannucci's razor-sharp satire is about how the politics of spin can determine critical decisions on both sides of the Atlantic.
Tilda Swinton's edge of riskiness is on ample display in Julia, a new film by French director Erick Zonca.
Douglas Fairbanks in The Gaucho is one of the many highlights on screen during the three-day San Francisco Silent Film Festival.
A series at the Castro marks 1939 as the high-water mark of cinema.
Turkey may be lonely, but it is indeed beautiful in Nuri Bilge Ceylan's Three Monkeys.
Katyn is a sizable period saga about a tragic, still-controversial chapter in Poland's 20th-century history, one with particular resonance for Andrzej Wadja.
A dose of self-affirmation arrives with Frameline33 (or, if you prefer, the multiple-breath-intake-requiring San Francisco International Lesbian Gay Bisexual Transgender Film Festival.)
Wild man of Italian cinema, Marco Ferreri left many films in need of rediscovery (or simply discovery) since his death in 1997.
Fados, about a Portuguese musical genre, reveals Carlos Saura as an effortless master at weaving together disparate performances.
At a film festival called Another Hole in the Head, dedicated to sci-fi, horror and fantasy, catastrophic carnage meets comedy more often than not.
Despite a few flaws in story and continuity, Drag Me to Hell offers the pleasures of a first-class entertainer thoroughly enjoying himself.
Berkeley hosts Karel Vachek: Poet Provocateur, the first-ever full U.S. retrospective for this unclassifiable Czech filmmaker.
Philippe Garrel sticks to his highly-personal aesthetic in Frontier of Dawn.
The Roxie present Fear and Desire and Delinquents by Stanley Kubrick and Robert Altman
An Evening with Francis Ford Coppola & Friends honored Coppola with the Founder Directing Award and included a moderated discussion with editing/sound design genius Walter Murch, director Carroll Ballard, scenarist-turned-director Matthew Robbins, and George Lucas.
Once Upon a Time in the West is grand, cynical, lavish and above all huge, Sergio Leone's penchant for the iconically gargantuan (perhaps at the willing expense of relatable human detail) expressed in ultimate form.
Robert Redford braves the public and accepts the San Francisco International Film Festival's Peter J. Owens Award.
The eight films in the San Francisco International Film Festival's Lightness of Being spotlight are Laila's Birthday, Small Crime, Mid-August Lunch, Every Little Step, (Untitled), In the Loop, Our Beloved Month of August and Still Walking.
Ramin Bahrani's Goodbye Solo prompted Roger Ebert to pronounce him "the new great American directorâ" a couple weeks ago. The film is definitely the writer-helmer's most accessible work to date, one that might very well provide him with an arthouse breakthrough.
If it grows darker than one might expect, Observe still hesitates at becoming a true black comedy; it's more medium-gray, earning stripes for breaking from current comedy norms on a moment-to-moment basis without quite arriving at an original, fully-developed whole. But Hill has a good eye, ear (the soundtrack choices are notably sharp), sense of off-kilter pacing, and, most importantly, a firm grasp on character.
Ben Rivers makes his Bay Area debut this week presenting in person two programs, both providing a slightly dislocative experience at once tranquil and sinister.
Troell keeps everything emotionally intimate in this lovely film full of grace moments, that chronicles the early 20th-century travails of the Larsson family.
An engaging documentary sampler of nine leading contemporary theorists, interviewed in settings that one way or another in real world terms illustrate (or contrast with) the concepts they discuss.
What you'll get at Cinequest's three downtown San Jose venues is a mix of tributes, seminars, parties and, of course, a whole lot of movies, including no fewer than 18 world premiere features.
Like the strictest kind of verite doc, Gomorrah simply presents activity, without "introducing" characters or spelling out their circumstances or motivations.
About as far from the ever-increasing corporatization of popular music as you can get is the annual dose from the Noise Pop Festival.
Twenty years after its founding, Strand Releasing remains an active, irreplaceable and distinctive presence on the U.S. distribution scene.
This "dramatized documentary" was a labor of love–if also a graphic portrayal of the vast LA detached from Hollywood's success-bubble glamour.
A title like this is its own disclaimer, hinting there will be nothing "normal," or very loving, about this story.
Davies' latest film recalls his earlier autobiographical narratives, but is also unlike anything he has done before, being nonfiction.
With a roster that sprawls from horror to softcore to verite-style drama and documentary, the only constant is that you won't be bored.
13 Most BeautifulÉSongs for Andy Warhol's Screen Tests offers a cherry-picking of the famous Warhol reels accompanied by live original-soundtracking.
In this documentary, Walker tells the tale of his delayed popularity the ever-more adventurous music with which he feeds his latterday cult.
Wenders, one of the stellar directors of "New German Cinema," is this year's honoree at the 14th annual Berlin & Beyond festival.
A look at Otto; or, Up with Dead People, from a late arrival in the New Queer Cinema wave.
Waltz with Bashir is another animated feature that embraces a more grown-up story and audience than anything in the long history of "cartoons."
Instead of breaking it down strictly category-by-category, Dennis Harvey meanders through some principal heat-seeking prestige films and their various chances.
Dennis Harvey reviews The Curious Case of Benjamin Button.
Dennis Harvey reviews some of 2008's year-end sobering dramas.
Québec's thriving regional cinema is showcased in San Francisco Film Society's latest mini-festival addition to the annual Bay Area movie calendar.
Gini Reiticker's fine documentary Pray the Devil Back to Hell, opens at SF's Red Vic Movie House and Berkeley's Shattuck Cinemas.
The Pacific Film Archive shows Discovering Teuvo Tulio, a four-film retrospective of works from Finland's master of over-the-top melodrama in the 1930s and '40s.
A newly restored print of Bergman's Monika, which deals with underage, guiltlessly unfaithful femininity, plays the Red Vic.
Michael Tully's 51-minute documentary Silver Jew proves semi-revealing as it records the Jews' tour dates in the Holy Land itself.
Based on John Ajvide Lindqvist's novel, Let the Right One In is a poignant, nuanced, original addition to the cinematic vampire canon.
Wayne Coyne's Flaming Lips movie extends a long, lately rising number of narrative features made by musicians.
Veteran Burkina Faso director S. Pierre Yameogo's new film shows an isolated society still vulnerable to superstition.
A director who lives in both Switzerland and New York leads a Swiss-German coproduction about two women from former Yugoslavian territories who meet in Zurich.
The extreme, the strange, the silly and surreal all have big seats at the SF DocFest table.
Those inclined toward healthy doses of sleaze, gore, and retro-shlock can rejoice that it's time for the second annual edition of Dead Channels.
Religulous is a desperately awaited and already vehemently decried film by Bill Maher and director Larry Charles.
Whether you dig jazz or not, O'Day's charisma and story make this movie riveting.
When Wind Man appeared on the SFFS Screen at the Sundance Kabuki Cinemas' schedule, moral crisis ensued.
SF360.org asked this veteran indie auteur for his thoughts, which he gamely and intelligently offers here.
Economic troubles reveal the true depths of a couple's long-taken-for-granted bond in a film by Italian director Silvio Soldini.
Woody Allen's latest is a superb travel guide in addition to being an amusing, intelligent if not exactly profound meditation on fate, chance, and romance.
The Pacific Film Archive screens a survey of Goodis-related works from both the big and small screen, spanning nearly five decades.
Dyspeptic rather than tragic, Jacques Nolot's Before I Forget may be the best gay feel-bad movie ever.
A film from 1961, The Exiles is a long-in-making unvarnished look at 12 hours in the lives of a group of American Indians who have come to Los Angeles.
Those attracted to the new film CSNY: Deja Vu simply expecting an opportunity to recall the old days might be in for a surprise.
Viva's cautionary tale is aptly encapsuled by the poster line: 'They were housewives seeking kicks, in a world of swingers, orgies, booze, and sin.'
The Gits offers both an appreciation of a unique quartet's too-brief career and consideration of Mia Zapata's death.
Eternally fascinated with extremes of location, Werner Herzog's latest documentary, Encounters at the End of the World, finds the filmmaker exploring life on the edge in Antarctica.
Critic Dennis Harvey reviews select films screened at the 32nd San Francisco International LGBT Film Festival.
Dennis Harvey reviews Sergei Bodrov's Mongol, a distinctive look at the early life of the conqueror.
Dennis Harvey covers the first week of low-budget geeks, weirdos and gore on display at the Another Hole in the Head Festival.
Michael Lumpkin's mini-retrospective of features that highlight some personal favorites that made waves at the Frameline Festival (and sometimes in the larger cinematic world).
In 'Surfwise', documentarian Doug Pray examines the eccentric Paskowitz clan, whose patriarch and nine children have been legends in the surfing world for decades.
The Hole Head Festival takes audiences back to terrifying locales and dangerous situations that should be pleasantly familiar to horror aficionados.
In 2008 the San Francisco Black Film Festival marks its 10th anniversary with the most expansive program yet, flagging the theme "10 Years, 10 Days, 100 Films."
'Love Songs', a truly gay musical utterly devoid of camp, causes critic Dennis Harvey to reassess France's take on the genre.
It may not be easy being Uwe Boll, but it must be fun. He's a boundlessly energetic fanboy-turned-maker who thinks large.
For all his lasting wholesome appeal, Stewart was an oddity: Gangly, stammering, Pennsylvania-drawling and not particularly attractive by 1930s studio standards.
Gregg Araki's "irresponsible" movie was the first to respond to the AIDS crisis with ACT UP-style radical rage rather than lamentation or case-pleading.
SF Film Society’s Founder’s Directing Award winner Mike Leigh's work has created a distinctive insider’s portrait of working-to-middle class English life.
The star of My Name Is Earl is (alongside Grindhouse superstarlet Rose McGowan) the recipient of this year's SFIFF Midnight Award.
Motherhood has supposedly had a slowing-down effect on Asia Argento, though at present evidence points rather wildly to the contrary. Not only does she star in this week’s San Francisco International Film Festival official opener, Catherine Breillat’s costume intrigue The Last Mistress, she also figures heavily in two other SFIFF features. Both are programmed in the culty "Late Show" section: Go Go Tales, Abel Ferrara’s most acclaimed film in years, and The Mother of Tears, a latest horror opus directed by her own fan-idolized gorehound dad Dario Argento. A couple weeks ago yet another vehicle opened commercially, Olivier Assayas’ Boarding Gate, which is entirely dominated by her feverish and highly physical performance.
Conventional logic might suggest all this visibility means it’s "breakthrough" time for Asia Argento, that moment when an actor goes from being a familiar face to a marquee name that can singlehandedly draw folks into the multiplex, or at least the arthouse. (In Europe she’s already quite well-known.) But as her project choices among other things bear out, Argento probably isn’t very interested in becoming a "star" in the conventional sense. In fact, she seems the girl most likely to run from any such fate.
Boarding Gate is raw, silly, bloody, funny, carnal, intricate, coarse and self-conscious. It all suggests Olivier Assayas has a lot more surprises in him yet.
Small-town "heartland" America that once held our majority populace is now seldom seen on screen. Jeff Nichols debut feature Shotgun Stories is an exception.
A series of films at SFMOMA present an outsiders take on the outmoded American staple, the Western.
Writer/director Jonah Markowitz's Shelter is a romantic gay surfer that more than earns its spurs in terms of real-world credibility and psychology.
Ira Sachs' third feature Married Life is both a crime thriller and a satire of complacency and intrigue in the restless climate of Eisenhower-era suburbia.
Just when Gus Van Sant seemed on the verge of turning into just another Hollywood selloutÑhe did a total about-face. His four features since have been true art films
A "discovery" festival from Day OneÑmeaning they premiere a lot of films, including many other fests might pass overÑSan Jose's Cinequest actually adopted "Discover" as motto for its 16th year.
In Honeydripper it will no doubt be pleasure to see Danny Glover play a familiar character: The good man trying to gain a leg-up when fortune has rained on his hopes.
In addition to practically every extant band you’d want to see, an art exhibit, and comedy shows, there are movies at Noise Pop.
An idea so vivid yet simple you've got to wonder why more movies haven't used it: Something happens that turns the populace into irrational maniacs.
It probably wasn't Romero's original dream to become semi-famous for movies about the flesh-eating undead.
The Irish flick might put the leper back in leprechaun, but it's still at heart a reassuringly formulaic hunk of bloody commercial horror.
Praise any god you like for Alex Gibney, who has quietly risen from stellar PBS series to a run of exceptional theatrical-release docs.
Sundance is like being in a car accident: Everything seems to be in slow-motion, but later you can hardly remember what happened.
A five-week series features an assortment of some of the less commercially-minded, artistically imaginative, philosophically thoughtful treatments the era has gotten.
Heath Ledger's death was sad not just because any young death is sad, but because we'd only just begun to know Heath Ledger as a real artist.
Even when just stringing gags together in his early comedies, Woody raised the level of the game, making humor intellectual and the intellectual humorous.
Anton Corbijn's Control is a dramatization of the book written by the frontman's widow, chronicling their romance and marriage, his eventual infidelity, and his mental health issues.
Francisco Vargas' first feature has won a pile of international awards to date, and might have garnered more had it arrived on the scene earlier.
His enthusiasm practically radiates from the screen; he doesn't seem to be interviewing or investigating his subjects so much as amiably hanging out with them.
Judd Apatow has come to so dominate American comedy that I often find myself thinking, "If only this movie had been written by Apatow..."
How does Jean-Jacques Beineix's breakthrough hold up a quarter-century later, duly remastered and freshly subtitle-translated?
Midnites for Maniacs unearths populist yet esoteric genre and exploitation flicks that have mostly disappeared into the netherworld of discarded VHS rental tapes.
U.S.-Cambodian co-production Holly might easily have gone straight to DVD, which would be a pity because it's well worth rushing to the theatre for.
A perfect example of the emerging genre of improv-based, digitally shot, minimally budgeted seriocomedies about twentysomethings stumbling through, you know, relationship stuff.
Six features in the week-long series had not been seen in 50 (and in one case 70) years due to legal complications.
Todd Haynes' I'm Not There both replicates and examines the hazy landscape of fact, fiction, art and myth comprising Dylanology.
The documentary What Would Jesus Buy? makes bad news go down easy, thanks largely to its "star," Reverend Billy of the Church of Stop Shopping.
Meet Phil Chambliss, a 54-year-old, recently retired gravel pit nightwatchman who makes what might be termed cinematic folk art.
Sometimes even presumably good intentions can warp into artistic misdeeds most foul.
There are a lot of Strummer stories to tell, and a good share of them are in Julien Temple's terrific new documentary.
This wisp of a movie shouldn't be able to sustain its gimmicky concept, yet miraculously does, thanks not just to Gosling, but to his fellow actors and measured direction.
Mill Valley retains its genuinely alterna-vibe and local (rather than professional outta-towner) audience after 30 years.
SF360.org caught up with the filmmaker, who has been extraordinarily prolific since abandoning celluloid for the lighter, cheaper, more flexible digital realm.
The Mill Valley Film Festival turns 30 years young this year, sporting none of the girth and wobbly ankles suffered by other way-out-west fests that began life in 1978.
Slow your rhythms down to this film's idiosyncratic tempo, and you'll get a striking, authentic-feeling epic that's often rivetingly tense.
The freshing thing about Susan Dynner's new documentary ÔPunk's Not Dead' Ñ beyond the fact that it's not the 9,482nd recap of The Early Years (circa 1976-85) Ñ is its unabashed if not uncritical acknowledgment that punk is here to stay.
The Pacific Film Archive offers a three-week sampling of Russian sci-fi films stretching from the silent era to the end of Communism.
SF360.org reviews a masterpiece of train-wreck voyeurism and "Sunset" stripped.
S.F.Ôs Italian Cultural Institute is launching an extensive if not quite exhaustive retrospective of Pasolini's features.
One film takes us from the American South to the Korean North, another to Frank Oz's last gasp.
SF360.org reviews Shane Meadows' finest directorial effort yet and an offbeat coming-of-age comic-drama.
Fletcher explains what will hopefully be an annual event that encompasses all kinds of worldwide cult-skewing fun.
A non-rich family is torn apart by money matters, and young actors lie atop, next to, and around each other with youthful, sexual abandon.
Elegant screen sartorial highs and garishly campy lows alike will be well-represented in an eight-day series on fashion at the Castro.
Few people not employed as directors, producers, cinematographers, costume or production designers have had as much impact on the "look" of movies.
Reviews: Dr. Bronner's Magic Soapbox and Ten Canoes
Parker Posey: one more-than-worthies in an often less-than-worthy medium. It's particularly exciting when they get a rare expansive part in a good movie.
Now past its third-decade anniversary, SFILGBTFF — the producing organization keeps trying to change its public-recognition name to something more manageable, which this annum would be Frameline31 — now has filmmakers and distributors banging on its door.
Nine years' vintage makes the SFBFF a newcomer by Bay Area standards. In terms of programmatic diversity and premieres, it's got old-soul depth.
SFMOMA offers plenty of chances to appreciate Astaire's feather-light charm this month in Also Dances: The Films of Fred Astaire.
While the SF International Film Festival has always had celebrity guests, the 50th edition featured a particular concentration of unique one-offs.
When then-unknown Spike Lee premiered She's Gotta Have It at the SF International in 1986, there was an instance of filmus interruptus.
The List: An Amerindie helmer well before the term was invented, Nilsson names 10 films which deeply affected him.
A decade might be long enough in dog years, but in film festival terms it takes a bit more time to impress.
Taste a bit of the vintage grindhouse experience at the last of Dead Channels' Month of Sleazy Sundays triple bill of under-the-radar movies.
It's taken over two years for Police Beat to go from one of the most praised films at Sundance to a theatre near you.
One film shows how an inspirational movie can actually inspire; the other that a con sometimes looks better on paper.
Tears of the Black Tiger is Thai eye candy, an exercise pastiche where color just about leaps off the screen, and a star-crossed love story.
The new western isn't really about violence, it's about Myth, in a symbolic, sort of Old Testament-meets-Sergio Leone way.
The Pacific Film Archive retrospective on Ernst Lubitsch encompasses 21 features, including many seldom-seen silent movies.
Rock&Roll, romantic comedy, fantasy and adventure, among the themes of this year's festival.
Teenager Lucie's (Islid Le Besco) encounter with her idol, the pop diva Lauren Waks (Emmanuelle Seigner), turns into a twisted and creepy psychological relationship.
Hollywood is the Santa that bestows gifts every Yuletide,; but you have to pick which ones you want, then pay for them.
Spies are frequent movie characters, in part because we know so little about them. Nonetheless, The Good Shepherd is an unusual Hollywood project.
"Candy," an Australian film an accent-less Aussie Heath Ledger, follows the downward spiral of a Heroine addict - by now a time-tested narrative conceit.
The director, producer and sometime actor enjoyed a painless ride from well-off circumstances to well-connected beginnings to one of Hollywood's biggest names for decades.
Filmmaking was just one among many creative outlets for Japanese multimedia artist Hiroshi Teshigahara.
Many stars are forgotten for a while, then “rediscovered” and newly appreciated by a later generation. But the case of Louise Brooks is somewhat unique — she was, really, only a “star” in retrospect. Her Hollywood profile was headed that-a-way when she foolishly (according to the industry) abandoned it to make a couple European movies. When she returned, her moment had passed.
A paltry if promising career and early dead-end-at the time, it constituted barely a blip on the radar. Yet those European films grew in stature over ensuing years, and with that the gradual realization that Brooks had been one of the great screen presences, however briefly. Her striking look — porcelain skin, alert features, sleek jet-black flapper bob — and naturalistic acting haven’t dated at all.
As a result, it seems there’s more interest in her with each passing year. The latest evidence is critic and historian Peter Cowie’s new book “Louise Brooks: Lulu Forever,“ published in time to commemorate the centenary of her birth. He’ll be signing copies and presenting a special commemorative film program at the Balboa this Sunday. The evening promises a rarely screened feature, a short and trailers showcasing Brooks, as well as “special guests, door prizes and more.” (Cowie will also appear the prior night at the Smith Rafael Film Center to screen a new 35mm print of her best-known vehicle “Pandora’s Box.”)
Why the fuss? Why, indeed, is there such a thing as The Louise Brooks Society (which is co-presenting this event with The Booksmith)? The explanation is all on-screen, in any role where she wasn’t entirely wasted.
Kansas-born Brooks started out as a dancer, first in touring troupes and then in Broadway revues. This led to Hollywood in 1925, where bit parts led steadily to larger ones, finally female leads in two good 1928 Paramount releases: Howard Hawks’ rollicking “A Girl in Every Port” and William Wellman’s more delicate “Beggars of Life.”
She hadn’t set the world on fire yet, but was certainly expected to graduate from starlet to star. Paramount was not pleased, however, when she chose — just as “talking pictures” were becoming the rage — to end her contract and accept a silent-film offer in Germany. This was G.W. Pabst’s “Pandora’s Box,” drawn from Franz Wedekind’s play “Lulu,” and with beguiling lack of affectation she played that titular seducer/destroyer of both men and women, herself finally destroyed by Jack the Ripper. Perhaps even better (if less shocking) than that famous classic was a second Pabst movie, “Diary of a Lost Girl,” in which her victimized innocent is indelibly touching. She also starred as an exploited beauty-contest winner in a French film, 1930’s “Prix de Beaute.” These are all wonderful movies in which she was superb. But for a long time they were little seen outside their home countries — particularly in the U.S., where silent cinema was already stone-cold-dead.
Returning to Hollywood, Brooks was now — at age 24 — a has-been. She unwisely turned a couple good offers and accepted a handful of humiliatingly poor ones, including bit parts. Those few who remembered her considered her “difficult” and past expiration date. Her last movie role was a nondescript heroine in a nondescript 1938 “Z” western, “Overland Stage Raiders” — one of a zillion such that John Wayne starred in before becoming an “A”-list star.
Found living in seclusion in the mid-‘50s, Brooks was surprised and delighted that latterday film buffs not only remembered but worshipped her. She returned the favor by writing very intelligently about her own movies and the art form in general (mostly famously in the essay collection “Lulu in Hollywood,” which is still in print). She admitted sabotaging her own career as readily as she enjoyed her new iconic status in retirement, dying at a no doubt satisfied age 80 in 1985 — secure in the knowledge that her legend would continue to grow.
[“Pandora’s Box” plays Sat., Nov. 11, at 7 pm, Smith Rafael Film Center, 1118 4th St., San Rafael. $6.25-9.50. (415) 454-1222. “Celebrating Louise Brooks: An Evening of Rare Films,” issues Sun., Nov. 12, at 7:30 pm, Balboa Theatre, 2630 Balboa, SF. $6-8.50. (415) 221-8184.]
The List: Lesser remembered and/or excellent Mafia films that might make you an offer you can't refuse.
Who knows what the Mafia, or Cosa Nostra as it's called in Sicily, is really like? Marco Turco's really-real chronicle, Excellent Cadavers.
By the youth-rhetoric standards of another era, this is the last year we can trust the Mill Valley Film Festival. Next year, it turns 30.
Though it won the Silver Bear at the Berlin Film Festival in 1975, Overlord is one of those movies that mostly slipped through the cracks.
The author's cult gets another buck-up from the release of Norwegian director Bent Hamer;s first English-language feature, Factotum.
An appreciation of the great actress of cult and mainstream films, before her appearance at a Midnight Mass screening of Death Race 2000.
The Istituto Italiano di Cultura screens Visconti's signature features, from his 1942 debut Ossessione through 1976's The Innocent, which he died before completing.
SF360 spoke to the director of Rise Above: The Tribe 8 Documentary, showing at the Red Vic Movie House and an imminent DVD release.
The beloved cult classic will screen in conjunction with a live cast reunion at Peaches Christ's Midnight Mass series.
S.F. International LGBT Film Festival celebrates its 30th anniversary as a forum for the LGBT community to celebrate its own hard-won survival and progress.
Highlights from San Francisco International LGBT Film Festival's 30th annual edition.
Highlights from the 4th year ofAnother Hole in the Head, the S.F. Indiefest-produced celebration of horror, sci-fi, fantasy and just plain sick cinema.
Songbirds is a "documentary musical" Ñ something that sounds like a pure contradiction-in-terms until you actually see it.
The third annual Icelandic Film Festival offers just two features and one short, but it's all very, very good.
This English comedy, the second feature made by the guys behind that genius horror spoof, 'Shaun of the Dead,' satirizes fake cinematic testosterone.
Until the 1960s, Hollywood cast S.F. as a city where everyone was too busy brawling, floozing,and plotting intrigue to exclaim,"Look at that view!"
Audio and visual collide when Noise Pop hits the silver screen at the Noise Pop Film Festival.