San Francisco loses two of its cinema icons, pioneering 'camp humorist' George Kuchar and seminal experimental filmmaker Jordan Belson. George Kuchar, the beloved San Francisco filmmaker, teacher, mentor and friend, died Tuesday night, September 6, at the age of 69. He passed away at Coming Home Hospice in the Castro, where he resided for the last month. Kuchar had been diagnosed with cancer a year and a half ago, but the sad news was not conveyed beyond a circle of close friends until recently. Kuchar and his twin brother, Mike, began making movies in their teens in their Bronx neighborhood in the late ’50s. Inspired by the florid emotions of Hollywood melodramas, they made 8mm narratives that were funny...
San Francisco loses two of its cinema icons, pioneering 'camp humorist' George Kuchar and seminal experimental filmmaker Jordan Belson. George Kuchar, the beloved San Francisco filmmaker, teacher, mentor and friend, died Tuesday night, September 6, at the age of 69. He passed away at Coming Home Hospice in the Castro, where he resided for the last month. Kuchar had been diagnosed with cancer a year and a half ago, but the sad news was not conveyed beyond a circle of close friends until recently. Kuchar and his twin brother, Mike, began making movies in their teens in their Bronx neighborhood in the late ’50s. Inspired by the florid emotions of Hollywood melodramas, they made 8mm narratives that were funny...
New series spotlights the fascination with Mexico in American noir.
New series spotlights the fascination with Mexico in American noir.
New series spotlights the fascination with Mexico in American noir.
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.
Todd Haynes talks melodrama, movies, TV, the Great Depression and personal motivation.
Todd Haynes talks melodrama, movies, TV, the Great Depression and personal motivation.
Todd Haynes talks melodrama, movies, TV, the Great Depression and personal motivation.
Three vampire films capture more than the imagination. That the vogue for vampire melodramas may have run its course is clear enough from the appearance of Vampires Suck (in theaters as of this writing, though not likely much past it) and the news that the American redo of the 2008 Swedish indie hit, Let the Right One In, will be titled "Let Me In." Just like that, a lovely slice of pop-baroque gets reprocessed as a pathetic whine. No matter: as long there is cinema, the vampire will reemerge. Ever since the twin pinnacles of Nosferatu (1922) and Vampyr (1932), in which two of early cinema’s. . .
Three vampire films capture more than the imagination. That the vogue for vampire melodramas may have run its course is clear enough from the appearance of Vampires Suck (in theaters as of this writing, though not likely much past it) and the news that the American redo of the 2008 Swedish indie hit, Let the Right One In, will be titled "Let Me In." Just like that, a lovely slice of pop-baroque gets reprocessed as a pathetic whine. No matter: as long there is cinema, the vampire will reemerge. Ever since the twin pinnacles of Nosferatu (1922) and Vampyr (1932), in which two of early cinema’s. . .
The second screening in Film on Film Foundation's Film Maudit program, a curated reconsideration of oft-maligned and misunderstood films, is Franco Zeffirelli's unabashed melodrama 'Endless Love.'
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.
Highlights from the 2009 San Francisco Silent Film Festival winter event.
This little no-budget film has picked up a slew of festival prizes for its character depth, unpredictable storytelling, humor and warmth.
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.
Carlos Reygadas' third film is an unmistakably serious work, emblematic of the kind of brooding, large-canvas filmmaking which has become a rarity.
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.
As an Asian film fan, it's a miracle I keep my day job at this time of year.
The Associazone Piemontesi of Northern California, with the Italian Cultural Institute and Regione Piemonte, presents "Cinema Piemonte," four movies made in that beautiful region.
Michael Fox interviews director and Mission District icon George Kuchar
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.
“I Don’t Want to Sleep Alone” puts its melodrama and comedy within a Malaysian mattress. 1962’s “Mafioso” may be the mob-chronicle genre’s ground zero.
Filmmaking was just one among many creative outlets for Japanese multimedia artist Hiroshi Teshigahara.
Ozon's Time to Leave demonstrates how central he's become to European cinema, and reminds us that he's among gay world cinema's most accomplished writer/directors.
The sudden climate change in the Middle East has had a tone-altering effect on the San Francisco Jewish Film Festival, where the war will be Topic A.