Maria Breaux, deep in the heart of production on Mother Country talks about politics, process and her existential road movie.
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.
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.
Dina Ciraulo's debut feature reconsiders the curious case of nature writer Opal Whiteley, who burst to prominence—and controversy— in the 1920s.
Peter Bratt's La Mission focuses on conflict within a family and a neighborhood, exploring what happens when a single father named Che learns a secret about his son that tests his love for his family and his community's love for him.
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.
The two weeks of programs offers 151 films from 55 countries, awards and prices, and a wide array of San Francisco talent, from legendary names to the fledgling artists.
Barry Jenkins talks abut his background, making movies in San Francisco and the issues of black identity, assimilation and gentrification, which are at the heart of his film.
For many narrative filmmakers, hiring a lawyer is either an afterthought or not a financial reality, but moving forward with a film without considering legal is a huge mistake.
The Black Rock focuses on the African American prisoners and guards who lived on the island when it was a federal penitentiary.
On January 24 the San Francisco film and arts community lost Ave Montague, who was well known for her hard work, creativity and passion for the arts.
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."
Medicine for Melancholy is a graceful and poignant film about fleeting urban connections, black identity and invisibility, cultural adventures and this gentrified city's lost soul.
Founded in 1968, San Francisco-based Newsreel is the oldest nonprofit, social-issue documentary film center in the U.S.
Dawn Logsdon and Lolis Eric Elie dig through the rubble of Hurricane Katrina to tell the story of Faubourg TremŽ, which was home to African Americans and fertile ground for political activism, music and literary life.
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.
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.
When then-unknown Spike Lee premiered She's Gotta Have It at the SF International in 1986, there was an instance of filmus interruptus.
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.
The veteran documentary maker describes the making of Jonestown: The Life and Death of Peoples Temple.
The annual series of films from countries with less developed or out-of-favor national cinemas has several winners.
Highlights of San Francisco Black Film Festival's eighth annual edition.