SF360.org represents a nearly six-year experiment in philanthropically funded film journalism, covering films and filmmaking in the Bay Area and beyond. Published by the San Francisco Film Society, the website debuted February 27, 2006 and was created in a unique collaboration between SFFS and Indiewire, with Susan Gerhard as editor. While SF360.org is no longer publishing feature stories, the SF360 Archive remains the most comprehensive collection of articles about the Bay Area film community, with more than 1,000 feature stories and reviews as well as Indie Toolkit's informative columns about the basics of creating a film and delivering it to audiences. Articles by some of the Bay Area’s most notable voices will remain at your fingertips for the foreseeable future.
SF360.org represents a nearly six-year experiment in philanthropically funded film journalism, covering films and filmmaking in the Bay Area and beyond. Published by the San Francisco Film Society, the website debuted February 27, 2006 and was created in a unique collaboration between SFFS and Indiewire, with Susan Gerhard as editor. While SF360.org is no longer publishing feature stories, the SF360 Archive remains the most comprehensive collection of articles about the Bay Area film community, with more than 1,000 feature stories and reviews as well as Indie Toolkit's informative columns about the basics of creating a film and delivering it to audiences. Articles by some of the Bay Area’s most notable voices will remain at your fingertips for the foreseeable future.
Critics from the Bay Area and beyond weigh in on the weekend's openings.
Critics from the Bay Area and beyond weigh in on the weekend's openings.
Critics from the Bay Area and beyond weigh in on the weekend's openings.
YBCA digs a delightfully disturbing live Kinski document from the archives.
YBCA digs a delightfully disturbing live Kinski document from the archives.
Kelly Reichardt creates a moving meditation on open space with 'Meek's Cutoff.'
Kelly Reichardt creates a moving meditation on open space with 'Meek's Cutoff.'
Kelly Reichardt creates a moving meditation on open space with 'Meek's Cutoff.'
SFFS Education and Lourdes Portillo, director/producer of ‘The Mothers of Plaza de Mayo’ and ‘The Devil Never Sleeps,’ present a Master Class titled ‘The Unorthodox Documentary,’ in which Portillo shares her techniques and reviews students proposals. More at sffs.org.
A collection of Dave Kehr's analytical, entertaining pieces from 30-plus years ago offers critical enlightenment for a short-form era.
A collection of Dave Kehr's analytical, entertaining pieces from 30-plus years ago offers critical enlightenment for a short-form era.
A collection of Dave Kehr's analytical, entertaining pieces from 30-plus years ago offers critical enlightenment for a short-form era.
The stories of an assassinated soccer star and the nation's most notorious criminal merge in a portrait of '80s-'90s Colombia.
The stories of an assassinated soccer star and the nation's most notorious criminal merge in a portrait of '80s-'90s Colombia.
The stories of an assassinated soccer star and the nation's most notorious criminal merge in a portrait of '80s-'90s Colombia.
Resnais remains elusive and detached, his films beautiful abstracts of intellectual rather than emotional impact.
Resnais remains elusive and detached, his films beautiful abstracts of intellectual rather than emotional impact.
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.
Hirokazu Kore-eda's Air Doll is a conceptual gamble pulled off with a master’s grace and subtlety.
Hirokazu Kore-eda's Air Doll is a conceptual gamble pulled off with a master’s grace and subtlety.
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.
The harsh glare of the spotlight that brought Howl mixed reviews from critics on opening night of Sundance had melted into a warm glow by Saturday.
The documentary chronicles several large-scale pranks devised in the hopes of fooling corporate/government event attendees and/or the media.
Francois Truffaut’s The 400 Blows is being revived as part of San Francisco Film Society’s second annual French Cinema Now festival, which runs the week of October 29 through November 4 at the city’s Clay Theatre.
There's an advantage to being an insulated American while watching Tom Hooper's dramatization of an important part of the life of football coach Brian Clough.
The rapid adoption of e-newsletters by documentary filmmakers is the latest example of resourcefulness and efficiency among contemporary independents.
At a film festival called Another Hole in the Head, dedicated to sci-fi, horror and fantasy, catastrophic carnage meets comedy more often than not.
Despite a few flaws in story and continuity, Drag Me to Hell offers the pleasures of a first-class entertainer thoroughly enjoying himself.
Philippe Garrel sticks to his highly-personal aesthetic in Frontier of Dawn.
If it grows darker than one might expect, Observe still hesitates at becoming a true black comedy; it's more medium-gray, earning stripes for breaking from current comedy norms on a moment-to-moment basis without quite arriving at an original, fully-developed whole. But Hill has a good eye, ear (the soundtrack choices are notably sharp), sense of off-kilter pacing, and, most importantly, a firm grasp on character.
Troell keeps everything emotionally intimate in this lovely film full of grace moments, that chronicles the early 20th-century travails of the Larsson family.
A title like this is its own disclaimer, hinting there will be nothing "normal," or very loving, about this story.
Susan Gerhard blogs on what is strange and new about watching movies in these particular mountains.
A look at Otto; or, Up with Dead People, from a late arrival in the New Queer Cinema wave.
Steven Soderbergh's fascinating portrait of legendary revolutionary Ernesto "Che" Guevara is willfully disinterested in the conventions of mainstream movies.
Instead of breaking it down strictly category-by-category, Dennis Harvey meanders through some principal heat-seeking prestige films and their various chances.
Dennis Harvey reviews The Curious Case of Benjamin Button.
The controversial Cargo 200, a take-down of the Soviet era, makes its U.S. theatrical debut at Yerba Buena Center for the Arts.
A newly restored print of Bergman's Monika, which deals with underage, guiltlessly unfaithful femininity, plays the Red Vic.
Based on John Ajvide Lindqvist's novel, Let the Right One In is a poignant, nuanced, original addition to the cinematic vampire canon.
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.
Whether you dig jazz or not, O'Day's charisma and story make this movie riveting.
I confess that for a long while I had the misperception, based on almost no exposure to his work, that French essayist Chris Marker made dense, dry films steeped in political theory and inaccessible to anyone but a narrow strata of irrelevant European intellectuals.
Woody Allen's latest is a superb travel guide in addition to being an amusing, intelligent if not exactly profound meditation on fate, chance, and romance.
Viva's cautionary tale is aptly encapsuled by the poster line: 'They were housewives seeking kicks, in a world of swingers, orgies, booze, and sin.'
Eternally fascinated with extremes of location, Werner Herzog's latest documentary, Encounters at the End of the World, finds the filmmaker exploring life on the edge in Antarctica.
Dennis Harvey reviews Sergei Bodrov's Mongol, a distinctive look at the early life of the conqueror.
'Love Songs', a truly gay musical utterly devoid of camp, causes critic Dennis Harvey to reassess France's take on the genre.
It may not be easy being Uwe Boll, but it must be fun. He's a boundlessly energetic fanboy-turned-maker who thinks large.
Part Luis Bunuel parable, Artforum spread, Jonestown ballet and Warhol camp, Harmony Korine's latest is a prime, insomniac two hours of midnight-movie drifting.
Joan Didion famously said, "We tell ourselves stories in order to live." We've internalized the American narrative of Abu Ghraib and accepted its implications.
As an Asian film fan, it's a miracle I keep my day job at this time of year.
"There are no movies without music," Kevin Kelly asserted last Saturday in his State of Cinema address.
Boarding Gate is raw, silly, bloody, funny, carnal, intricate, coarse and self-conscious. It all suggests Olivier Assayas has a lot more surprises in him yet.
Small-town "heartland" America that once held our majority populace is now seldom seen on screen. Jeff Nichols debut feature Shotgun Stories is an exception.
A series of films at SFMOMA present an outsiders take on the outmoded American staple, the Western.
Writer/director Jonah Markowitz's Shelter is a romantic gay surfer that more than earns its spurs in terms of real-world credibility and psychology.
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
An idea so vivid yet simple you've got to wonder why more movies haven't used it: Something happens that turns the populace into irrational maniacs.
The Irish flick might put the leper back in leprechaun, but it's still at heart a reassuringly formulaic hunk of bloody commercial horror.
Praise any god you like for Alex Gibney, who has quietly risen from stellar PBS series to a run of exceptional theatrical-release docs.
Francisco Vargas' first feature has won a pile of international awards to date, and might have garnered more had it arrived on the scene earlier.
Judd Apatow has come to so dominate American comedy that I often find myself thinking, "If only this movie had been written by Apatow..."
Judd Apatow has come to so dominate American comedy that I often find myself thinking, "If only this movie had been written by Apatow..."
How does Jean-Jacques Beineix's breakthrough hold up a quarter-century later, duly remastered and freshly subtitle-translated?
U.S.-Cambodian co-production Holly might easily have gone straight to DVD, which would be a pity because it's well worth rushing to the theatre for.
A perfect example of the emerging genre of improv-based, digitally shot, minimally budgeted seriocomedies about twentysomethings stumbling through, you know, relationship stuff.
Todd Haynes' I'm Not There both replicates and examines the hazy landscape of fact, fiction, art and myth comprising Dylanology.
Sometimes even presumably good intentions can warp into artistic misdeeds most foul.
There are a lot of Strummer stories to tell, and a good share of them are in Julien Temple's terrific new documentary.
This wisp of a movie shouldn't be able to sustain its gimmicky concept, yet miraculously does, thanks not just to Gosling, but to his fellow actors and measured direction.
Joseph Cornell: Navigating the Imagination comes to San Francisco for the first major west-coast exhibition of the artist's work in 40 years.
Slow your rhythms down to this film's idiosyncratic tempo, and you'll get a striking, authentic-feeling epic that's often rivetingly tense.
"In Search of Mozart" is a comprehensive overview of the composer's generous genius and one of the finest examples of the PBS-style, talking heads-and-cutaways documentaries in recent memory.
The freshing thing about Susan Dynner's new documentary ÔPunk's Not Dead' Ñ beyond the fact that it's not the 9,482nd recap of The Early Years (circa 1976-85) Ñ is its unabashed if not uncritical acknowledgment that punk is here to stay.
Max Goldberg on Jonathan Rosenbaum's critical survey of director Orson Welles.
Max Goldberg on Jonathan Rosenbaum's critical survey of director Orson Welles.
SF360.org reviews a masterpiece of train-wreck voyeurism and "Sunset" stripped.
One film takes us from the American South to the Korean North, another to Frank Oz's last gasp.
SF360.org reviews Shane Meadows' finest directorial effort yet and an offbeat coming-of-age comic-drama.
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.
Reviews: Dr. Bronner's Magic Soapbox and Ten Canoes
Parker Posey: one more-than-worthies in an often less-than-worthy medium. It's particularly exciting when they get a rare expansive part in a good movie.
Sicko's story of the mismanagement of U.S. healthcare takes Michael Moore from the U.S. to Canada to Europe, and most notably, to Cuba.
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.
Brand is no short supply of Guy Maddin's usual firecrackers: apostrophe, hyperbole, and of course, catastrophe.
Brand is no short supply of Guy Maddin's usual firecrackers: apostrophe, hyperbole, and of course, catastrophe.
Strand Releasing can always be relied upon for some of the best art films and queer indies, and it has a strong festival presence,
Despite the best efforts of method actors, methodical directors, and talented costume designers, biopics can usually be relied upon to disappoint.
Despite the best efforts of method actors, methodical directors, and talented costume designers, biopics can usually be relied upon to disappoint.
San Franciscans have a poignant symbiotic relationship with William Kaufman's freshman feature, The Prodigy, which returns to the city this week.
A masterful stroke by writer-director Abderrahmane Sissako; Luc Besson returns to American theaters after a nearly decade-long absence.
A masterful stroke by writer-director Abderrahmane Sissako; Luc Besson returns to American theaters after a nearly decade-long absence.
Five recommendations chosen from among the gore, ghouls, ghosts, gags, and animation at Indiefest's Holehead festival.
Not even widely released yet in the States, Philippe Parreno and Douglas Gordon's "ZidaneÉ" has already been considered a portrait of the century.
As Bruno Dumont's Flanders navigates festival waters, it's been leaving behind a noticeable wake.
in Claude Chabrol's latest film, Isabelle Huppert plays a judge plunging headlong into a dangerous investigation of french corruption and gender dynamics.
in Claude Chabrol's latest film, Isabelle Huppert plays a judge plunging headlong into a dangerous investigation of french corruption and gender dynamics.
“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.
“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.
A Western occupying power faces opposition from the locals and responds with brutal military suppression, spurring a countrywide resistance movement reaching down to the grassroots.
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.
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.
Robert Avila reviews A Zen Life: D.T. Suzuki and The Situation.
One film shows how an inspirational movie can actually inspire; the other that a con sometimes looks better on paper.
One film shows how an inspirational movie can actually inspire; the other that a con sometimes looks better on paper.
The cinematic image of the Ô60s commune is normally as two-dimensional as the screen it's projected on, and rarely very kind.
Daniel Burman's smartest play was casting Daniel Hendler as his onscreen alter ego. Michael Apted's worthy Grace, reminds that period pieces make effective message movies.
Daniel Burman's smartest play was casting Daniel Hendler as his onscreen alter ego. Michael Apted's worthy Grace, reminds that period pieces make effective message movies.
James Longley's Fragments stands out amongst the crowded field of Iraqumentaries, while Others pulls back the Iron Curtain to powerful effect.
Tears of the Black Tiger is Thai eye candy, an exercise pastiche where color just about leaps off the screen, and a star-crossed love story.
Wrapping up Sundance Ô07, with the NFL's big game as the best metaphor to describe the annual festival.
A delightfully funny movie on boy-men redeeming themselves from New Zealand, and Mark Becker's absorbing documentary on a musician in the Mission.
Miljenko Skoknic's list of favorites in Chilean Cinema.
A documentary provides an in-depth description of Robert Wilson's life and art. Melville's spy story on a Resistance cell in Nazi-occupied French challenges our idea of heroism.
Teenager Lucie's (Islid Le Besco) encounter with her idol, the pop diva Lauren Waks (Emmanuelle Seigner), turns into a twisted and creepy psychological relationship.
Hollywood is the Santa that bestows gifts every Yuletide,; but you have to pick which ones you want, then pay for them.
"Candy," an Australian film an accent-less Aussie Heath Ledger, follows the downward spiral of a Heroine addict - by now a time-tested narrative conceit.
It would not seem to bode well for the stewardship of studio classics that Preston Sturges's indomitable comedies have been so slow to DVD.
MTV's boat has long since sailed, but music videos are as ubiquitous on YouTube and Myspace as YBCA brings music videos to its downstairs gallery.
Filmmaking was just one among many creative outlets for Japanese multimedia artist Hiroshi Teshigahara.
Through a close examination of his own family, filmmaker Doug Block explores universal questions about our own mothers and fathers in 51 Birch Street.
The List: Ten to catch at the 9th annual United Nations Association Film Festival October 25 through 29 at Stanford University in Palo Alto.
After weeks of Western Europe, what better way for the young cineaste to crash the City of Light than a trip to the silver screen?
Though it won the Silver Bear at the Berlin Film Festival in 1975, Overlord is one of those movies that mostly slipped through the cracks.
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.
Why do updates of Jerry Lewis flicks get more slack from critics than Zailian's "All the King's Men" and Demme's "The Manchurian Candidate?"
Why do updates of Jerry Lewis flicks get more slack from critics than Zailian's "All the King's Men" and Demme's "The Manchurian Candidate?"
Craig Baldwin and Noel Lawrence bring their brand of smart, quirky, avant-garde and political programming into the home.
Distributors of independent films reveal their strategies and assessment of the market heading into the all-important fall season.
This 2006 series of recent releases and restorations that played theaters for only a day or, at most, a week is exceptionally varied.
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."
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.
Bay Area soccer fans offer their takes on the best football films.
In The War Tapes, Deborah Scranton exposes war as an industry - for those who fight it and for those who don't.
Songbirds is a "documentary musical" Ñ something that sounds like a pure contradiction-in-terms until you actually see it.
The List: B. Ruby Rich picks her favorites for the 2006 San Francisco International Film Festival.