The TFI Latin America Media Arts Fund supports innovative film and video artists who are living or working in Mexico, Central and South America and working independently in their efforts to reach a larger audience. ELIGIBILITY: Submissions must be animation, documentary and/or hybrid feature-length films with an intended length of at least 70 minutes. Submissions must be in production or post-production and must not have aired on any form of television, been screened publicly or have been distributed in theaters or via the internet. Projects may be in any language or dialect. Applicants must be over 18 years old. Student films and stand-alone short films are not eligible for submission. $25 entry fee. AWARDS: Last year, the Fund administered $10,000 grants to four selected films. In addition to funding, each grantee will receive a U.S. based advisor and guidance from the Tribeca Film Institute. DEADLINE: October 10, 2011. WEBSITE: tribecafilminstitute.org/filmmakers/latin_fund/.
Unhurried, character-driven story demonstrates the filmmaking finesse that’s brought Romanian cinema to the fore. Though it had made an occasional international impression before—notably with a long history of Cannes entries and prize winners—few could have anticipated the splash Romanian cinema would create in the last few years. Or that the attention paid it would bring a number of often long, difficult, obtuse movies out of their usual habitat (the festival circuit) into theaters around the world. The collapse of Communism and execution of Romania's quarter-century dictator Nicolae Ceausescu in 1989 freed the filmmaking industry from strict governmental control and propagandic content. But it took until the middle...
Unhurried, character-driven story demonstrates the filmmaking finesse that’s brought Romanian cinema to the fore. Though it had made an occasional international impression before—notably with a long history of Cannes entries and prize winners—few could have anticipated the splash Romanian cinema would create in the last few years. Or that the attention paid it would bring a number of often long, difficult, obtuse movies out of their usual habitat (the festival circuit) into theaters around the world. The collapse of Communism and execution of Romania's quarter-century dictator Nicolae Ceausescu in 1989 freed the filmmaking industry from strict governmental control and propagandic content. But it took until the middle...
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.
Deborah Peagler's case in 'Crime After Crime' gets its time in court and on screen, with moving results.
Deborah Peagler's case in 'Crime After Crime' gets its time in court and on screen, with moving results.
Deborah Peagler's case in 'Crime After Crime' gets its time in court and on screen, with moving results.
A local fan of a local cinema has big dreams for his favorite, now-defunct East Bay movie-theater.
A local fan of a local cinema has big dreams for his favorite, now-defunct East Bay movie-theater.
A local fan of a local cinema has big dreams for his favorite, now-defunct East Bay movie-theater.
Keanu Reeves, James Caan and Vera Farmiga star in Malcolm Venvile’s ‘Henry’s Crime,’ which opens at Landmark’s Embarcadero Center Cinema in San Francisco, Landmark’s Shattuck Cinemas in Berkeley and other Bay Area theaters. The film was an official selection of the Toronto International Film Festival. More at landmarktheatres.com.
Why one local cineaste has made a resolution to support his local theater, the Bridge.
Why one local cineaste has made a resolution to support his local theater, the Bridge.
Why one local cineaste has made a resolution to support his local theater, the Bridge.
Why one local cineaste has made a resolution to support his local theater, the Bridge.
'Client 9' makes the case that Wall Street, not women, brought Eliot Spitzer down. This month commenced with the most stellar edition yet of what's become America's favorite political pasttime, a game we call Out with the (Sorta) Old, In with the (Kinda) New. Payback was especially directed at the current administration's failure to get the economy back to booming. Yet as one of the year's biggest documentaries, Charles Ferguson's Inside Job, noted, conservative politicos and their allies were very much in on the policies that got our collective piggy bank broken and looted in the first place. Though it can certainly stand on its own merits, Client 9 (which opens at local theaters this...
'Client 9' makes the case that Wall Street, not women, brought Eliot Spitzer down. This month commenced with the most stellar edition yet of what's become America's favorite political pasttime, a game we call Out with the (Sorta) Old, In with the (Kinda) New. Payback was especially directed at the current administration's failure to get the economy back to booming. Yet as one of the year's biggest documentaries, Charles Ferguson's Inside Job, noted, conservative politicos and their allies were very much in on the policies that got our collective piggy bank broken and looted in the first place. Though it can certainly stand on its own merits, Client 9 (which opens at local theaters this...
Photo/essay book 'Left in the Dark' offers a way in—and out of—San Francisco cinema's rich, gritty, glamorous past.
Photo/essay book 'Left in the Dark' offers a way in—and out of—San Francisco cinema's rich, gritty, glamorous past.
Photo/essay book 'Left in the Dark' offers a way in—and out of—San Francisco cinema's rich, gritty, glamorous past.
A festival transforms itself and transports audiences with a visionary new theater.
A festival transforms itself and transports audiences with a visionary new theater.
A festival transforms itself and transports audiences with a visionary new theater.
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 Clay theater in San Francisco's Pacific Heights became the latest neighborhood movie theater to announce it would go dark. Wednesday's KQED Forum offered multiple takes on the fight to save the city's remaining historic single-screen theaters; listen to the podcast here.
Run, walk, bike, or bus to Sausalito for a festival filled with environmental (and other) surprises. The Sausalito Film Festival at Cavallo Point offers an impressive natural/urban backdrop to complement the worlds on view inside its theaters. Situated in the less-crowded film festival calendar space of August, it offers residents of the Bay Area ample room for their eyes to roam, with gorgeous vistas to greet those coming and going from its two restored theaters, the Mission Blue and Callippe. (Cavallo Point, a backdrop for the 22nd century in Star Trek: Enterprise, also provides a view of the San Francisco that will never get old.)
Run, walk, bike, or bus to Sausalito for a festival filled with environmental (and other) surprises. The Sausalito Film Festival at Cavallo Point offers an impressive natural/urban backdrop to complement the worlds on view inside its theaters. Situated in the less-crowded film festival calendar space of August, it offers residents of the Bay Area ample room for their eyes to roam, with gorgeous vistas to greet those coming and going from its two restored theaters, the Mission Blue and Callippe. (Cavallo Point, a backdrop for the 22nd century in Star Trek: Enterprise, also provides a view of the San Francisco that will never get old.)
The Pacific Film Archive's Criminal Minds series offers a liberating mix of asocial outlaws and sordid stories based on the ripped-from-the-headlines exploits of real-life gangsters and killers.
The Pacific Film Archive's Criminal Minds series offers a liberating mix of asocial outlaws and sordid stories based on the ripped-from-the-headlines exploits of real-life gangsters and killers.
The makers of Joan Rivers: A Piece of Work speak about their latest, as well as the state of documentary filmmaking.
Writer-director Andrea Arnold created a stir with her first feature Red Road, but her new film is arguably an even stronger work.
The thing about titles is they re too short to receive copyright protection. For copyright purposes, a title is like a label of a copyrighted work.
Bay Area locals Jonathan Parker and Catherine di Napoli discuss (Untitled), a hilarious romp through the world of conceptual art and atonal music.
Probably no one pushed the artistic carte blanche of "pink" films further—at least into the realm of serious political engagement—than the Japanese auteur.
Franny Armstrong talks about the moral imperative of her films, the importance of Hopenhagen, and the unexpected magnitude of her success.
Jager McConnell speaks about Scary Cow, a filmmakers' co-op that offers experience, people, money and equipment to aspiring filmmakers with ideas to burn.
Newly-retired Pacific Film Archive publicist Shelley Diekman discusses her cinephile tastes, her past and her future.
Director Armando Iannucci's razor-sharp satire is about how the politics of spin can determine critical decisions on both sides of the Atlantic.
The Miller brothers take their memoir-release to the local ballpark.
Arthouse theaters like The Roxie, Red Vic and The Balboa resist the economic downturn and adjust calendars to meet audience demands.
Twenty years after its founding, Strand Releasing remains an active, irreplaceable and distinctive presence on the U.S. distribution scene.
In Strand: A Natural History of Cinema, Christian Bruno pays homage to the pivotal and shifting role of movie theaters in San Francisco's cultural life.
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.
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.
Filmmaker Yung Chang talks about 'Up the Yangtze,' his superb documentary that examines the surreal changes in China around the controversial Three Gorges Dam.
The historic Castro Theatre, its marquee recently revamped for the Milk biopic shoot, hosted Frameline's announcement of its 2008 festival.
Susan Gerhard reflects on Sundance's program with particular attention to sense of place.
The S.F. International Animation Festival experienced a major bounce, with a number of sold-out shows in its venue at the Embarcadero Center Cinema.
The filmmaker talks about her recent projects, including Salud!, which looks at Cuba's world-class health system.
Let SF360 count the ways Penn can take on the President, the paparazzi, and the possibilities for peace in our time.
Jeff Iorillo on the fourth festival trailer that he's written and directed for the S.F. International LGBT Film Festival.
Movies are shifting at mach speed from the theater to the home. The future is at hand.
Von Donnersmarck talks about his Lola-winning and Oscar-nominated debut during a visit to San Francisco.
We asked the collectively owned and operated theater to come up with a list of their five favorite screenings over the years.
A delightfully funny movie on boy-men redeeming themselves from New Zealand, and Mark Becker's absorbing documentary on a musician in the Mission.
Hailed as one of the best films of 2005 without distribution, Becker's doc hits theaters nearly two years after it debuted at Sundance.
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.
Last week, theater operators Frank and Lida Lee won the battle to save the 4 Star, and announced they'd purchased the building.
Cinequest announces a plan to distribute indie films via DVD, the Internet, TV, and some traditional theatrical sales.
The List: 25 Bay Area landmarks, including the Roxie and the Fox Oakland, are vying for $1 million in preservation grants from American Express.
The List: American Blackout director Ian Inaba names the top four Web sites.
The founder of the Madcat International Film Festival talks about the 2006 lineup.
The List:10 local filmmakers describe what they love about shooting on the streets of San Francisco.
This 2006 series of recent releases and restorations that played theaters for only a day or, at most, a week is exceptionally varied.
Through Asphodel Records and RML, Humon pursues his fascination with sound's spatial properties.
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.
SF360 talked to the director of Who Killed the Electric Car?, which opened last week, after his recent stop through the City.
SF360 spoke with Clark about Impaled, in which his exploration of adolescent mores reaches in discomfiting, yet fascinating new directions.
Bay Area soccer fans offer their takes on the best football films.
Al Gore's documentary keeps the viewer thoroughly engaged while offering what may be the most comprehensive explanation of global warming for the layperson that exists.
Christian Bruno, Julie Lindow and R.A. McBride discuss their love of San Francisco and its theaters over beers at the Uptown.