Sex-filled fictions dominate Toronto International Film Festival; eclectic docs inspire action.
Sex-filled fictions dominate Toronto International Film Festival; eclectic docs inspire action.
Sex-filled fictions dominate Toronto International Film Festival; eclectic docs inspire action.
San Francisco itself took a lead role at Film Society Awards Night, the dinner and awards program benefiting the Film Society s year-round Youth Education initiative.
You know someone is well liked when they re used as the standard by which you fall short.
Live & Onstage thought globally and drafted locally with Sam Green and musician Dave Cerf s live Utopia in Four Movements, which never takes the exact same form.
The Statton era has begun. Kate and Chris Statton have officially assumed the positions of co-executive directors of the venerable Mission District cinema.
With opening night approaching, Rachel Rosen talked about her L.A. Rolodex, the function of festivals in a broadband world and her favorites in the festival.
The spring edition of the Cinematheque calendar is making the rounds, and my copy is dog-eared with wishful thinking. Grab your datebook for a rundown.
Horror movies were once dismissed by most grownups (and nearly all critics) as juvenile, silly, even offensive. Val Lewton seriously challenged that thinking,
Not surprisingly, Bay Area critics, fans, exhibitors and filmmakers did not arrive at a consensus on the best films of the decade.
It was a big year for 3D, but Bay Area critics and film-industry folk found many other dimensions in the cinema of 2009.
On Sept. 13, 2001, I stood in a Toronto park and spoke to Canadian television: Movies wouldn't be the same. I was wrong.
In town for the premiere of Wasteland Utopias, the artist, curator and administrative director of Canyon Cinema gives us the scoop on Wilhelm Reich and other shadowy figures.
A new, four-day showcase of local filmmaking doubles as a forum for the region's influence as subject and setting for filmmakers beyond the bay.
A year after Jonathan Marlow took the helm as executive director, the organization is showing fresh signs of life.
Ellen Schneider speaks on the impact of social-issue documentaries and her San Francisco-based strategic communications company Active Voice.
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.
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.
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.
Freelance curator and film fanatic Jack Stevenson brings grainy reels documenting live, nude girls to the Yerba Buena Center for the Arts.
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.
YBCA's triennial exhibition has developed a deserved reputation for presenting an energetic survey of current Bay Area artistic practice.
YBCA's triennial exhibition has developed a deserved reputation for presenting an energetic survey of current Bay Area artistic practice.
Alan K. Rode, a cofounder of the Film Noir Foundation, sang the praises of San Francisco movie audiences on the horn from L.A., then got down to brass tacks.
Midnites for Maniacs unearths populist yet esoteric genre and exploitation flicks that have mostly disappeared into the netherworld of discarded VHS rental tapes.
"SF Indiefest: Gets Animated," piggybacking on the 4th Annual Another Hole in the Head Film Festival, co-presents an animation program with the popular archivist.
A week before the 27th festival, SF360.org spoke with the executive director on what Superfest gets about disability that the rest of the filmmaking world doesn't.
The Pacific Film Archive's standing as a cinema-centric educational institution brings the avant-garde into conversation with a broad program of film history.
Last week, theater operators Frank and Lida Lee won the battle to save the 4 Star, and announced they'd purchased the building.
This series of cinematic responses to war, curated by Lebanese video artist Akram Zaatari, opens up possibilities for re-imagining the dehumanized landscape of violence.
Collector and archivist Rick Prelinger puts on a show at the Other Cinema to celebrate his new book, A Field Guide to Sponsored Films.
The expat archivist and writer makes his near-annual pilgrimage to San Francisco with a flurry of shows teeming with goodies from his personal collection.
Craig Baldwin and Noel Lawrence bring their brand of smart, quirky, avant-garde and political programming into the home.
SF360 checks in with a few Bay Area festival insiders to see what they're excited about at upcoming festivals.
Jeff Kreines and Joel DeMott's legendary and obscure 1982 documentary set in Muncie, Indiana, highlights the PFA series "Screenagers: Documents from the Teenage Years."
The San Francisco Media Archive director talks about the weirdness and normality revealed on Home Movie Day.
The San Francisco Media Archive director talks about the weirdness and normality revealed on Home Movie Day.
Benjamin Weil took time out from preparations for the upcoming Barney show to answer questions about the artist's "Drawing Restraint" series.
San Francisco Cinematheque guest curator Jenni Olson reflects on her show, Kees Kino: The Film Work of Weldon Kees.
Rodney Ascher and Syd Garon are only two people whose works curator Danny Plotnick would show sight unseen.
I first saw the remarkable A Trip Down Market Street, 1905 at the Exploratorium seven years ago, feeling chills as I gazed into the past.
With a Leacock-Pennebaker tribute, SF State's Documentary Film Institute proves there's no reason to "revive" cinema verite; it never died.