Hot Docs – Canadian International Documentary Festival (April 26–May 6, 2012) is a competitive event seeking Canadian and international documentaries of all lengths (feature length: 60 min. or longer; mid-length: 30 to 59 min.; short: under 30 min.) and subject matter. ELIGIBILITY: Submissions must have been completed after January 1, 2011; cannot have been screened publicly prior to January 1, 2011; must be Toronto premieres; must be in English, subtitled in English; must be exhibited in one of the following screening formats: 35mm film, DigiBeta (NTSC or PAL) and HDCAM. Entry fees: $33.90 CDN for short films; $67.80 CDN (before December 2, 2011) or $118.65 CDN (before January 13, 2012) for mid and feature length films. AWARDS: Hot Docs features two juried competition programs and several noncompetitive programs. DEADLINE: December 2, 2011 (early); January 13, 2012 (late). WEBSITE: hotdocs.ca/.
Rough Cuts is a series of work-in-progress documentary screenings that are produced at a variety of locations throughout San Francisco. The next event (November 14, 2011; 7:30 p.m.) features one rough cut of a feature-length documentary and then a conversation about the film. The post-screening discussion is designed to give the filmmaker a better, more objective sense of what is working and not working with the film, with particular attention paid to improving the film's structure and narrative clarity. ELIGIBILITY: Rough Cuts is currently accepting submissions for the next event. If you are editing a documentary that is over 40 minutes long and are seeking feedback, they encourage you to submit. Principal photography should have been completed, and filmmakers tare encouraged to submit films that are in the later stages of post-production. AWARDS: Invaluable feedback and constructive criticism. DEADLINE: November 1, 2011. Submissions must arrive by 5:00 p.m. WEBSITE: sfroughcuts.com/index.html.
The San Francisco Film Society joins the New York International Children’s Film Festival to present a three-day kid-ready fest of animated and non-animated shorts and features from around the world. The brief fest kicks off with a child-friendly opening night party on Friday, and for offers another chance to enjoy Alex Law's sweet Hong Kong Film Days entry, 'Echoes of the Rainbow.' More info sffs.org.
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.
Audience-engaging stories in a variety of genres highlight SFFS's inaugural Hong Kong Cinema weekend.
Audience-engaging stories in a variety of genres highlight SFFS's inaugural Hong Kong Cinema weekend.
Audience-engaging stories in a variety of genres highlight SFFS's inaugural Hong Kong Cinema weekend.
Week two of San Francisco Film Society | New People Cinema features Argentinian Natalia Smirnoff’s first feature, a delicate character portrait in which a middle-aged housewife, cherished by her husband and two sons but nevertheless taken for granted, discovers an aptitude for jigsaw puzzles. More at sffs.org.
Berkeley-programmed Festival is a favorite for cinephiles; features Caetano Veloso as 2011 Guest Director.
Berkeley-programmed Festival is a favorite for cinephiles; features Caetano Veloso as 2011 Guest Director.
Berkeley-programmed Festival is a favorite for cinephiles; features Caetano Veloso as 2011 Guest Director.
The Roy W. Dean Film and Writing Grants fund shorts, documentaries and low budget independent features. ELIGIBILITY: New film and video projects (including works-in-progress) that are unique and benefit the society. Student filmmakers, independent producers or independent production companies are all welcome. AWARDS: Winner gets a variety of awards including scholarships and cash prizes for different production fields. DEADLINE: August 30, 2011. WEBSITE: fromtheheartproductions.com/grant-lavideo.shtml.
'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.
In celebration of its 20th anniversary, Independent Television Service brings out an online festival, displaying 20 ITVS-supported docs between now and September 23. Representing only the tip of the iceberg of the locally based organization's vast film library, the festival features gems like 'Daughter from Danang,' 'King Corn' and 'The English Surgeon,' and screens the 20 films for three days each, for free. More info and scheduling at itvs.org.
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.
SF Museum of Modern Art's Opera on Film series screens Jean-Jacques Beineix's under-appreciated 'Diva' on Thursday. The Caesar Award-winning romance/thriller hybrid deftly handles a complex, opera-centric plot littered with brilliant pop-art inspired chase scenes and features a number of standout performances, including those by Jeunet regular Dominique Pinon and real-life opera singer Wilhelmenia Wiggins Fernandez. More info sfmoma.org.
Two Bay Area location-based features that speak to the moment are poised to stand the test of time.
Two Bay Area location-based features that speak to the moment are poised to stand the test of time.
Two Bay Area location-based features that speak to the moment are poised to stand the test of time.
Two Bay Area location-based features that speak to the moment are poised to stand the test of time.
Two Bay Area location-based features that speak to the moment are poised to stand the test of time.
Two Bay Area location-based features that speak to the moment are poised to stand the test of time.
SF filmmakers Peter Adair and Ellen Bruno created classics on religious intensity.
SF filmmakers Peter Adair and Ellen Bruno created classics on religious intensity.
SF filmmakers Peter Adair and Ellen Bruno created classics on religious intensity.
Award-winning 2010 doc 'Cultures of Resistance' captures the ways artists, musicians and other cultural producers create political change through art, from Iran to China to other points worldwide. The event features a live interview with director Iara Lee via Skype after screening; ticket sales benefit clean water efforts for children in Gaza. Plays at Berkeley City College. More at mecaforpeace.org.
Hong Sang-soo's latest leaves us with an awkward ambivalence that resonates long after the film is finished.
Hong Sang-soo's latest leaves us with an awkward ambivalence that resonates long after the film is finished.
Hong Sang-soo's latest leaves us with an awkward ambivalence that resonates long after the film is finished.
Wim Wenders' gorgeous time capsule 'Wings of Desire,' later remade as 'City of Angels,' features striking views of Berlin from the air and an electrifying musical performance by Nick Cave. Wenders regular, master thesp Bruno Ganz stars. Plays at Red Vic, more info Redvic.com
Directors Paul Mariano and Kurt Norton inspect the treasures held in the Library of Congress' revered National Film Registry and consider their lasting impact on the American experience. The locally made doc features insightful interviews with prominent celebrities and critics. Both filmmakers will be present for Q&A after screening at Smith Rafael Film Center. More at cafilm.org.
Lucien Castaing-Taylor and Ilisa Barbash's beautiful 'Sweetgrass' plays during a special event at the Oakland Museum, 1:00 pm, and features a live appearance by the starring species: sheep, who will be sheared by farmer Joe Sanchez, as part of Felt. More at museumca.org.
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.
SF IndieFest's annual Another Hole in the Head Film Festival, which features 16 entertaining, inexplicable days of contemporary, comedic, sci-fi and dark fantasy horror films, continues for another week. The event is hosted by Roxie Theater. More at sfindie.com.
SF IndieFest's annual Another Hole in the Head Film Festival, which features 16 entertaining, inexplicable days of contemporary, comedic, sci-fi and dark fantasy horror films, continues for another week. The event is hosted by Roxie Theater. More at sfindie.com.
SF IndieFest's annual Another Hole in the Head Film Festival, which features 16 entertaining, inexplicable days of contemporary, comedic, sci-fi and dark fantasy horror films, continues for another week. The event is hosted by Roxie Theater. More at sfindie.com.
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.
One film was not enough to quench Frans Weisz’s fascination with Nazi-era artist Charlotte Salomon.
One film was not enough to quench Frans Weisz’s fascination with Nazi-era artist Charlotte Salomon.
One film was not enough to quench Frans Weisz’s fascination with Nazi-era artist Charlotte Salomon.
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.
Throughout the month of June, Pacific Film Archive features a half century of alternately feverish, dark, confessional, parodic work from filmmaker brothers George and Mike Kuchar, starting with their 1965 feature, ‘Sins of the Fleshapoids,’ at which Mike Kuchar appears in person. More at bampfa.berkeley.edu.
Arthur Penn is the focus of a monthlong series at Pacific Film Archive, beginning with 1958’s Gore Vidal-written revisionist Western, ‘The Left Handed Gun,’ which features Paul Newman. More at bampfa.berkeley.edu.
Josh Shelov’s comedy ‘The Best & The Brightest’ plays at Roxie Theater before its wide release this summer. The film features Neil Patrick Harris and Bonnie Somerville as yuppies from New York fighting to get their daughter into an elitist private kindergarten. More at roxie.com.
Castro Theatre pays tribute to the Dame Elizabeth Taylor with six days of benefit double features, beginning with 1958’s ‘Cat On A Hot Tin Roof,’ in which Taylor performs alongside Paul Newman, and 1959’s ‘Suddenly, Last Summer,’ also featuring Katherine Hepburn. More at castrotheatre.com.
Roxie Theater brings in two weeks of rare film noir in its I Wake Up Dreaming 2011: The Legendary and the Lost program. A full 14 double features, including ‘The Web’ and ‘711 Ocean Drive,’ are presented in 35mm prints. More at roxie.com.
Roxie Theater brings in two weeks of rare film noir in its I Wake Up Dreaming 2011: The Legendary and the Lost program. A full 14 double features, including ‘The Web’ and ‘711 Ocean Drive,’ are presented in 35mm prints. More at roxie.com.
Nonfiction filmmakers are re-engaging audiences with an entrepreneurial spirit and a focus on creative narrative strategy.
Nonfiction filmmakers are re-engaging audiences with an entrepreneurial spirit and a focus on creative narrative strategy.
Nonfiction filmmakers are re-engaging audiences with an entrepreneurial spirit and a focus on creative narrative strategy.
Viz Cinema at New People hosts the Legacy Film Festival on Aging, offering three days of shorts and features from around the world that deal with the difficulties and appreciation of growing older. The program begins with ‘Ruth Awasa: Roots of an Artist,’ a documentary about the famous artist, with director Bob Toy and Ruth’s children in attendance for a Q&A following the screening. More at newpeopleworld.com.
Castro Theatre hosts the final evening of SFIFF54, which features Mathieu Amalric’s ‘On Tour,’ a film that tells the story of a has-been French TV producer who stages his comeback with burlesque performers. A party follows at The Factory. More at fest11.sffs.org.
Castro Theatre hosts a double feature of cop films set in San Francisco, beginning with Peter Yates’ 1968 ‘Bullitt,’ which features Steve McQueen, and Richard Rush’s 1974 ‘Freebie and the Bean,’ featuring James Caan and Alan Arkin. More at castrotheatre.com.
Roxie Theater presents ‘Some Days are Better Than Others,’ a debut feature-length film by Matt McCormick that explores the mutual struggles of hope shared amongst a group of eclectic characters. The film features Carrie Brownstein (Sleater-Kinney) as well as James Mercer (The Shins). More at roxie.com.
Richard Press and Philip Gefter pay tribute to a worker's devotion in making 'Bill Cunningham New York.'
Richard Press and Philip Gefter pay tribute to a worker's devotion in making 'Bill Cunningham New York.'
Richard Press and Philip Gefter pay tribute to a worker's devotion in making 'Bill Cunningham New York.'
Yerba Buena Center for the Arts hosts and dGenerate Films and Fandor present ‘Fearless: Independent Chinese Documentaries,’ which features six independent Chinese political docs; continuing this week with 'Tape' (April 7), 'Ghost Town' (April 10) and '1428' (pictured, April 14). More at ybca.org.
SF International's 54th wide-ranging program is announced.
SF International's 54th wide-ranging program is announced.
SF International's 54th wide-ranging program is announced.
The Sing Along ‘The Wizard of Oz,’ featuring an interactive experience with song and goody bags, plays for seven days at the Castro Theatre. Laurie Bushman, Joe Wicht and David Hawkins host. More at castrotheatre.com.
New technology and futuristic themes featured prominently at South by Southwest this year.
New technology and futuristic themes featured prominently at South by Southwest this year.
New technology and futuristic themes featured prominently at South by Southwest this year.
Ry Russo-Young’s 2009 Gotham Independent Film Award winner and Sundance Film Festival Selection, ‘You Won’t Miss Me,’ plays for one week at Roxie Theater. The film features Stella Schnabel, who plays a 23 year-old just released from a psychiatric hospital. More at roxie.com.
Jason Wolos builds a drama about family and food with a few key ingredients.
Jason Wolos builds a drama about family and food with a few key ingredients.
Jason Wolos builds a drama about family and food with a few key ingredients.
Castro Theatre hosts seven days of ‘We Were Here,’ David Weissman's documentary examining the initial arrival of AIDS in San Francisco and its subsequent influence the community. Opening night features a VIP reception prior to and a Q&A with director David Weissman following the screening. More at castrotheatre.com.
The San Francisco Silent Film Festival's Winter Event, a one-day affair to showcase silent films, returns to the Castro. Features include Charlie Chaplin shorts, Marcel L’Herbier’s 1928 ‘L’Argent’ and King Vidor’s 1926 ‘La Boheme,' each accompanied with live music. More at silentfilm.org and castrotheatre.com.
Roxie Theater hosts the 13th SF Indiefest, which presents 15 raucous days of both feature and short independent films. Opening Night features Gregg Araki’s ‘Kaboom,’ with an afterparty at CELLspace and live music. More at sfindie.com.
The final week of Noir City plays at Castro Theatre. Two Film Noir features play nightly through January 30, ending with 1952’s ‘Angel Face’ and 1948’s ‘The Hunted.’ More at castrotheatre.com.
Noir City 9's "madness" theme means a few more gothic titles and a fresh context to appreciate noir’s signature motifs.
Noir City 9's "madness" theme means a few more gothic titles and a fresh context to appreciate noir’s signature motifs.
Noir City 9's "madness" theme means a few more gothic titles and a fresh context to appreciate noir’s signature motifs.
An advance screening of Peter Weir’s new film, ‘The Way Back’, which features Jim Sturgess, Ed Harris and Colin Farrell, plays at the Smith Rafael Film Center, with Weir presenting and discussing the film. More at cafilm.org.
An advance screening of Peter Weir’s new film, ‘The Way Back’, which features Jim Sturgess, Ed Harris and Colin Farrell, plays at the Smith Rafael Film Center, with Weir presenting and discussing the film. More at cafilm.org.
Castro Theatre hosts the German Gems Film Festival, a three day event showcasing recent German features, shorts and documentaries. It begins on Friday with ‘Mahler On The Couch,' a feature directed by father and son team Percy and Felix Adlon, with an Opening Night after party following. More at castrotheatre.com.
The Castro Theatre hosts six days of double features from the unsurpassed master of suspense, Alfred Hitchcock. The series starts with two of the finest films from Hitchcock’s late British period, ‘The Lady Vanishes’ and ‘The 39 Steps.’ More at castrotheatre.com.
This Roxie Theater double feature rejoices in ‘80s punk cinema with ‘Surf II,’ a sequel to a film that was never made, and the outrageous story of a young geek who seeks to destroy surfers by turning them into zombies, plus the classic ‘Times Square,’ which tells of The Sleaze Sisters, two insane asylum runaways who become heroes of New York’s disenchanted youth and features music by Talking Heads and Roxy Music. Presented by editors of the book ‘Destroy All Movies!!!: The Complete Guide to Punks on Film’ and Alamo Drafthouse programmers Zack Carlson and Bryan Connolly. More at roxie.com.
Animated stories from around the world gather at Landmark’s Embarcadero Center Cinema for the fifth SFIAF. Six wide-ranging shorts programs as well as features like Brent Green’s ‘Gravity Was Everywhere Back Then’ and Sunao Katabuchi’s ‘Mai Mai Miracle’ take the screen. Four diverse animators interpret folk rock band The Decemberists’ 2009 concept album in ‘Here Come the Waves: The Hazards of Love Visualized,’ which opens the festival. Opening Night party follows the screening at La Mar Cebichería Peruana at Pier One and One-Half on the Embarcadero. More at sffs.org.
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.
Celebrations of photographer R.A. McBride’s and Julie Lindow's elegiac ‘Left in the Dark: Portraits of San Francisco Movie Theatres,' which features photographs cinemas of the past and present matched with scholarly essays on local industry themes, continue. Pacific Film Archive hosts a slide show presentation by McBride and readings by writers including Lindow, Katherine Petrin, Melinda Stone. More at bampfa.berkeley.edu.
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.
Population, migration and globalization are the themes of the 13th annual United Nations Association Film Festival. The Palo Alto-based festival's features include 'Bhutto,' 'Gasland' and 'The Last Elephants in Thailand' this year. The festival runs until October 31. More at unaff.org.
Population, migration and globalization are the themes of the 13th annual United Nations Association Film Festival. The Palo Alto-based festival's features include 'Bhutto,' 'Gasland' and 'The Last Elephants in Thailand' this year. The festival runs until October 31. More at unaff.org.
A pair of expert heist films top Berlin & Beyond.
A pair of expert heist films top Berlin & Beyond.
A pair of expert heist films top Berlin & Beyond.
The Bay Area's best first-person documentaries take us through a lens, darkly.
The Bay Area's best first-person documentaries take us through a lens, darkly.
The Bay Area's best first-person documentaries take us through a lens, darkly.
Mill Valley brings an eclectic collection of indies and world cinema to audiences.
Mill Valley brings an eclectic collection of indies and world cinema to audiences.
Mill Valley brings an eclectic collection of indies and world cinema to audiences.
MacArthur "genius" grant recipient (2008) Will Allen is featured in this documentary about the building a healthier American food system, which also features 'Omnivore's Dilemma' author Michael Pollan. Director Ana Joanes will be present for an opening night Q&A at the San Francisco premiere of the film at the Red Vic Movie House.
San Francisco Film Society and the New York International Children's Film Festival offer three days of films for kids, teens and their families, from 'Turtle—the Incredible Journey' (pictured) to Santosh Sivan's Kashmir story, 'Tahaan,' to shorts and animated films, kicking off Friday, September 24, with a kid-friendly opening night party at the Punch Line Comedy Club.
The San Francisco Irish Film Festival offers Roxie audiences three days of contemporary Irish cinema, including features, documentaries and short films paired with free pints of Irish cider. Closing night film 'His & Hers' won the Cinematography Award at Sundance 2010.
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 new film/photography website offers compelling characters, bold artistry and innovative storylines.
A new film/photography website offers compelling characters, bold artistry and innovative storylines.
A new film/photography website offers compelling characters, bold artistry and innovative storylines.
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.
Lisa Fruchtman moves from feature-film editing to documentary film directing with a hopeful story out of Rwanda.
Lisa Fruchtman moves from feature-film editing to documentary film directing with a hopeful story out of Rwanda.
Lisa Fruchtman moves from feature-film editing to documentary film directing with a hopeful story out of Rwanda.
The pairing of 'Invasion of the Body Snatchers' and 'The Creeping Unknown'–the first of many double features with a "decidedly bent perspective on the human condition"– kicks off the Roxie's genre-busting series Not Necessarily Noir.
Elliot Lavine speaks of noir, noirishness, and the series of potent, paranoid, and often genre-busting classics he brings to the Roxie.
Elliot Lavine speaks of noir, noirishness, and the series of potent, paranoid, and often genre-busting classics he brings to the Roxie.
Elliot Lavine speaks of noir, noirishness, and the series of potent, paranoid, and often genre-busting classics he brings to the Roxie.
Three Bay Area documentaries correct the historical record.
Three Bay Area documentaries correct the historical record.
Three films document essential chunks of San Francisco's tragic and mythic past, told in empathetic but non-hagiographic testimony.
Three films document essential chunks of San Francisco's tragic and mythic past, told in empathetic but non-hagiographic testimony.
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.
Critical consensus on Frameline34 marks it a good year. The audience wanted something different, and the festival has largely obliged.
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.
A literary adaptation filled with first-class actors in sumptuous settings, City doesn't fall too far from the familiar Merchant-Ivory tree.
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.
The Victoria Theater is shut up tight, with no sign of life. After a few raps on the door, a woman peeks out and leads me inside.
YBCA s month-long, six-part Human Rights and Film series closes with two documentaries on the Arab-Israeli conflict made 35 years apart.
Think of U.S. public television and science fiction or any type of fiction doesn't spring to mind. ITVS aims to change that perception with a series of mini-features.
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.
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.
Hilary Hart, who annually holds down the late-night shift at the Egyptian at Sundance, offers interviews with fellow workers at the festival.
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.
Michael Fox shows independent filmmakers who are thriving in the Bay Area.
Michael Fox shows independent filmmakers who are thriving in the Bay Area.
The scoop on the projects of the inaugural class for the SFFS/Kenneth Rainin Foundation Filmmaking Grants, which support lively, intelligent social-issue narrative films.
A conversation on Walt Disney's Alice Comedies with a lively raconteur and Professor of Film Studies at UC Berkeley.
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.
Where the Wild Things Are is directed by Spike Jonze from a screenplay by Jonze and Bay Area–based writer Dave Eggers, based on the classic 1963 picture book by Maurice Sendak.
Beyond Words: The people who back up the main character are often key sources of revelation, unmasking aspects of personality, motivation and backstory.
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 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.
First Person: How can people respond in diametric and, at times, vitriolic opposition to the same film? Mine.
East Bay filmmaker Miles Montalbano is in preproduction on dark coming-of-age story The Recondite Heart, his followup to his lauded debut, Revolution Summer.
A study in contrasts, Everyman and intellectual, Roy Andersson speaks about his career and new film, You, the Living.
Franny Armstrong talks about the moral imperative of her films, the importance of Hopenhagen, and the unexpected magnitude of her success.
The Toronto International Film Festival has always allowed a generosity of pursuits to co-exist, rewarding the adventurous and satiating the lazy, all without judgment.
Fear-Free Fundraising: Notes on assembling the basic ingredients for a great foundation funding proposal.
The release of Woodstock provides an opportunity to look back on Ang Lee and Schamus's very impressive, diverse screen resume.
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.
J.P. Allen and Janis DeLucia Allen's latest imagining, Sex and Imagining, is a two-character piece thick with dialogue and psychological undercurrents.
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.
The Roxie present Fear and Desire and Delinquents by Stanley Kubrick and Robert Altman
The 2009 SFIFF has been a launching pad for the numerous Bay Area filmmaker
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.
Troell keeps everything emotionally intimate in this lovely film full of grace moments, that chronicles the early 20th-century travails of the Larsson family.
Twenty years after its founding, Strand Releasing remains an active, irreplaceable and distinctive presence on the U.S. distribution scene.
First-Person: Larry Daressa provides helpful hints on distribution strategy.
Fear-Free Fundraising: Holly Million suggests ways to make approaching individual donors that much easier.
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.
SF360.org joined in on a conversation about Cinematheque's past and present when Steven Jenkins lunched with Jonathan Marlow at Caffe Centro.
Grants totaling $3 million for narrative feature films made in the Bay Area will be distributed by the SFFS and the Kenneth Rainin Foundation.
First-Person: A program officer at the San Francisco Foundation has a sobering experience making a documentary.
Avoiding Disaster: George Rush writes on the conundrum of not getting money for a project without a known cast, and not getting a cast without a bunch of money.
Avoiding Disaster: George Rush writes on the conundrum of not getting money for a project without a known cast, and not getting a cast without a bunch of money.
Wenders, one of the stellar directors of "New German Cinema," is this year's honoree at the 14th annual Berlin & Beyond festival.
The forthcoming film Speaking in Tongues follows four diverse local public-school students enrolled in language-immersion programs.
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.
Tom E. Brown talks about producing and funding Pushing Dead, a film about an HIV-positive writer forced to give up his daily drug regimen.
Oakland's Pamela Harris and Grantmakers in Film + Electronic Media are connecting media makers with financial resources.
Sebastopol-based screenwriter Pamela Gray's approach to screenwriting is the literary equivalent of the slow food movement.
Bay Area filmmakers represented at Sundance.
Québec's thriving regional cinema is showcased in San Francisco Film Society's latest mini-festival addition to the annual Bay Area movie calendar.
Martha Colburn's recent shorts plunge the interstices of Americana for a hidden history of fanaticism and double-faced hypocrisies.
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.
We sat down with Michel Shehadeh, who joined the festival earlier this year, for a wide-ranging interview on Arab film.
Avoiding Disaster: George Rush offers tips on bridging the worlds of creativity and business.
The SFFS has added a Gallic counterpart to its long-running New Italian Cinema series.
Freelance curator and film fanatic Jack Stevenson brings grainy reels documenting live, nude girls to the Yerba Buena Center for the Arts.
Religulous is a desperately awaited and already vehemently decried film by Bill Maher and director Larry Charles.
The title story of her Hemingway/Pen Award-winning collection of short stories, A Thousand Years of Good Prayers, has been adapted by Wayne Wang.
It used to be standard for San Francisco to be portrayed in movies as a magical, mythical, and slightly mysterious catalyst for transformation.
It used to be standard for San Francisco to be portrayed in movies as a magical, mythical, and slightly mysterious catalyst for transformation.
When Vida Ghahremani became a movie star at 16 in the Shah's Iran, she felt as if she were in prison.
YBCA's triennial exhibition has developed a deserved reputation for presenting an energetic survey of current Bay Area artistic practice.
This year's Mill Valley Film Festival shows healthy signs of life for the independent film business.
A Telluride veteran gives a festival overview, and explains why film lovers and filmmakers travel to a remote corner of Colorado on blind faith.
SF360.org asked this veteran indie auteur for his thoughts, which he gamely and intelligently offers here.
A conversation with the executive director of an experimental/avant-garde film distribution company, who both runs a profitable business and creates dynamic art.
On curating the Robert Flaherty Film Seminar, a social Petri dish that annually brings together a different programmer, a captive and engaged audience, and filmmakers.
A Listener's Tale is a lovely if unclassifiable mixture of ethnography and poetic reverie which screened at last winter's Rotterdam Film Festival.
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).
The SF Film Society is optimistic that its year-round screen at the Sundance Kabuki will contribute to the spectrum of films in Bay Area theaters.
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."
Looking for something meaningful to do Sunday at 2 a.m.? Try the all-night Dawn festival.
It may not be easy being Uwe Boll, but it must be fun. He's a boundlessly energetic fanboy-turned-maker who thinks large.
Food scents and film sensibilities mingled in a pungent party atmosphere at the California Culinary Academy.
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.
The SFIFF announced its 2008 program and the June 13 launch of its year-round programming on one screen at the Sundance Kabuki
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
Praise any god you like for Alex Gibney, who has quietly risen from stellar PBS series to a run of exceptional theatrical-release docs.
Susan Gerhard reflects on Sundance's program with particular attention to sense of place.
Michael Fox reviews the release of a Sergei Paradjanov DVD boxed set and the arrival of a Jean-Luc Godard box spotlighting his underrated mid-'80s work.
At Sundance 2008, a swath of features, docs, installations, and projected art shared similar socio-political concerns, which they grappled with via well-honed aesthetic filters.
Even when just stringing gags together in his early comedies, Woody raised the level of the game, making humor intellectual and the intellectual humorous.
In honor of Gus Van Sant's new film, 'Paranoid Park,' five skate films that matter to the skate junkie, and three honorable mentions.
The Arab Film Festival, now in its 11th year, is featuring not just 80 movies from 13 countries, but is also including screenings in LA, a first for a Bay Area-based fest.
The List: SF360.org has compiled a short list of environmental filmmakers we hope will one day find a Peace Prize coming their way, too.
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.
Miles Matthew Montalbano's evocative and empathetic portrait of Bush-era dissatisfaction among the post-collegiate set.
SF360.org reviews Shane Meadows' finest directorial effort yet and an offbeat coming-of-age comic-drama.
SF360.org talks to Marc Huestis, who exhibits a playful flair to his showmanship, putting the "imp" back in impresario.
The List: San Francisco Jewish Film Festival is showing five great films that showcase the moxie and smart fighting style of Jewish boxers, both old and new.
Changes in Hal Hartley's geography and work styles have put distance between his early films and also given the director a chance to experiment with form.
The Unbelievable Truth helped jumpstart the independent film movement in the U.S. in 1989, followed by eight more Hartley features in the next decade.
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.
This year's 125 films follow the fest's growth from 13 films in 1982 in the wake of Wayne Wang's Chan is Missing.
"Not eating your friends after they have died is a relatively new invention."
Wrapping up Sundance Ô07, with the NFL's big game as the best metaphor to describe the annual festival.
SF IndieFest's founder/director Jeff Ross announced the ninth edition of the Bay Area's indie showcase festival
The Redwood City-based startup InDplay is like an online dating service for the film industry.
The List: The impresario Ôs remarkable 11 years of A-to-Z-list celebrity-repurposing projects.
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.]
Mark Andrews and Andrew Jimenez co-wrote and co-directed the unexpected, surprisingly funny short about two musicians vying for a young girl's lone coin.
Crossdressers, canines, and Cruellas de Vil occupied the Castro theater last weekend as part of the first Canine Film Festival.
Tributes to Helen Mirren and Tim Robbins highlight the 29th annual edition .
Executive director Bashir Anastas discusses this year's lineup.
The Catharine Clark Gallery's new Video on Demand feature allows you to choose videos from the gallery's extensive library of video work.
Ryan Fleck talks about his new film Half Nelson, his filmmaking career, and his creative inspirations and tastes.
The List: ZeroOne San Jose Global Festival of Art on the Edge presents an array of = augmented realities, artificial intelligences, and interactive pieces.
The veteran Israeli filmmaker, in town for the Jewish Film Festival, talks about radical art and Free Zone.
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.
Benjamin Weil took time out from preparations for the upcoming Barney show to answer questions about the artist's "Drawing Restraint" series.
Conference discusses the difficulties for lesbian features to get made and do well at the box office.
16 filmmakers from the Bay Area find at least 15 minutes of fame in the San Francisco International LGBT Film Festival this year.
Marc Huestis talks about his latest film,
The third annual Icelandic Film Festival offers just two features and one short, but it's all very, very good.
Is it possible that Big Tilda in the real is bigger than Lucy Gray's larger-than-life projections of her onto City Hall?
San Francisco International Film Festival announces lineup for the 49th annual festival.
Vietnamese American filmmaker Ham Tran rights an historical wrong in his debut feature film on the Vietnam War.