It gets better: Frameline35 offers a strong selection of work about youth.
It gets better: Frameline35 offers a strong selection of work about youth.
It gets better: Frameline35 offers a strong selection of work about youth.
The devil is in the details of I Wake Up Screaming, the Roxie's annual two-week spring celebration of noir's shadiest titles.
The devil is in the details of I Wake Up Screaming, the Roxie's annual two-week spring celebration of noir's shadiest titles.
The devil is in the details of I Wake Up Screaming, the Roxie's annual two-week spring celebration of noir's shadiest titles.
As the San Francisco International Film Festival opens, key films consider the value of place.
As the San Francisco International Film Festival opens, key films consider the value of place.
As the San Francisco International Film Festival opens, key films consider the value of place.
A grad student brings a rare screening of silent classic 'Braza Dormida' to the PFA, with live jazz accompaniment.
A grad student brings a rare screening of silent classic 'Braza Dormida' to the PFA, with live jazz accompaniment.
A grad student brings a rare screening of silent classic 'Braza Dormida' to the PFA, with live jazz accompaniment.
SF Indiefest brings drama, doc, fact, fiction and physique into its annual showcase.
SF Indiefest brings drama, doc, fact, fiction and physique into its annual showcase.
SF Indiefest brings drama, doc, fact, fiction and physique into its annual showcase.
Two critics offer opposing views on an audience-dividing arthouse buzz-magnet, Gaspar Noé's 'Enter the Void.'
Two critics offer opposing views on an audience-dividing arthouse buzz-magnet, Gaspar Noé's 'Enter the Void.'
Two critics offer opposing views on an audience-dividing arthouse buzz-magnet, Gaspar Noé's 'Enter the Void.'
Two critics offer opposing views on an audience-dividing arthouse buzz-magnet, Gaspar Noé's 'Enter the Void.'
Johnnie To delivers on his trademark themes with 'Vengeance.'
Johnnie To delivers on his trademark themes with 'Vengeance.'
Johnnie To delivers on his trademark themes with 'Vengeance.'
SF Indiefest unveils its 7th annual showcase of the wildest and weirdest in independently produced sci-fi, horror and fantasy.
SF Indiefest unveils its 7th annual showcase of the wildest and weirdest in independently produced sci-fi, horror and fantasy.
Critical consensus on Frameline34 marks it a good year. The audience wanted something different, and the festival has largely obliged.
Films about our species enduring capacity to be inhumane toward its own are perennials at festivals, and will be so as long as wars are waged.
It s a strange time for independent film, with scaled-back specialty divisions and online self-distribution, but SF Indiefest remains a champion of the unsung and un-buzzable.
In Michael Haneke's masterful film, everyone lives in fear and suspicion.
A festival full of drama finds no more emotional screening than the homophobia-in-sports double bill of Training Rules and Claiming the Title: Gay Olympics on Trial.
Oshima's output grazed on familiar genres, such as the youth-gone-wild and domestic drama, while freely incorporating elements from avant-garde and documentary filmmaking.
This year, the festival feels like it has truly arrived as an internationally recognized platform for cross-Pacific cinematic exchange, in this disparate cross-section of films from home, abroad and places in between.
The retrospective offers fascinating, if not always exemplary, viewing of what could be called a cinema of disaster: characters face the worst, or are living in its aftermath, and like the audience, they are provided with no easy answers.
Matt Sussman draws conclusions about women and Hollywood from three big women-oriented films of 2008.
The controversial Cargo 200, a take-down of the Soviet era, makes its U.S. theatrical debut at Yerba Buena Center for the Arts.
Tony Gerber and Jesse Moss's film candidly explores 'the ground truth' of Iraq without setting foot in the country.
Freelance curator and film fanatic Jack Stevenson brings grainy reels documenting live, nude girls to the Yerba Buena Center for the Arts.
'It takes your guts and your entrails and your soul to make a film,' Mikels once proclaimed. 'It takes everything you possess within you!'
What do women want to watch? With Diane English’s recent unfunny and product placement-filled re-make of The Women hitting theaters last week, Hollywood’s answer, predictably, is more of the same.
A documentary looks into a machine designed to harness the hallucinatory potential of flickering light, and sketches a portrait of its troubled creator.
A look at the films in the 32nd San Francisco International LGBT FIlm Festival indicates the rise of Argentina's new wave.
Does Tomo Uchida, whose retrospective is currently at the PFA, merit the same sort of reverent revival treatment that has been given many times over to other Japanese filmmakers of his generation?
Matt Sussman looks at the final products of the talented young directors in TILT's Summer Film Camp showcase (screening as part of of Straight Outta Film Arts program at YBCA).
SF360.org caught up with the Oakland director, who was one of seven finalists on the Fox reality show On the Lot.
While reality television may have reduced Warhol's 15 minutes to a 15 second sound byte, Kemet is setting his sights well beyond his time.
List: While the following list may hold few such surprises, these adaptations are some of the most intensely unsettling (and most cinematically rich) re-stagings of Shakespeare's dark plays.
Review: startling portraits Claude Cahun, her half-sister and lover Marcel Moore took of themselves and each other dressed in a variety of personas, costumes and genders in Lover Other.
Roadside Pictures signed Colma: The Musical for national release. A sort of anti-"High School Musical," "Colma" follows three friends in their new post-high school freedom.
Brand is no short supply of Guy Maddin's usual firecrackers: apostrophe, hyperbole, and of course, catastrophe.