The best is yet come for Mexican wunderkind Nicolás Pereda, whose elliptical narratives allow room meditation and imagination on the part of a viewer.
The best is yet come for Mexican wunderkind Nicolás Pereda, whose elliptical narratives allow room meditation and imagination on the part of a viewer.
The best is yet come for Mexican wunderkind Nicolás Pereda, whose elliptical narratives allow room meditation and imagination on the part of a viewer.
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.
Stabile film at Frameline, Tribeca and, soon, YBCA, looks at San Francisco’s sex-film history.
Stabile film at Frameline, Tribeca and, soon, YBCA, looks at San Francisco’s sex-film history.
Stabile film at Frameline, Tribeca and, soon, YBCA, looks at San Francisco’s sex-film history.
Stabile film at Frameline, Tribeca and, soon, YBCA, looks at San Francisco’s sex-film history.
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.
Kiarostami’s ‘Certified Copy’ is a puzzling provocation that gets better with multiple viewings.
Kiarostami’s ‘Certified Copy’ is a puzzling provocation that gets better with multiple viewings.
Kiarostami’s ‘Certified Copy’ is a puzzling provocation that gets better with multiple viewings.
A Portuguese filmmaker builds a rich visual landscape from French singer Jeanne Balibar's vocal practice.
A Portuguese filmmaker builds a rich visual landscape from French singer Jeanne Balibar's vocal practice.
A Portuguese filmmaker builds a rich visual landscape from French singer Jeanne Balibar's vocal practice.
Yerba Buena Center for the Arts offers the latest by Pedro Costa, what they call a "ravishing, entrancing study of light, shadow and voice" from the Portuguese filmmaker. More at ybca.org.
YBCA shows its programming breadth, moving from Charles Ludlam and Robert Gardner to this celebration of the iconic children's show as part of a series highlighting the legendary Jim Henson.
Three decades of Robert Gardner films scrutinize the human condition.
Three decades of Robert Gardner films scrutinize the human condition.
Three decades of Robert Gardner films scrutinize the human condition.
Three decades of Robert Gardner films scrutinize the human condition.
Three decades of Robert Gardner films scrutinize the human condition.
Three decades of Robert Gardner films scrutinize the human condition.
After seeing one of Charles Ludlam's early plays, theater critic Brendan Gill famously remarked, "This isn't farce. This isn't absurd. This is absolutely ridiculous!" Yerba Buena Center for the Arts presents two of Ludlam's rarely seen films: a digitally remastered version of 'The Sorrows of Dolores' (September 24–25) and 'The Impostors' (September 26), where Ludlam stars as a gay magician.
Edward Yang died too soon, but his work remains: An uncut and newly restored version of Yang's intense and epic portrait of life in '60s Taiwan plays at the Yerba Buena Center for the Arts.
The Yerba Buena Center for the Arts' design and architecture series, Something From Nothing, draws to a close with Faythe Levine's 'Handmade Nation,' a documentary about the politics, aesthetics, and ethos of D.I.Y craft in North America that played SF360 Film+Club this past year.
Rare vampire films, including Kathryn Bigelow's Near Dark and Carl Dreyer's unsettling Vampyr, come out of the dark for a weekend at the Yerba Buena Center for the Arts.
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. . .
Former San Franciscan Jack Stevenson returns from Denmark to promote the U.S. publication of Scandinavian Blue: The Erotic Cinema of Sweden and Denmark in the 1960s and 1970s.
Gary Hustwit s Helvetica turned a font into a fascination, and Justine Nagan's Typeface takes the topic of type one step further by moving into the past.
Gary Hustwit s Helvetica turned a font into a fascination, and Justine Nagan's Typeface takes the topic of type one step further by moving into the past.
YBCA s month-long, six-part Human Rights and Film series closes with two documentaries on the Arab-Israeli conflict made 35 years apart.
YBCA has sustained a major place in S.F.'s cultural landscape without receiving the due it would have had its mission been narrower and more easily defined.
YBCA has sustained a major place in S.F.'s cultural landscape without receiving the due it would have had its mission been narrower and more easily defined.
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.
Riding the crest of the Tati tsunami hitting our shores is The Magnificent Tati by Michael House, who lived in S.F. for 12 years before moving to Paris.
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.
Chick Strand, a crucial pioneer of West Coast experimental cinema, died July 11 at 78.
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.
To viewers of Lucrecia Martel's earlier work, The Headless Woman is the crowning achievement; the filmmaker speaks about her vision of the world.
Lucrecia Martel's films, including La Ciénaga and The Headless Woman feature what have come to be known as her primary concerns: classism, decay and femininity.
Wild man of Italian cinema, Marco Ferreri left many films in need of rediscovery (or simply discovery) since his death in 1997.
National Film Preservation Foundation, Treasures IV: American Avant-Garde Film, 1947-1986, is a splendid package of 26 films, drawn from New York and San Francisco.
Twenty years after its founding, Strand Releasing remains an active, irreplaceable and distinctive presence on the U.S. distribution scene.
Twenty years after its founding, Strand Releasing remains an active, irreplaceable and distinctive presence on the U.S. distribution scene.
The controversial Cargo 200, a take-down of the Soviet era, makes its U.S. theatrical debut at Yerba Buena Center for the Arts.
The controversial Cargo 200, a take-down of the Soviet era, makes its U.S. theatrical debut at Yerba Buena Center for the Arts.
Freelance curator and film fanatic Jack Stevenson brings grainy reels documenting live, nude girls to the Yerba Buena Center for the Arts.
Freelance curator and film fanatic Jack Stevenson brings grainy reels documenting live, nude girls to the Yerba Buena Center for the Arts.
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.
A documentary looks into a machine designed to harness the hallucinatory potential of flickering light, and sketches a portrait of its troubled creator.
A Listener's Tale is a lovely if unclassifiable mixture of ethnography and poetic reverie which screened at last winter's Rotterdam Film Festival.
Meet Phil Chambliss, a 54-year-old, recently retired gravel pit nightwatchman who makes what might be termed cinematic folk art.
Here are a few quick takes on programs that look particularly worthwhile at Madcat.
Matt Sussman looks at the final products of the talented young directors in TILT's Summer Film Camp showcase (screening as part of of Straight Outta Film Arts program at YBCA).
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.
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.
Muppets, Music, and Magic, a Jim Henson career retrospective pleases not only Muppet-lovers but also people whose tastes stretch beyond.
Muppets, Music, and Magic, a Jim Henson career retrospective pleases not only Muppet-lovers but also people whose tastes stretch beyond.
Not even widely released yet in the States, Philippe Parreno and Douglas Gordon's "ZidaneÉ" has already been considered a portrait of the century.
The 50th annual SF International Film Festival is as good a time to put forth an argument. Here’s one: The most compelling movie stars of the current era are athletes, and the most dynamic 21st-century cinema is sports cinema.
One of Apichatpong Weerasethakul Ôs goals as a filmmaker is to simply show what he likes, and what he likes to see.
One of Apichatpong Weerasethakul Ôs goals as a filmmaker is to simply show what he likes, and what he likes to see.
Song and Solitude, is a twilight sojourn to a secret world much like our own, rendered with profound patience and a hint of wistfulness.
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.
When onlookers or bystanders disparagingly refer to experimental film as torturous or a bore, it’s a safe bet that they’ve never seen anything by Bruce Baillie.
The provocative documentary filmmaker is recalled with a retrospective at Yerba Buena Center For the Arts.
San Francisco Cinematheque guest curator Jenni Olson reflects on her show, Kees Kino: The Film Work of Weldon Kees.
San Francisco Cinematheque guest curator Jenni Olson reflects on her show, Kees Kino: The Film Work of Weldon Kees.
Perfumed Nightmare, a Filipino art film in which process is ultimately indivisible from form, is largely forgotten today but created a minor sensation upon its release.
Perfumed Nightmare, a Filipino art film in which process is ultimately indivisible from form, is largely forgotten today but created a minor sensation upon its release.
After 35 years of underground success, veteran indie filmmaker William Farley still hovers just off the shore of mainstream respectability.