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Bernardo Ruiz’s “Harvest Season,” introduces the unsung Latino and Mexican-American heroes of Napa Valley’s wine industry—world premiere Saturday, MVFF41

VanessaRobledo

Vanessa Robledo, a Napa viticulturist, is profiled in Bernardo Ruiz’s documentary, Harvest Season, which was filmed in Napa and has its world premiere Saturday at MVFF41.  Filmmaker Bernardo Ruiz, Producer Lauren Capps and subjects Vanessa Robledo, Maria Robledo, Angel Calderon, and Gustavo Brambila will be in attendance. Image: Roberto “Bear” Guerra

Two Latina viticulturists from Sonoma, Vanessa Robledo and her mother Maria Robledo; long-time activist for affordable farmworker housing, Angel Caldero; H-2A temporary worker from Michoacán, René Reyes Ornelas; and Napa winemaker Gustavo Brambila, all co-star in Bernardo Ruiz’s new documentary feature Harvest Season (2018), which has its world premiere at the 41st Mill Valley Film Festival (MVFF41) on Saturday, October 13, 2018 and then will be shown again on Sunday, October 14, 2018.  The film is part of the festival’s ¡Viva el Cine! line-up which showcases 15 award-winning Latin American and Spanish language films during the course of the 10 day festival which kicks off Thursday evening.

“The big impulse for the film,” said Ruiz, speaking from his office in New York, “is that I love wine and I love Northern CA.  It took three years to make this and the film is really a love letter to immigrant Napa and the generations of people who have been working the field picking grapes and, through hard work, become entrepreneurs themselves.”

Bernardo Ruiz, director of Harvest Season. Photo courtesy: Bernardo Ruiz

This is Ruiz’s third feature documentary, following Reportero (2012), about violence against the press in Mexico for reporting on drug trafficking and government collusion and Kingdom of Shadows (2015), a front-line view into Mexico’s drug war from the perspective of three workers dealing with its fall-out.  The two-time Emmy® nominated filmmaker is also heavily involved in documentary television. When we spoke, he was hard at work on a series he was producing for documentarian Alex Gibney.

“There are so many films out there about rock-star vintners, high profile people in the industry,” said Ruiz.  “We’re trying to highlight and celebrate the behind-the-scenes players, often small producers whose roots are tied to working these fields or, in Angel’s case someone dedicated to improving the lives of workers.”

Ruiz cites two films as highly inspirational: Morgan Neville’s Oscar winning 20 feet from Stardom (2013), which focused a long-overdue spotlight on the contribution of back-up singers to musical hits, and John Else’s Sing Faster: The Stagehand’s Ring Cycle (1999) which presents Wagner’s Ring Cycle from the point of view of the stage hands at San Francisco Opera. Harvest Season tells four stories to shine a light on the hard-working individuals in Napa’s wine industry who have often propped up the rock stars and recently stepped out into their own ventures.

Ruiz was born in Guanajuato Mexico (central Mexico) to an American mother and Mexican father and moved New York when he was six and has lived there ever since. “I’m very interested in stories about immigration and the relationship between the US and Mexico.  A number of news outlets have done broad profiles of the Mexican-American and Latino vintners and, slowly, we’re starting to see more reporting about that.  Mexican-American vintners are the underdogs in the huge Napa constellation and I wanted to explore that further, bring their stories forward.

Ruiz began researching the film and doing a little shooting in Dec 2015 but the bulk of filming took place during the harvest in the summer and fall of 2017.   He filmed during the fires, which is a thread in the story but doesn’t overwhelm the film.

“I actually had an interview scheduled the 8th of October and went out to Napa and, just like everybody else, witnessed the devastation.  For the next two weeks, with various crew members, I filmed—destruction, shelters and did lots of interviews.  What impressed me was the way people mobilized so quickly, pulled together, and how particularly devastating this was to the community I was documenting.”

Vanessa Robledo, Maria Robledo

Vanessa Robledo (seated) and her mother Maria Robledo.  Image: Art & Clarity/Janna Waldinger

 

Ruiz interviewed Vanessa and Maria Robledo during an early scouting trip. “Here were these two women running a Napa vineyard. Vanessa is an accomplished entrepreneur, but she is genuine and passionate about the wine business and that passion gives her a quiet power.  They are a tiny but growing operation and tell the story of small women producers who are doing something very interesting.”

Vanessa Robledo, founder and CEO of VR Wine Business Consulting, was born in Sonoma and is a fourth generation grape grower.  As president of the Robledo Family Winery, started by her father Reynaldo Robledo, she took the winery from a 100 case producer in 1997 to a thriving 20,000 cases by 2007, over 80 percent of which was direct to consumer.  She then went on to become majority owner of the successful cult winery, Black Coyote Chateau, where she doubled the company’s production and sales.

Maria de la Luz Robledo, Vanessa’s mother, was born in Michoacán, Mexico and followed her husband, Reynaldo, to California in 1973.  She and Reynaldo worked in the fields, raised nine children, bought land, planted their own vineyards and started their own winery, opening the first tasting room in the US run by a former Mexican migrant vineyard worker.

The two women joined forces following a divorce that left Maria reeling and a desire on Vanessa’s part to get back to the land and grapes.  They began improving quality, replanting, and renegotiating contracts and are really enjoying collaorating.

Angel Calderon

Angel Calderon. Image: Roberto “Bear” Guerra

Harvest Season also explores the lifestyles and needs of vineyard workers through the stories of Angel Calderon, who has been active on the housing front for two decades and René Reyes Ornelas, an H-2A temporary worker from Michoacán, Mexico.

One of workers’ main concerns is affordable, safe, and convenient permanent housing.  Costs continue to rise in Napa County— the median rent is now $2,750 per month and the median home price is roughly $800,000, while many workers are paid $15-$25 an hour.  As the labor market shifts from a migrant to a year-round workforce, affordable housing is more critical than ever.  Angel Calderon immigrated to the US in 1980 and worked as a cook at Silverado Country Club and Meadowood and, even then, affordable housing was an issue.  Calderon manages River Ranch Farm Workers Housing (three housing centers) in St. Helena which provides no frills housing at roughly $14 day for farm workers and is vital in ensuring that workers needs are met.

René Reyes Ornelas

René Reyes Ornelas. Image: Roberto “Bear” Guerra

While documenting the Mahoney harvest in Napa, Ruiz met René Reyes Ornelas, a 41 year-old Mexican farmworker who became one of his central characters.  California employs about one third of the nation’s roughly 2.5 million farmworkers. With immigration raids occurring across the state, growers and labor contractors are increasingly relying on the H-2A, or guestworker program, which permits the importation of foreign nationals into the U.S. in order to fill temporary agricultural jobs.  This was René’s second harvest in Sonoma.  The nine months he spends away from his wife and two daughters is burdensome but, in the wine country, he earns in an hour what he earns in a day driving a truck back home in Michoacán.

Gustavo Brambila

Winemaker Gustavo Brambila. Image: Roberto “Bear” Guerra

Gustavo Brambila is a Napa Valley winemaker who was one of the first Mexican-Americans to earn a degree in fermentation science from UC Davis.  If the name Brambila is familiar, Freddy Rodriguez portrayed him in the famous film, Bottle-Shock (2008).  Brambila was at Chateau Montelena in 1976 when the famed “Judgment of Paris” blind tasting took place that pitted the some of the finest wines in France against unknown California wines.  It was a 1973 Chateau Montelena Chardonnay created by Mike Grgich, who was then the chief winemaker at Montelena, that beat out the French white burgundies.  After the big win, Grgich branched out on his own and Brambila followed to work as winemaker and general manager for Grgich Hills. After 23 years, in 1996, Brambila created his own label Gustavo Wine.  By 2002, he had started his own winery and vineyard management company.  He does things a little differently: officially, he is based in Napa’s Crusher District and leases vineyards to get the grapes and his son runs the vineyard management company that cares for them.  This allows Brambila to operate with more freedom, less regulation and at much less cost than actual land ownership.

Ruiz is excited about the world premiere at MVFF.   “This is an indie film and, like a boutique winery, we make limited editions of things, no mass production.  It means a lot to premiere at Mill Valley, where many in the audience will be personally connected to the people we’ve profiled.”  Ruiz, so far, has invitations to at least three other film festivals, (he’s embargoed on mentioning names until Oct 10); there will be select screenings in New York and California and then the film will be broadcast nationally on PBS in spring 2019.  “We’re very interested in showing the film all over Northern CA.”

To read ARThound’s article about MVFF’s wonderful  ¡Viva el Cine! programming, with film recommendations, click here.

DetailsHarvest Season has its world premiere and screens twice at MVFF41: Saturday, Oct 13, 2 pm at Sequoia Theater and Sunday, Oct 14, 2:45 pm at Larkspur Theater.  Purchase tickets here.

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October 10, 2018 Posted by | Film, Wine | , , , , , , , , , , , , , , , , , , , , | Leave a comment

MVFF41 starts Thursday—¡VIVA EL CINE! showcases 15 award-winning Latin American and Spanish language films with many special guests

Special guests make a film come alive.  Cuban actor Héctor Noas will attend MVFF41 as part of ¡Viva el Cine!  Noas plays Russian cosmonaut Sergei Asimov in Ernesto Daranas Serrano’s drama Sergio and Sergei, set in 1990 Havana, and based on a real incident.  Photo: Ernesto Daranas

The forty-first edition of the Mill Valley Film Festival (MVFF41) kicks off Thursday (Oct 4) with two big opening night films—Matthew Heineman’s bio-pic, A Private War, starring Rosamund Pike as tenacious Sunday Times war correspondent Marie Colvin and Peter Farrelly’s drama, Green Book, which takes us on a tense 1962 concert tour in the American South with Mershala Ali (Moonlight, MVFF2016) as black jazz pianist, Dr. Don Shirley, and Viggo Mortensen as Tony Lipp, his Italian-American chauffeur and bodyguard.  Starting full force Friday and running for 10 days, MVFF41 delivers an exciting line-up of the very best and latest in American indie and world cinema, with more than 300 guests in attendance. Special events—Centerpiece and Closing Night Presentations, Spotlights, Tributes, Special Premieres, the Mind the Gap Summit, Behind the Screens Panels  and intimate parties and receptions—bring the films to life, fostering engaging discussion about issues and art.

The festival’s wonderful ¡Viva el Cine! series, programmed by MVFF Senior programmer Janis Plotkin with the help of Claudia Mendoza Carruth, turns five this year.  The line-up has doubled to include 15 award-winning Latin American and Spanish language films and there’s even a new ¡Viva el Cine! Launch Day that brings a fiesta to the Smith Rafael Film Center.  With films from Argentina, Chile, Colombia, Cuba, Ecuador, Mexico, Spain and the US, the series’ spellbinding storytelling and special guests make it an increasingly influential forum for the exploration of history, culture and identity.

¡Viva el Cine! Launch Day: Sunday, October 7

Coco / Walt Disney Pictures / Pixar Animation Studios

 

It all begins Sunday morning at the Smith Rafael Film Center with a family-friendly fiesta with live mariachi music, Day of the Dead face painting, fresh churros and hot chocolate. At 11 am, on Smith Rafael 1’s big screen, is the first Marin-ever screening of Coco, the Oscar-awarded, Pixar family favorite in Spanish with English subtitles, so that all children attending can both listen and read it.

Running concurrently in Smith Rafael 3, is the acclaimed coming of age drama, Too Late to Die Young (Tarde para morir joven), directed by Chilean Dominga Sotomyer, who will be in attendance.  This is Sotomayer’s second feature film and its set in 1990 Chile, with three main characters, ages 10, 16 and 16, who experience the pain of unrequited love and begin in their own ways to relate to the complexities of their parents’ world, all against the back-drop of a society reeling from Pinochet.

In Alonso Ruizpalacios’ Museo, Gael Garcia Bernal, plays thirty-something veterinary student, Juan Nuñez, who takes a job at the Anthropology Museum in order to support his marijuana habit.  He learns enough about the museum to come up with a plan to rob it with the help of his best friend. Image: Courtesy Alejandra Carvajal

At 2 p.m., Mexican Director Alonso Ruizpalacios will be in attendance for the screening of Museo, an art heist thriller with Gael García Bernal, based on the 1985 robbery of more than 100 Mesoamerican and Mayan artifacts from Mexico’s National Museum of Anthropology.  Winner Best Screenplay award at the Berlin International Film Festival.

At 8 pm, Argentinian director Luis Ortega’s fourth feature, the engrossing biopic, The Angel (El ángel), presents a dramatized true story of angelic-looking, baby-faced young sociopath, Carlos Robledo Puch, aka “The Death Angel,” who in the 1970’s embarked on a murder spree across Argentina.

Centerpiece:  Roma,  Monday, October 8

A scene from Alfonso Cuarón’s Roma. Image: courtesy MVFF

Alfonso Cuarón’s Roma, his first film shot in Mexico, since Y tu mamá también (2001) is a meditative masterpiece on the meaning of family that screens as the festival’s Centerpiece.  Cuarón will be in attendance for an extensive on-stage conversation about this film, awarded the Golden Lion in Venice for best film and Mexico’s foreign language Oscar submission.  Set in 1970’s Mexico City, Roma follows the life of a quiet live-in indigenous housekeeper, Cleo (Yalitza Aparicio), and the upper middle class family that employs her.  Through a series of small moments, both humorous and poignant, there’s a slow build to mounting crisis for both Cleo and her employers.  Gorgeously shot in black and white.  Every scene and every woman seem steeped in personal memory and deep reflection.  Roma is Cuarón’s follow-up to Gravity (2013), awarded Academy Awards for directing and editing.

Harvest Season: World Premiere, Sat, October 13

Napa Valley Latina viticulturist, Vanessa Robledo, is profiled in Bernardo Ruiz’s Harvest Season.  Image: Roberto “Bear” Guerra

¡Viva el Cine! also includes films produced in the U.S. that are relevant to Latinos’ experiences here.  Benardo Ruiz’s documentary, Harvest Season, set and filmed in the Napa valley, has its world premiere at MVFF41 on Sat, October 13.  Through four stories, the film addresses the Latino and Mexican-American entrepreneurs and activists involved in the production and harvest of the grapes that go into premium California wines, small players with fascinating insights.  Shooting began in December 2015 and continued during the 2017 harvest, one of the most dramatic grape harvests in decades.  Filmmaker David Ruiz, Producer Lauren Capps, and subjects Vanessa Robledo, Maria Robledo, Angel Calderon and Gustavo Brambila will be in attendance. Screens: Sat 10/13 and Sun 10/14.

 

6 must-see films:

For recommendations, I went to Claudia Mendoza Carruth, who helped program ¡Viva el Cine!  She is well-respected for initiating and running the Sonoma International Film Festival’s Vamos Al Cine  and she regularly attends Havana’s Festival Internacional del Neuvo Cine Latinoamericano (or Havana Film Festival). (Read ARThound’s review here)  This year, she brought some of the best films from the Havana festival to MVFF and is especially excited to screen the Cuban film Sergio and Sergei with Cuban actor Héctor Noas to MVFF for an audience discussion.

“I’ve always marveled how Cuba, with all its limitations can produce such incredible cinema,” said Carruth. “It’s always been thought that it was difficult to impossible to bring Cuban films and actors here.  It’s not easy, but my attendance every year at the Havana Film Festival has enabled me to see the immense scope of films that come out of this island and the region and make connections.  I hope to really help develop MVFF’s programming.”

Sergio and Sergei

In Sergio and Sergei, Cuban actor Tomás Cao plays a ham-radio buff and downtrodden professor of Marxism in Havana who unexpectedly makes a connection with a Russian cosmonaut stuck in space. Image: Ernesto Daranas

One of the first films to come out of Cuba that has outer space effects, Ernesto Daranas Serrano’s Sergio and Sergei, is a story of human communication between Earth and the Russian Mir space station.  The engaging and very funny satirical drama is set in 1991, during a period of economic hardship for both the unraveling USSR and Cuba. Sergei (Héctor Noas) is stranded satelliting Earth on Mir space station, unable to descend and, by chance, communicates with Sergio (Tomás Cao), a ham-radio buff and professor of Marxism in Havana who is unable to support his family. A friendship forms as both men realize they share feelings of geopolitical isolation.  The film is shot in Havana.  Héctor Noas in attendance.  Screens:  Tues 10/9 and Wed 10/10.

Los Adioses

Mexican actress Actress Karina Gidi plays feminist writer Rosario Castellanos in Natalia Beristáin’s Los Adioses. Image: courtesy MVFF

Mexican filmmaker Natalia Beristáin’s second feature, Los Adioses, is a superbly acted portrait of Rosario Castellanos, one of Latin America’s greatest 20th century writers.  A poet, novelist, and essayist, Castellanos was an early supporter of women’s rights in postwar Mexico when the society was extremely patriarchal.  Her style was vulnerable, revealing, self-searching.  She struggled with balancing how to be happy in a love relationship, how to be a mother and, at the same time, how to work and assert her thoughts about the struggles of being a woman into her work.  Actress Karina Gidi, who plays the older Rosario, took home the Best Actress trophy at the Ariel Awards, Mexico’s equivalent of the Academy Awards®.  Screens: Tues 10/9 and Thurs 10/11

Virus Tropical

In Virus Tropical, Colombian-Ecuadorian cartoonist Power Paola takes ownership of her life story, working with Colombian director and artist, Santiago Caicedo, to adapt her 2011 graphic novel to an animated film with exquisite, emotive black and white drawings. Image: Courtesy of Timbo Estudio/Santiago Cacedo/Powerpaola

Colombian-Ecuadorian cartoonist and Power Paola (the pen-name of Paola Gaviria) is well-known for addressing themes of sexuality, feminism, family and personal identity in her graphic novels (Por Dentro, Todo Va a Estar Bien).  Her animated autobiographical film, Virus Tropical, is an adaptation of her 2011 graphic novel of the same name.  This coming- of-age tale, set in middle class Quito, Ecuador, and Cali, Colombia, is focused on family dynamics from the perspective of Paola, a very self-aware young girl, who is the youngest child in a close-knit family of three girls.  There are intimate scenes from family dinners where she is picked on, moments of pain and loss as she confronts the shock of her father’s suddenly moving back to Colombia and reflective moments such as her sister’s wedding.  It took Paola roughly five years to create the 5,000-plus detailed black-and-white line drawings that comprise the novel. Video artist and animator Santiago Caicedo, who previously worked with Paola on the short film Uyuyui! (2011), has beautifully transferred these to the screen.  Filmmaker Power Paola in attendanceScreens: Sat 10/13 and Sun 10/14

Amalia, the Secretary

Colombian actress Marcela Benjamin in a scene from Colombian director Andrés Burgos’ comedy, Amalia the Secretary (Amalia, la secretaria, 2017).  Image: courtesy MVFF

Colombian Director Andrés Burgos has hit the sweet spot with his comedy Amalia, the Secretary (Amalia, la secretaria, 2017) played to pitch perfect rigidity by Marcela Benjamin.  The story is about Amalia, who runs the office by taking passive-aggressive swipes at everyone who crosses her path until she meets Lazaro, a maintenance temp who so intrigues her that she creates more and more work for him by breaking things. “It’s so rare in Latin America to have a very well-crafted comedy that has people doing belly laughs,” said Claudia Mendoza Carruth. “One of my favorite scenes involves Amalia, this very very rigid woman, attempting yoga.  The way her character evolves and she asserts herself in almost every situation is really special.”  Director Andrés Burgos in attendance.  Screens:  Thurs 10/11 and Fri 10/12

 

Birds of Passage

A still from Birds of Passage. Image: Quinzaine

Birds of Passage (Pájaros de verano), a crime epic, co-directed by frequent collaborators Cristina Gallego and Ciro Gallego, portrays the slow and steady destruction of a close-knit native family who gets caught up in the marijuana export business in the 1970s, and the beginnings of Colombia’s burgeoning narco-trafficking industry. The film, selected as the opener for Cannes Directors’ Fortnight, is a bit of ethnographic thriller as well introducing the Wayúu, Native Americans who live in North part of the country, in the deserts of the north-western Guajira peninsula, that many people, even native Colombians, know very little about.  At its heart, this is a family story that involves power, legend, culture, money, greed and the difficulty of honoring ancestors and customs in an increasingly modern world.  Cristina Gallego has accolades as a producer and this is her directing debut, while Ciro Guerra has global acclaim. His Embrace of the Serpent, co-produced by Guerra, (2015, MVFF38) won the Directors’ Fortnight prize at Cannes and was the first Colombian film to be nominated for the foreign language Oscar.  Screens: Wed 10/10 and Thurs 10/11

 

Ernesto

Japanese actor Joe Odagiri as Japanese-Bolivian medial student, Freddy Maemura Hurtado, in a scene from Junji Sakamoto’s biopic Ernesto (2018), screening twice at MVFF41. Photo: @2017 ‘Ernesto’ Film Partners

It’s a rare that one encounters a portrait of Che Guevara from a Japanese perspective.  Junji Sakamoto’s biopic Ernesto (2018), a very rare Japan-Cuba co-production, tells the story of idealistic Japanese-Bolivian medial student, Freddy Maemura Hurtado (Japanese superstar Joe Odagiri), who travels to Cuba in 1962 to become a doctor but instead joins Che Guevara’s guerilla army.  He becomes a very serious revolutionary who idolizes Che and becomes vehemently anti-war and outraged with American aggression in the Cuban missile crisis. The films traces Hurtado’s life from the time he sets foot in Havana in 1962 to his violent end in the jungle. Shot mainly in Cuba.  Screens: Thurs 10/11 and Fri 10/12

 

Details:

For full descriptions of ¡Viva el Cine!, click here.  MVFF41 is October 4-14, 2018.  For full schedule and to purchase tickets, click here.  Advance ticket purchase of films is essential as they sell out.

October 3, 2018 Posted by | Film, Wine | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Tickets on Sale for MVFF41, Saturday, September 15, at 11 a.m.

 

Icelandic actor and director Benedikt Erlingsson’s “Woman at War” features Halldóra Geirharðsdóttir as Halla, a forty-something village choir conductor who is a secret guerrilla eco-activist campaigning against energy corporations that are moving into Iceland.  To protest, she sneaks out into the countryside and sabotages electricity pylons in remote areas using cordless circular saws to slice through the girders, and a bow-and-arrow to shoot disruptive cables over the power lines.  One day, she comes home to find a letter announcing that her application to adopt an orphan Ukrainian baby, made some years ago and all but forgotten, has been approved.  Halla is about to become a mom.  A realization dawns simultaneously on her and the audience.  How will motherhood and her eco-campaign activities mesh?  Besides the breathtaking locales, Erlingsson employs a brilliant concept with the score, with Icelandic and Ukrainian musicians appearing onscreen and providing superbly sonorous commentary on the action.  The film screens three times at MVFF41.  Photo: MVFF

MVFF41 is October 4-14, 2018, and features 204 films from 46 countries with 8 world premieres, 4 North American and 12 US premieres.  Forty five percent of all films across the festival are directed by women.  In addition to film, the 10-day festival features live musical performances. Stay tuned to ARThound for festival recommendations.

Click here to view the full festival program and to buy tickets.  Lock in your tickets early, particularly big events and weekend screenings, as they will sell out.

September 15, 2018 Posted by | Film | , , , , , , | Leave a comment

The 38th San Francisco Jewish Film Festival comes to Marin: 14 films over 3 days (August 3-5, 2018)

A still from Shawn Snyder’s debut film To Dust, SFJFF38’s Centerpiece Narrative film and winner of the Audience Award for Best Narrative at the 2018 Tribeca Film Festival.  The dark comedy screens Saturday evening at the Smith Rafael Film Center as part of the SFJFF38’s Marin segment, which runs August 3-5, 2018 and includes 14 of the 18-day-long festival’s most popular films. Image: SFJFF

The 38th installment of SFJFF (San Francisco Jewish Film Festival) come to Marin this Friday through Sunday (August 3-5, 2018) at the Smith Rafael Film Center.  Featuring 14 of the full festival’s most popular films, the Marin segment offers a fascinating global film survey.   This year’s Marin lineup includes a mix of feature-length award winning documentaries covering Jews in Bollywood to UN Secretary General Kurt Waldheim’s tainted 1986 bid for the Austrian presidency as well as compelling high-stakes dramas.  For those north of the Golden Gate, this mini-fest affords a short drive time, hassle free parking, and the Rafael Film Center’s state of the art acoustics.  The only downside to this year’s Marin programming is that there are no special guest appearances.

Presented by the Jewish Film Institute of San Francisco, SFJFF38, is an annual 18-day-long festival (July 19-August 5) that showcases 67 films from 22 countries at venues in San Francisco, Palo Alto, Albany, Oakland and San Rafael.   A number of films have won awards at prestigious film festivals and many of those presented in years past have gone on to be distributed nationally in theaters and on TV.

ARThound recommends:

Friday/August 3, 8:20 p.m.  Wajib (Duty)

A scene from Wajib, Palestinian writer-director Annemarie Jacir’s third feature film. Image: SFJFF

Wajib (Duty) is a low key comedy set and filmed around the Arab community in Nazareth.  Shadi (Saleh Bakri), an architect who lives in Italy, returns to Nazareth for his sister’s wedding. His father, Abu Shadi (renowned actor Mohammed Bakri, the real-life father of Saleh Bakri), welcomes his son’s help in hand-delivering 340 wedding invitations, a Palestinian tradition.  Driving around in Dad’s blue Volvo, the men reconnect as they bring envelopes to friends, cousins, aunts and uncles who ply them with coffee and sweets at each stop.  Winner Special Jury Prize Locarno Film Festival, the film provides a glimpse into the beauty and complexities of life in Middle East, presenting two different generations of Palestinians’ views on the ongoing conflict and Israeli occupation.  (97 minutes, in Arabic with English subtitles)

Saturday/August 4, 11:30 a.m.  Shalom Bollywood: The Untold History of Indian Cinema

A still from Austrian filmmaker Danny Ben-Moshe’s documentary, Shalom Bollywood: The Untold History of Indian Cinema. Image: SFJFF

Eleven years in the making, Austrian filmmaker Danny Ben-Moshe’s delightful Shalom Bollywood: The Untold History of Indian Cinema celebrates the world’s largest film industry with the largely unknown story of the 2,000-year-old Indian Jewish community and its shaping of the Bollywood.  When Indian cinema began 100 years ago, it was taboo for Hindu and Islamic women to perform on screen, so Indian Jewish women took on female lead roles, which they then dominated for decades. Some of the biggest stars of Indian cinema — Sulochana, Miss Rose, Pramila, Nadira, and David — were all Jewish.  Through interviews with descendants, imaginative use of archival footage, animation and a pulsing Bollywood soundtrack, the film focuses on the lives of Indian cinema’s Jewish icons at the heart of Bollywood, from the turn of the 20th century to the present day. The documentary also provides a glimpse into the history of the Bene Israel and Baghdadi Jews, who came to India to escape persecution, and how their small community continues on today. (136 min, English)

Saturday/August 4, 4:05 p.m.  The Waldheim Waltz

Kurt Waldheim in a scene from Austrian filmmaker Ruth Beckermann’s documentary The Waldheim Waltz. Image: SFJFF

In 1986, Austrian filmmaker Ruth Beckermann (Return to Vienna,  SFJFF 1984) took to the  streets of Vienna to film protests over former United Nations Secretary-General Kurt Waldheim’s election bid to become Austria’s president.  Just weeks before the final vote, news broke that Waldheim had been a senior ranking German army officer in the vicinity of the infamous 1942 Nazi deportation of 56,000 Greek Jews from Thessaloniki.  He denied it.  For some Austrians, Waldheim’s firm refusal to admit guilt symbolized their nation’s unspoken complicity in wartime atrocities. For others, supporting Waldheim was an issue of national pride.  Waldheim won the presidency and Beckermann never used the footage.  With the recent rise populist right-wing demagogues such as Austrian chancellor Heinz-Christian Strache, she revisited her material and put together the riveting doc,  The Waldheim Waltz, covering the tense weeks prior to Waldheim’s June 1986 victory.  The material presented is from second-hand newsreel and TV footage, with clips of self-shot video and stills from inside homegrown protest groups.  Beckermann delivers a deadpan voiceover commentary, pinpointing how the Waldheim affair destroyed “Austria’s grand delusion of having been the first victims of the Nazis.”  Winner Best Documentary, Berlin Film festival 2018 and SFJFF38’s Centerpiece Documentary.  North American premiere (93 minutes, German, English, French)

Saturday/August 5, 6:35 p.m.  To Dust

A still from Shawn Snyder’s debut film To Dust, SFJFF38’s Centerpiece Narrative film and winner of the Audience Award for Best Narrative at the 2018 Tribeca Film Festival. Image: SFJFF

This absurdist story, To Dust,  SFJFF38’s Centerpiece Narrative film, is so absurd it is captivating.  It involves a grief-stricken Hassidic cantor (Géza Röhrig, Son of Saul, 2015) in Upstate New York whose wife has died of cancer and who becomes obsessed with how her body will decay.  He ends up in the classroom of a local community college science professor (Matthew Broderick) and the two embark on a number of bizarre experiments aimed at gaining insight into bodily decay.  (92 min, English)

Sunday/August 5, 11:45 a.m.  The Interpreter

A still from Slovakian director Martin Sulik’s The Interpreter (Tlmocnik). Image: SFJFF

Czech new wave director Jirí Menzel (Closely Watched Trains, 1968 Oscar for Best Foreign Language Film) and Peter Simonischek (the father in Toni Erdmann) star in The Interpreter, Slovakian director Martin Sulik’s bittersweet drama.  Menzel plays Ali Ungar, an interpreter, who is investigating the circumstances of his parents’ death at the hands of a Nazi officer during World War II. With an automatic pistol in his pocket, he heads to Vienna and meets the officer’s paunchy son, Georg Graubner. The happy-go-lucky Graubner, oddly enough to Ungar, also wants to know about his father and the atrocities he is accused of committing against the Jews. “Let’s go,” says Graubner cheerily, offering to pay Ungar for his services as an interpreter.

Details:  SFJFF38 in Marin starts Friday, August 3 with a 1:20 p.m. screening and concludes Sunday, August 5, with an 8:30 pm screening. Tickets: $15 per film or $125 Marin Pass for all 14 films. Advance ticket purchase highly recommended.  Full schedule and tickets at https://jfi.org/sfjff-2018.

August 1, 2018 Posted by | Film | , , , , , , , , , , , , , , , , , , , , | Leave a comment

The 23rd San Francisco Silent Film Festival kicks off Wednesday with silent golden oldies and live music

Conrad Veidt as Gwynplaine in Paul Leni’s drama, “The Man Who Laughs” (1928) which opens the 23rd San Francisco Silent Film Festival, on Wednesday. Newly restored by SFSFF and Universal Pictures, the film will be accompanied by Berklee Silent Film Orchestra, making their fifth appearance at the festival. The 23rd San Francisco Silent Film Festival is May 30-June 3 at the Castro Theatre.  Image: Universal Studios

One of those old adages worth its weight in gold is “To know where you’re going, you have to know where you’ve been.”  The pre-sound era produced some of the most beautiful and engaging films ever made, shedding light on societies that were changing rapidly.  If you’ve never experienced a silent film the way it was meant to be seen—on the big screen, with the correct speed and formatting and with riveting live music—it’s high time!  Silent film might just be the experience you’ve been waiting for.

On Wednesday, May 30, the 23rd edition of San Francisco Silent Film Festival (SFSFF) kicks off with 23 programs pairing silent-era films with live musical accompaniment, including eleven recent film restorations.  Ten of those restorations will make their North American premieres and four are SFSFF projects.  Nine countries are represented this year.  What makes SFSFF particularly wonderful is its top rate live accompaniment by more than 40 musicians (soloists and groups) from all around the globe.  These musicians serve as conductor, arranger and accompanist melding film, music, theater and art into one.  It all takes place at San Francisco’s historical Castro Theatre, May 30-June 3, 2018.

The festival kicks off Wednesday evening with Universal Pictures and SFSFF’s new restoration of Paul Leni’s 1928 “The Man Who Laughs”.  Considered one of the treasures of the silent era, the film is based on Victor Hugo’s 1869 novel, but set two centuries earlier.  The story involves an orphan, Gwynplaine, who is captured by outlaws who use a knife to carve his face into a hideous permanent grin.  Disfigured and all alone, he rescues a baby girl and they are raised together by a fatherly vaudevillian. Everything centers on Gwynplaine’s extraordinary wide grin which inspired the Joker character in the original Batman comic books.  This presentation also marks the world premiere of a commissioned score by Berklee College of Music’s Silent Film Orchestra.

 

Sally O’Neil and Buster Keaton in a scene from Buster Keaton’s 1926 comedy, “Battling Butler,” SFSFF’s closing night film.  Still: courtesy Cohen Film Collection.

Closing the festival on Sunday, June 3, is the North American premiere of Cineteca di Bologna’s restoration (in collaboration with Cohen Film Collection) of Buster Keaton’s 1926 “Battling Butler,” which will be accompanied by the Mont Alto Motion Picture Orchestra. Keaton considered this sparkling comedy his personal favorite among his works.

Recently, I had my annual interview with Anita Monga, SFSFF’s insightful artistic director who programs the festival.  She decides what films will be included, how they are ordered and the rhythm and flow of the weekend.  With her guidance, I put together an overview of the festival.

 

Cinematography buff?

A still from “Fragment of an Empire”.  Image: courtesy SFSFF

The Russian film by Fridrikh Ermler, Fragment of an Empire(Oblomok Imperii)(1929) (Sunday, June 3, 5:30p.m.) is virtually unknown and has an unforgettable opening.  The film is a portrait of a soldier who loses his memory during WWI and returns home to St. Petersburg, a place of heart-wrenching change.  He gains back his memory after seeing his wife on a train but later learns she has remarried.  The cinematography enforces the cold psychology of the revolution, the state of human condition, the rapid pace of modernism.  SFSFF worked on the complete restoration with EYE Filmmuseum, and Gosfilmofond of Russia), based on materials preserved by EYE Filmmuseum and Cinémathèque Suisse.  This rarely-screened-in-America film only existed in chunks with some very famous scenes, like its image of Christ on the cross with a gas mask on.

Friday’s 2 pm Silent Avant-Garde program presents early American Avant-garde films from 1894-1941 and has some amazing images. “Everything in the Unseen Cinema collection is fascinating,” said Anita Monga. “The Slavo Vorkapich montage (four rare segments) took my breath away.” For the look of film on film, Monga recommends Danish director Carl Th. Dreyer’s 1925 “Master of the House” (DU SKAL ÆRE DIN HUSTRU) screening Thursday at 2:45 p.m..

 

Arm chair traveler?

Seeta Devi (L) and Himansu Rai in a scene from “A Throw of Dice”.  Image: courtesy British Film Institute

Sunday’s “A Throw of Dice” (Prapancha Pash) from 1929, the third collaboration between German director Franz Osten and Indian film producer Himansu Rai, was shot entirely in Rajasthan, India with a cast of over 10,000.  Inspired by one of India’s masterpieces, the Sanskrit poem The Mahabarata, it tells the story of two kings vying for the hand of a young woman.  A game of dice and a desperate gamble play into the story.  It provides a unique vision of Indian life and is extraordinary in its presentation of wild nature: elephants, tigers, snakes, monkeys, birds and riversides and jungles with plush fauna.  It also has extravagant palaces, teeming streets and gorgeous costumes.

 

A scene from “People on Sunday” (Menschen am Sonntag). Still: courtesy Janus Films

If you are interested in seeing what Berlin street activity was like in the 1930’s, Thursday evening’s “People on Sunday” (Menshcen am Sonntag) was shot entirely on the streets on Berlin. It was created by a group of young filmmakers who would go on to become famous—Robert Siodmak, Edgar G. Ulmer, Billy Wilder and Fred Zinnermann. Their idea was to create a film without actors and they went out on the streets and started filming.  “It really skirts fiction and documentary and captures the feel of life in Berlin in that moment, just on the cusp before the world would change,” said Monga.  “All of the Weimar titles are so devastating because we know what is about to happen in Germany.” (Screens Thursday, may 31, 7:15 p.m.)

 

Takeshi Sakamoto in a scene from Yasujirô Ozu’s An Inn in Tokyo (Tokyo no yado). Still: courtesy Janus Films

On Thursday at 5:15 p.m., Yasujirô Ozu’s poetic “An Inn in Tokyo” (Tôkyô No Yado), from 1935, is an expressive portrait of industrial pre-war Tokyo framed by Hideo Shigehara’s amazing cinematography.  A single father (the great Takeshi Sakamoto who starred in over 100 Japanese films) is struggling with his two sons as he tries his best to find work.  As they wander the streets of the Koto district, he has his sons catch stray dogs for cash.  The film addresses the essence of family and the dignity of an ordinary individual in crisis, Ozu’s forte.

Ozu made silent films well into the mid-1930’s, several years after sound was available.  He did this because of the prevalence of Japanese “benshi” performers who stood right next to the screen and interpreted the action for the audience, taking on all the characters’ roles and creating entertaining dialogue.

 

1906 SF Quake junkie?

An image from the short “San Francisco 1906” showing people looking at the debris and wreckage left behind from the earthquake.  Some 8,655 frames of found footage were photographed with a digital camera and then cleaned up and made back into a film.  Image: courtesy Jason Wright

If you’re fascinated with post-earthquake footage of 1906 San Francisco, you can’t miss the 10 minute short,“San Francisco 1906,” newly found earthquake footage that SFSFF has restored.  It will be shown on Saturday at 2:45 p.m. when it screens with the lovely Italian film from 1922, Eugenio Perego’s “Trappola”.   The footage was found in 2017 at the Alemany flea market in fragile condition and is thought to be one of the longest surviving segments of the lost Miles Brothers’ film.   The Miles Brothers produced and directed numerous films in the early 20th century. Their 13-minute film, “A Trip Down Market Street,” explored pre-quake Market Street and was shot on April 14, 1906.  Their studio was destroyed by a post-earthquake fire on April 18, 1906, along with many of their films.

“This is essentially the same sort of footage that the brothers shot when they made “A Trip Down Market Street,” said Monga. “We make the familiar trip down Market towards the ferry building.  The buildings are now in rubble. When the people get to the ferry plaza, you see all the horse-drawn carriages and understand that the people are there to escape to East Bay.”

 

Gaga for Garbo?

Greta Garbo in her first starring role in 1924 in “The Saga of Gösta Berling”.  Image: courtesy Swedish Film Institute

Saturday evening delivers Greta Garbo in 1924, in her first starring role in the great Swedish director, Mauritz Stiller’sThe Saga of Gösta Berling” (Gösta Berlings Saga) with live accompaniment from the Matti Bye Ensemble.  Garbo is radiant opposite Lars Hansen in this romantic drama. Jon Wengström from the Swedish Film Institute (SFI) will accept the 2018 Silent Film Festival Award at this premiere screening of SFI’s beautiful new restoration which was completed earlier this year and adds 16 minutes to the previous version and restores the film’s original tinting scheme.

 

Love Freebies?

Film preservationist and SFSFF board president Robert Byrne collaborates with film archives around the world. He and SFSFF colleague, Russell Merritt, will share the story that led to the rediscovery and restoration of Richard Oswald’s German version of “The Hound of the Baskervilles,” from 1929, the last silent Sherlock Holmes’ film, considered the most important Hound produced in Europe.  (screening on Saturday). Image: courtesy SFSFF

Thursday morning’s Amazing Tales from the Archives, is a free program in keeping with the festival’s education mandate, which flies in experts from the world’s top restoration facilities to share their personal experiences in breathing life back into critically damaged nitrate.  This year’s guests are Deutsche Kinemathek’s Martin Koerber and Weimar film scholar Cynthia Walk, who will talk about the complete reworking of E.A. Dupont’s “The Ancient Law” (screening on Sunday); Davide Pozzi from L’Immagine Ritrovata in Bologna, whose Kinemacolor presentation will examine the first successful color process for motion pictures; and Elzbieta Wysocka of Filmoteka Narodowa, with SFSFF’s Robert Byrne and Russell Merritt, will share the detective story that led to the rediscovery and restoration of Richard Oswald’s German version of “The Hound of the Baskervilles” which screens on Saturday.

 

Details: 

SFSFF is May 30-June 3, 2018 at San Francisco’s Castro Theatre.  Visit http://www.silentfilm.org/ for tickets, festival passes, and detailed information on films and musicians.  Advance ticket purchase is essential and most screenings are $17 to $24.  If you are driving in, allow an additional hour to secure parking.

May 28, 2018 Posted by | Chamber Music, Film | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

CAAMFest36: Asian American films paired with conversation, food, music and parties —May 10-24, 2018

Vivian Wu plays fierce beautician Candy Wang whose Facebook page is blocked by the Chinese Communist Party as she takes a tough stance against real estate developers in a scene from Cathy Yan’s debut feature, “Dead Pigs” (2018).  The film screens twice at CAAMFest36,  May 14-24, 2018.   Yan, a former Wall Street Journal reporter turned film-maker, will be in attendance at CAAMFest.  Yan was just selected by actor Margot Robbie to direct a “Suicide Squad” sequel film for DC Productions, making Yan the first Asian American woman to direct a big budget Hollywood action film for DC Productions.  Photo: CAAMFest

It’s been exciting to experience CAAMFest, the Center for Asian American Media’s (CAAM) annual film festival, as it has morphed into an extravaganza embracing Asian American film, music, food and dance.  The 36th festival kicked off Thursday, May 10 and runs through Thursday, May 24th.  CAAMFest offers more than 120 films, live performances, music and culinary events.  The second week continues with films in 17 Bay Area venues.

A must-see film is Cathy Yan’s observant and wacky first feature, Dead Pigs (2018, 130 min), which she wrote and directed, screening Sunday, May 20 at San Francisco’s Roxie Theater.   The film exemplifies the filmmakers and thought-provoking stories that CAAMFest celebrates.  Yan herself is an exciting draw and she will be in attendance at CAAMFest for post-screening conversation.   Yan, a former Wall Street Journal reporter turned film-maker has just bashed through a ceiling for women and directors of color in Hollywood.  The Chinese-born American has just been selected by Warner Brothers and DC Entertainment to direct Australian Margot Robbie in a yet-to-be-titled Harley Quinn sequel.  Yan is thus the first Asian-American woman to direct a big budget superhero film for the mega industry powerhouse DC (home to iconic brands such as Superman, Batman, Green Lantern, Wonder Woman, The Flash).

Dead Pigs is set in China, between bustling Shanghai and the provincial town of Jiaxing which sits on the Huangpu River about 70 miles from Shanghai.  The fictional story employs sharp storytelling, comedy and is full of surprises.  It takes off on a real incident that occurred in China in spring 2014 when over 7,500 pig carcasses were found floating in the Huangpu River that supplied Shanghai’s drinking water.  The pigs don’t factor heavily in the story-line but they do bob down the river through several scenes, adding all the symbolism that pigs evoke in the Chinese zodiac of marching forward fearlessly.   They aslo set the stage for five very eccentric characters, whose stories ultimately collide—an alcoholic pig farmer (Yang Haoyu) in debt up to his nose to local thugs; a tough-as-nails beautician (Vivian Wu) who refuses to sell her family home and property to developers seeking to cash in on gentrification; a highly-leveraged American businessman (David Rysdahl) who is in win-or-die development deal; a spoiled rich girl (Li Meng) who is hospitalized after crashing into a watermelon stand while driving drunk; and a lowly waiter/bus-boy at a suckling pig restaurant (Wang Zhen Mason Lee) who pretends he has a big career in the city.

With plentiful energy, wit, a skillful use of music, and a crazy ending, Yan takes up a fascinating set of complex topics, weaving a tale of modern China racing forward.   The film premiered in the world dramatic competition at Sundance, where it won the special jury prize for ensemble acting.

Details:  CAAMFest36 is May 10-24, 2018 at 17 Bay Area sites, including AMC Kabuki 8, Asian Art Museum, Castro, New People Cinema and Roxie theaters.  Tickets: $14 to $20 general; $75 for six-pack; more for special events.  Advance ticket purchase highly recommended.  To purchase tickets and for more information, visit www.caamfest.com

May 17, 2018 Posted by | Film | , , , , , , , | Leave a comment

With films from Argentina to Kyrgyzstan to Zambia, the 61st San Francisco International Film Festival is up and running

Charlize Theron will be honored with a special tribute at the Castro Theater, Sunday, April 8, 7:30 pm, followed by a screening of her new film, Jason Reitman’s “Tully.”  Her performance as an exhausted mom who has just given birth to her third child and, day by day, feels the life drained out of her, has been called “fearless, emotionally raw, and physically intense.” Other prominent honorees to be presented with public tributes and awards at the 2018 SFFILM Festival include Wayne Wang, Rob Epstein and Jeffrey Friedman, Annette Insdorf, and Nathaniel Dorsky. Image: courtesy SFFILM

The 2018 San Francisco International Film Festival (SFFILM Festival), April 4–17, 2018, has something for everyone.  The festival, the longest running in North America, features the latest and most exciting in world cinema plus great docs, archival gems, live musical performances, big nights, special tributes and numerous awards.

This year, offerings include 186 films from 48 countries with 8 world premieres, 5 North American premieres, 6 U.S. premieres, and films from 67 women directors and co-directors.  Over 300 filmmakers and industry guests will be in attendance.

There’s even a film that will have the dogs lining up:  Don Hardy’s “Pick of the Litter,”  a delightful doc about San Rafael’s wonderful Guide Dogs for the Blind program that tracks 4 pups on their journey to become indispensable human helpers.  The screening (Saturday, April 7, Victoria Theatre)  is one of the festival’s free community screenings and it sold out almost immediately.  Dogs will have their own section in the theater and are asked to be on their best behavior.

It’s a fact: a film has an exponentially larger impact if you discuss it and meet its makers.   The best way to fest is to select films with filmmakers in attendance, so that you can take in the enlightening post-screening Q&A’s or to attend one of the many artists talks, live presentations or collaborative film and conversation events which feature filmmakers, actors or industry luminaries in more lengthy conversation or performance.

Through its Cinema by the Bay festival programming, SFFILM champions new work made in and about the Bay Area and honors Bay Area visionaries who helped establish the Bay Area as such a vital area for film production and exhibition.  This year, Cinema by the Bay offers 36 films and special programs celebrating the Bay Area.  Among these, the Golden Gate Persistence of Vision Award  (Friday April 6, 6pm, SFMOMA), honoring experimental filmmaker Nathaniel Dorsky is one of those events that will leave a lasting impression.  It’s a shame that Dorsky is largely unknown outside the small world of avant-garde cinema because his short films, with their bursts of light and shifting shadows, have a deep impact and encourage contemplation of both life and art.  The program will include a screening of four of Dorsky’s 16mm short films and an in depth conversation with Dorsky about his unique compositional technique.

Coinciding with its mission to promote exceptional new talent, SFFILM is also continuing its Launch Program, which it began last year to assist a select group of films starting their journey into the distribution world.  In Launch’s second year, five documentary features within the festival official lineup have been selected to have their world premieres—The Human Element (US), The Rescue List (US/Ghana), Tre Maison Dasan (US), Ulam: Main Dish (US) and Wrestle (US).  “We are delighted to shine the spotlight on our second year of Launch,” said SFFILM Executive Director Noah Cowan. “This is a tightly focused program of world premiere presentations that we feel represent the values of our city and region and that we want to see enter the global film distribution system to help promote those values…”

ARThound’s top picks:

These are all gems of world cinema that are unlikely to have a theatrical release in the Bay Area. Indulge!

A Man of Integrity, Mohammad Rasoulof, (Iran, 2017, 118 min)

Reza Akhalghirad as Reza in a scene from Mohammad Rasoulof’s “A Man of Integrity,” image: courtesy Cannes Film Festival

Winner Un Certain Regard prize at Cannes, Iranian director Mohammad Rasoulof’s “A Man of Integrity,” examines economic corruption and religious intolerance in Iran through the story of Reza, a man who relocates his family from Tehran to a small town where he dreams of building goldfish farm and where his wife guides students as the principal of a girls’ school.  Soon after the move, Reza is approached by local goons and requested to pay bribes.  The story address how he and his wife use their minds and fight back against these corrupt forces to regain their lives.  In October, Rasoulof was charged with national security infringements and propaganda against the Iranian state and, once again, faces imprisonment.  Despite great restrictions, he has managed, for the past decade, to remain central in Iran’s complex social and political discourse and with his gripping, allegorical films.  Rasoulof’s previous films at SFFFILM include Iron Island (SFIFF 2006) and The White Meadows (SFIFF 2010), Goodbye SFIFF 2012.  YBCA (SF) April 6, 1:30 p.m.  Also, SFMOMA, April 7, 9:30 p.m. and BAMPFA, April 8, 3:15 p.m.

 

Scary Mother, Ana Urushadze, (Estonia, Georgia, 2017, 107 min)

Nata Murvanidze is Manana in Ana Urushadze’s “Scary Mother.” Image courtesy: SFFILM

This intense debut feature, Georgia’s 2018 Best Foreign Language Oscar entry, tracks Manana, a Georgian mother of three, who negotiates middle age by writing a novel that leaves no family member unscathed.  As the ramifications of her artistic endeavor unravel in compellingly bizarre fashion, Manana’s single-minded pursuit of her new calling leads the film into dark territory.  She begins to dream that she is a Manananggal, a mythical Filipino creature that’s torn into two pieces—one human and one a monstrous bird-creature that emits a clicking noise when on the hunt.  Winner of Best First Feature Prize, Sarajevo.  Golden Gate Award Competition.  Children’s Creativity Museum (SF), April 6, 8:45 p.m.  Also Roxie (SF), April 13, 4 p.m. and Children’s Creativity Museum (SF), April 14, 5:30 p.m.

 

The Other Side of Everything, Mila Turajlić, (Serbia, France, Qatar, 2017, 102 min)

A scene from Mila Turajlić’s “The Other Side of Everything.” Image: courtesy SFFILM

 

In this eye-opening doc, Belgrade-born Mila Turajlić examines Serbia’s political history in the Tito and Milošević eras through the eyes of her mother, the pro-democracy activist, Srbijanka Turajlić.  Under Tito, the family’s spacious Central Belgrade apartment was divided and redistributed by the state government. Srbijanka’s activism meant that they were spied on from the very rooms they used to own.  Now, she is free to talk about “the other side” and existence under Communism.  From the director of Cinema Kommunisto (Festival 2011) this film also employs archival footage and interviews brilliantly. Mila Turajlić and Srbijanka Turajlić in attendance for April 10-11 screenings.  Golden Gate Award Competition  Roxie (SF), April 10, 6:30 p.m. Also BAMPFA April 11, 8:40 p.m. and Children’s Creativity Museum (SF), April 12, 12:45 p.m.

 

Blonde Redhead performs to Yasijuro Ozu’s silent masterpiece I was Born, But…(Japan, 1932, 90 min)

A scene from Yasijuro Ozu’s “I Was Born, But…” image: courtesy SFFILM

Blonde Redhead. Image: courtesy of SFFILM.

Taking a clue from the SF Silent Film Festival’s tremendously popular on stage live accompaniments to silent goldies, SFFILM has invited the musicians of the alternative rock band Blonde Redhead (Kazu Makino, Amedeo Pace and Simone Pace) to accompany Japanese director Yasujiro Ozu’s most popular film, the 1932 black and white drama I was Born, But…The story summarizes life in post-war Japan and follows the working class Yoshi as he moves his family to the Tokyo suburbs to be closer to his new job.  As his two rambunctious young boys, Keiji and Ryoichi, prepare for school, they encounter all sorts of bullies and must negotiate the local pecking order.  When they discover their good-natured dad is a nobody who sucks up to his new boss, they become indignant with the realities of class stratification.  The film is of full of wonderful physical gags and comedic moments.  Castro (SF), April 11, 8 p.m.

 

Suleiman Mountain, Elizaveta Stishova (Kyrgyzstan, Russia,  2017, 103 min)

A scene from Elizaveta Stishova’s “Suleiman Mountain.” Image: courtesy SFFILM

Russian actress-turned-filmmaker Stishova weaves mythological and even comedic elements into her debut feature.  Uluk, a young Kyrgyz orphan boy, is reunited with his father and his two wives who are traveling skam artists and who survive by swindling unsuspecting villagers in various Kyrgyz townships.  Working with a cast of nonprofessional Kyrgyzstani actors, Stishova guides audiences into a world of ancient folk traditions and shamanistic rituals that are enacted at fabled Takht-i-Suleiman Mountain, the mid-point of the Silk Road, where the characters aim to find their destinies.  Golden Gate Award Competition  BAMPFA, April 12, 6 p.m.  Also YBCA (SF), April 13, 5:30 p.m. and Roxie (SF), April 14, 2 p.m.

 

Jupiter’s Moon, Kornél Mundruczó, (Hungary, Germany, 2017, 128 min)

A scene from Kornél Mundruczó’s “Jupiter’s Moon.”  Image: courtesy SFFILM

From the director of the 2014 Cannes Un Certain Regard winner, White God, comes another visually astounding film, a parable of a Syrian refugee named Aryan, who, in death, discovers he can fly, literally.  An opportunistic doctor smuggles Aryan to Budapest and touts him as an angel. Soon, he is identified as a person to fear and possibly destroy.   Castro (SF), April 12, 9:30 p.m. and Roxie (SF), April 17, 3:30 p.m.

 

Details:  The 2018 San Francisco International Film Festival is April 4–17, 2018.  Most films are $16 and big nights, awards, tributes, and special events are priced slightly higher.   Advanced purchase is highly recommended as most of the screenings and events sell out well in advance.  For full program information and online ticket purchase, visit: sffilm.org.

April 5, 2018 Posted by | Film | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The 21st Sonoma International Film Festival kicks off Wednesday…a long list of great short films

Stanford students Cameron McClellan and Jacob Langsner’s short film, Going Home, addresses the Sonoma wildfires of 2017 and screens twice at the 21st Sonoma International Film Festival, March 21-25, 2018.   The film is paired with the world premiere of producer Stephen Most and director Kevin White’s full-length documentary, Wilder than Wild (2017) which explores the central Sierra’s Rim Fire of 2013 and the wine country’s wildfires of 2017.   SIFF’s line-up includes 110 films from around the world, 6 SIFF-curated shorts programs, the LUNAFEST traveling festival of shorts celebrating female filmmakers, and the annual “Student Showcase” of shorts from Sonoma Valley High School’s Media Arts Program.  Image: still from Going Home, courtesy Cameron McClellan.

Stanford freshman Cameron McClellan, who hails from the UK, never dreamed that his first film ever would be accepted as an official selection of the Sonoma International Film Festival and that his subject, the Sonoma fires of October 2017, would hit so close to home.  Shortly before McClellan completed the interviews for Going Home, a 6:33 min short, which he co-produced with freshman Jacob Langsner, he learned that his 83 year-old grandfather’s home on Calistoga’s Franz Valley School Road had been burned to the ground by the infamous Tubbs fire which wreaked havoc from Calistoga to Santa Rosa and remained unstoppable for days.

McClellan and Langsner’s film will screen twice at the 21st Sonoma International Film Festival (SIFF), March 21-25, which is dedicated to the Sonoma Firefighters, First Responders and the rebuilding of our Sonoma Community.

“Going Home is a special film not only because of the Sonoma fires, but because it covers the subject from a unique perspective and is succinct,” says Steve Shor, SIFF’s chief programmer.

Cameron McClellan co-produced and directed Going Home as a project for his first film course at Stanford, Film Production 114: Intro to Film and Video Production.  The short film screens twice at SIFF. Image: Geneva Anderson

Going Home is among 15 shorts that have been paired with feature films and one of dozens of shorts that the four-day-long festival will screen in its line-up of 110 films from around the world.   The prevalence of shorts demonstrates SIFF’s regard for emerging and student filmmakers and for the art of the short format itself.  Limited only by their truncated run time, shorts embrace the best of traditional story-telling and have become a vital and budget-conscious way for filmmakers to connect with audiences.

McClellan’s film project got rolling when he and Langsner managed to hitch a ride from Palo Alto to Napa with some students from the Stanford Storytelling Project who were going there to interview families impacted by the fires. “We drove down and pretty much shot all the footage we could over the course of a day,” said McClellan.  “Our idea had been to interview several families but we really had no idea how many families we would have access to or the visuals that we would be able to get.  We ended up with access to two families, who we stayed with.  We did a very long interview with Dale and Kathy Albin from Santa Rosa who had lost their home in the fire and that’s how the whole film emerged.”

McClellan said that he was nervous about how to speak with the victims of such trauma but was relieved that the conversation carried itself and their story just spilled out.  In terms of creative choices, the two directors debated about how to best use the footage they had.  They selected a haunting shot of a burnt out car for the film’s poster.  They went with just showing a single image of the Albin house before the fire, and placed that at the end of the film, as a reminder of what had once been.

McClellan found about the status of his grandfather’s home just a few days before his visit to Napa.  “The smoke had blocked the mobile signal.  There was a long period when we just hadn’t heard from them.  Then, after we established contact, no one knew what had happened with the property as they weren’t allowed to go the site and there was no information.  Doing this project first, before I managed to get out to my grandpa’s place, prepared me for what I would see and his reaction to the loss.  Since I didn’t really live in the house, I didn’t have a huge connection to everything that was lost but you do find the loss hits you in waves…you’ll think about times you spent there with family and realize…oh, that’s gone.”

McClellan has never attended a film festival before and is excited to participate at Sonoma and to continue with film-making.  His short will screen before with the world premiere of  producer Stephen Most and director Kevin White’s full-length documentary,  Wilder than Wild (2017) which journeys from the Rim Fire of 2013, which burned 257,000 acres in the central Sierra, to the wine country’s wildfires of 2017, which destroyed 9,000 buildings and killed 44 people.  The film reveals how fuel build-up and climate change have made Western wild-lands vulnerable to large, high intensity wildfires, while the greenhouse gases released from these fires have accelerated climate change.   The result is a vicious cycle that jeopardizes forests and creates extreme weather and even more wildfires.

This year, in addition to its pairing of shorts with feature films, SIFF is offering six  90-minute-long curated shorts programs—Animated Shorts, Comedy Shorts, Delicious Shorts, Documentary Shorts, Dramatic Shorts, and World Cinema shorts.  A new SIFF addition, inspired by the immense popularity of its longer films that embrace diverse culinary cultures, artisan chefs and vintners is the Delicious Shorts programming—five international food and wine shorts from six countries.  The festival also welcomes back LUNAFEST, the popular traveling film festival showcasing women filmmakers, which is always hosted at the Sonoma Valley Museum of Art and features a fabulous gourmet spread featuring LUNA bars.

Polish filmmaker Bartosz Dziamski’s The Chef at the Palace (2017, 6 min) is part of SIFF’s new “Delicious Shorts” program. The film introduces Maciej Nowicki, executive chef at the Museum of King Jan III’s Palace at Wilanów, who researches and reconstructs the world of Polish flavors in old Polish cookbooks re-published by the museum.  Dziamski tracks him in the library and in the garden as he harvests sunchokes, whose baby stalks used to be known as Polish asparagus.  We learn that the first rule of reconstructing long forgotten recipes that lack precise weights and measures for ingredients is keeping things in perspective, which Nowicki gains by reading historical texts.  The film leaves us craving a full length feature on this extraordinary character.  Image: Bartosz Dziamski

SIFF’s pride and joy—the “Student Showcase,” which is presented twice this year, will feature over three hours of shorts from student filmmakers in Sonoma Valley High School’s lauded Media Arts Program.  Since 2002, SIFF and its members have donated nearly $500,000 to SVHS’s Media Arts Program which creates opportunities in the digital arts through film-making classes, animation, script-writing, film theory, and storytelling.   The program has become a launchpad for students interested in pursuing film in college and film school.

Shorts at SIFF 21:

Animated Shorts (11 films, 96 min) Thursday/March 22, 6:30 p.m., Sonoma Valley Museum of Art and Saturday/March 24, 2:15 p.m., Vintage House.

Comedy Shorts (7 films, 77 min) Thursday/March 22, 3:45 p.m. and Friday/March 23, 1:30 p.m, both at SF Chronicle House of Docs and Shorts at Vets II.

Delicious Shorts (5 films, 91 min) Thursday/March 22, 2 p.m., Celebrity Cruises Theatre at Burlingame Hall and Friday/March 23, 6:30 p.m., SF Chronicle House of Docs and Shorts at Vets II.

Dramatic Shorts (7 films, 94 min) Thursday/March 22, 11 a.m., SF Chronicle House of Docs and Shorts at Vets II and Saturday/March 24, 9 a.m., Celebrity Cruises Theatre at Burlingame Hall.

Documentary Shorts (4 films, 96 min) Friday/March 23, 9 a.m., Andrews Hall and Saturday, 7:15 p.m., SF Chronicle House of Docs and Shorts at Vets II.

World Cinema Shorts (5 films, 85 min) Sunday, 9 a.m., Andrews Hall.

Lunafest (9 films, 90 min) Saturday, March 24, 4 p.m., Sonoma Valley Museum of Art

Sonoma Valley High School Media Arts Program, Thursday/March 22, 8:45 a.m.- 1 p.m., Sebastiani Theatre and Sunday/March 25, 11:15 a.m. – 2:30 p.m., Andrews Hall.

 

Details:

The Sonoma International Film Festival is Wednesday, March 21 through Sunday, March 25.  All films are shown at seven intimate venues within walking distance of Sonoma’s historic plaza so there’s no driving, just meandering charming streets where roses, lilacs and irises are in glorious spring bloom.  The best way to experience the Festival and ensure stress-free access to all films and the Backlot Tent’s wonderful food and wine is by getting a SIFF pass. Cinema Passes are $280 (Good for all films, panels and Backlot Tent during daytime hours); Soiree Passes are $850. (Priority access to all films, Backlot Tent VIP area, Opening Night Reception, regular events & parties & priority offerings for special receptions during Festival).  Punch Cards: $35 good for any 4 films with access only after all passholders and reserved ticket holders have been admitted.

For information, tickets, festival passes, prices, and benefits visit www.sonomafilmfest.org.

March 18, 2018 Posted by | Film, Food | , , , , , , , , , , , , , , , , , , | Leave a comment

Women take the Lead in Havana’s 39th Festival of New Latin American Cinema, December 8-17, 2017

 

Nastasha Jaramillo and Giovany Rodriguez in a scene from Colombian director Laura Mora’s drama Matar A Jesús (2017) which won two of the 39th Havana Film Festival’s most important prizes, awarded by the Glauber Rocha Foundation and Casa de las Américas.  Image: HabanaFilmFestival

In Colombian director Laura Mora’s second feature film, Matar A Jesús (Killing Jesus, 2017) there is an intensely moving scene where university student Paula is in a car driving home with father, a political science professor, and he is shot dead by a young assassin on a motorcycle.  A few weeks later, when she spots the young hit-man drunk at a dance club, she purposely meets him and begins methodically to enact a plan that involves buying a gun and getting revenge.  Her plan gets infinitely more complicated as she gets to know Jesús.  He even instructs her on how to shoot a gun—“Just aim with hate in your heart.”  The story was personal for Laura Mora whose own father was murdered before her eyes and who, like her heroine, later met his killer.  Instead of a straightforward tit-for-tat revenge story, Mora uses the plot to explore how Colombian society has failed its underclass.

This drama was one of dozens of powerful films directed by women at the 39th Festival Internacional del Nuevo Cine Latinoamericano or Havana Film Festival (December 8-17, 2017), where 34 percent or 38 of the 114 films that were officially competing this year were directed by females.  This festival’s top prize, the Coral for Best Feature Fiction, went to a woman as well—Argentinian director Anahí Berneri for her film Alanís, making this the third time in 39 years that a female director has won the top honor.  Twenty-five of the festival’s 34 awards went to women—directors, editors, scriptwriters, actors and artists.

The huge and diverse 10-day festival is one of Latin America’s most anticipated annual events, offering the best and latest in Cuban, Latin American and world film—roughly 404 features, documentaries, fiction, animation, and archival gems from 41 countries.  The bulk of these films, 308, were from Latin America with the largest participants as follows: Argentina had 65 films, Mexico (50), Cuba (43), Brazil (41), Chile (32), Colombia (21)… all the way down to Bolivia, Costa Rica, Honduras, Panama with one film each.  The remaining films came from other parts of the world, mainly the US, Spain, France, Germany and the UK.

The breadth of programming is astounding, a challenge that long-term Programming Director, Zita Morriña and her small staff revel in.  (Read my 2015 interview with her here.)  Figures on female directors were published only for competing films, not across the entire festival, where there were dozens of additional female-directed films, female-centered stories from both female and male filmmakers and important panels which brought together female directors and actors to discuss storytelling and challenges they face in their respective countries.  It would be wonderful to have full statistics, for all to see.  As film festivals all over the world scramble to adjust their programming to include more women directors, Havana seems very inclusive.  Festival director Iván Giroud pointed out at the awards ceremony, that the female directors in competition were chosen on their own strength not due to set quotas.

In terms of competing films, only 114 of the 404 films screening were in the official competition for the festival’s Coral Awards.  These are given in seven categories—fiction, opera primas (first films) (18 competing films), documentaries (23), short films (18), animated films (16), unpublished scripts (20) and artistic film posters (24).

The festival publishes a 200+ page catalog every year but “Diario del Festival, its daily 8-page newspaper, is indispensable for festival news and scheduling.  It arrives hot off the press and is distributed each morning at 9 a.m. at the Hotel Nacional.  While all program information in Havana is in Spanish, about one third of the films are subtitled, mainly in English, but also in German or French.  On many occasions, promised subtitles were not available. Photo: Geneva Anderson

 

Cine Riviera in Havana’s Vedado district is immediately recognizable by its blue and white motif. Built in the early ’50s on the site of the previous 1927 Rivieria Theatre, it became the first “atmospheric” cinema in Cuba—its walls were once painted with imitation Spanish facades creating the illusion of being outdoors. Currently, it seats 1,200 and also functions as venue for contemporary music. Photo: Geneva Anderson

My goal for my eight days at the festival was to see as many films as I could and to hit Havana’s rustic streets running.  Using the festival’s headquarters, the Hotel Nacional, in Vedado, as a base, I walked to most of the 15 screening venues, which are glorious retro-classics of Cuban architecture.  In all, I saw 42 films, usually five to six films daily, from 10 a.m. to midnight, and I attended press conferences and special programs.  There’s something magical about immersing oneself in powerful Latin American dramas, unfolding in Spanish, on native soil.  One can’t help but be swept up in the moment—the excitement of the Cuban crowd, the lines, the impassioned conversations, the thrill of stepping into these historic cinema houses— Acapulco, America, Charles Chaplin, Infanta, Karl Marx, La Rampa, Riviera, Yara, and 23Y12.

Below are a sampling of some of the films I saw that made a strong impression.

Bring on the dramas, both soft and strong!

 

Sofía Gala in a scene from Argentinian director, writer and co-producer Anahí Berneri’s sixth film, Alanís.  Sofia Gala was awarded the Coral for Best Female Performance and the film was awarded the top Coral. Sofía Gala gave a feisty and naturalistic performance as an unapologetic self-determined young mother and prostitute struggling to feed herself and her child after she is thrown out of her apartment.  Set in the streets of Buenos Aires, the unsentimental story contained scenes with the artistry of Renaissance portraits.

 

In Sebastian Lelio’s Una Mujer Fantástica, transgender Daniela Vega gives a breathtaking performance as Marina, a transgender woman and aspiring singer who has just lost her partner and who just wants to grieve.  Vega was awarded a Coral for Best Female Performance.  This was Sebastian Lelio’s fifth time to present a film in Havana and Una Mujer Fantástica won a special jury award and the UN’s Únete Prize.  His 2013 drama Gloria, another remarkable portrait of a woman, opened the 35th festival.

Argentinian director Anahí Berneri’s Alanís (2017) which went on to win the top feature fiction prize, screened in a sweet spot, Saturday night, and1 a huge crowd turned out at Cine Yara to see it and the Chilean film that followed, Sebastian Lelio’s Una Mujer Fantástica (A Fantastic Woman, 2017).  Through stories of female outcasts, both films unpacked female stereotypes, identity and societal intolerance.  How wonderful to see the crowd reacting so enthusiastically to these to two Latina actors who imbued their characters with dignity and presence and enough mystery that we wished their stories would go on and on.

 

Chilean actress Paulina García in a scene from La Novia del Desierto (2017), a delicate drama of female self-empowerment, which made a huge splash in Havana when its first-time directors, Cecilia Atán and Valeria Pivato, picked up a Coral Award. 

In recent years, filmmakers from Chile, Argentina and Brazil have received international attention for dramas that inventively explore the outward and internal life journeys of female characters marginalized in society.  La Novia del Desierto (The Desert Bride, 2017) written and directed by Argentinians Cecilia Atán and Valeria Pivato, picked up the festival’s Coral for best debut film and the CiberVoto prize.  Chilean actress Paulina García (Gloria, 2013) gives a radiant and wonderfully-nuanced performance as Teresa, a quiet 54-year-old-woman who has worked for decades as a live-in maid in Buenos Aires, with no real life of her own.  When the family sells their home, she is shipped off to work for their relatives in the distant town of San Juan.  When an unplanned pit-stop in the desert strands her and she loses her small purse and crosses paths with a traveling salesman, her life changes suddenly at an age when taking ownership of her life no longer seemed possible.

In Liquid Truth, Brazilian actor, Daniel de Oliviera, plays a well-liked swimming teacher whose life is virtually ruined by viral internet rumors after he is accused of kissing one of his students, a seven-year-old boy, on the mouth. Brazilian director, Carolina Jabor, won a SIGNUS award for her second fiction feature film.

What if the only actual evidence of a crime is the testimony of an emotional parent translating the words of her child?  Brazilian producer-director, Carolina Jabor, deftly tackles a timely subject in her second feature film, Aos Teus Olhos (Liquid Truth, 2017), which focuses on a person who is all but convicted on the Internet before he is even tried or the facts are known.  Liquid Truth is one of a number of films coming out of Brazil’s thriving art-house cinema scene which has been fueled by strong government funding.

Daniel Giménez Cacho in a scene from Argentinian director Lucretia Martel’s period drama, Zama (2017), which won 3 Coral awards and the FIPRESCI Prize.

Long before Havana, Argentinian director Lucretia Martel (La ciénaga (The Swamp, 2004), La mujer sin cabeza (The Headless Woman, 2010) had charmed international audiences with her period drama, Zama, set in the late 18th century somewhere in the backwaters of South America. It was no surprise when the film picked up multiple Corals in Havana for Best Director, Artistic Director, and Sound, as well as the coveted film critics’ FIPRESCI Prize.  Zama is an epic examination of colonialism and prejudice told through the experiences of a Spanish functionary, Don Diego de Zama (Mexican actor Daniel Giménez Cacho), whose life revolves around his anticipation of a job transfer.  Martel once studied philosophy and she imbues her films with a critical examination of big potent issues, exploring cause, blame and ambition.

 

Docs: informing and entertaining

 

Chilean director Lisette Orozco investigates her own aunt’s complicity in torture and the disappearance of dissidents as one of the female police agents Pinochet-era Chile (1973-90) in “El Pacto de Adriana” (2017). Photo: Geneva Anderson

Chilean director Lisette Orozco’s El Pacto de Adirana (2017) follows her frustrating investigation of her mercurial aunt, Channy—Adriana Elcira Rivas González—a female police agent in Chilean dictator Augusto Pinochet’s military dictatorship.  Adriana was arrested in 2007 in Santiago under charges of torture and involvement in an event that took place in 1976 when Pinochet’s secret political police’s (DINA) extermination unit raided Chile’s Communist Party safe house in Santiago, located at 1587 Conferencia Street.  During this raid, secret police officers, allegedly including Adriana, tortured, killed and did away with the bodies of one of the party’s chiefs, Víctor Díaz, and several other members.  Orozco’s dogged investigation into DINA and her aunt’s involvement literally divided her family, most of whom sided with Adriana.  Fascinating multiple conversations with the aunt reveal her to be highly suspect and unstable.  The remarkable film reveals deeply buried secrets festering in Chilean society to this day.  Orozco was awarded a special jury prize for Feature Length Documentary as well as the FEISAL Prize (Federation of Latin America Image and Sound Schools) and the Memory Award of the Pablo de la Torriente Brau Cultural Center.

A scene from Pamela Yates’ 500 Years.  Mayan survivors of the Guatemalan genocide cheer the guilty verdict against dictator Ríos Montt.  Convicted and sentenced to genocide and crimes against humanity on May 10, 2013, Montt was given an 80-year sentence and sent directly to prison.  It was the first time the perpetrator of genocide against indigenous people had been tried in a court of law. Photo credit: Daniel Hernández-Salazar

Intrepid American director Pamela Yates’ new film 500 Years (2017) continues her important saga of Guatemala’s indigenous resistance that began with When the Mountains Tremble (1983), followed by Granito: How to Nail a Dictator (2011).  In this doc, Yates introduces journalist Dr. Irma Alicia Velásquez Nimatuj, who covered the 2013 genocide trial of former dictator General Rios Montt and the citizen’s uprising which felled President Otto Pérez Molina in 2015.  Finally, it seems Guatemalan society’s plea to end corruption has been heard.  Simply put, Pamela Yates is the gold standard.  Her work ethic, dedication to truth telling and decades of reporting in the troubled region are unparalleled.

 

Mexican ranchera singer and rebel Chavela Vargas, the subject of Catherine Gund and Daresha Kyi’s Chavela (2017).  Chevala was a LGBT icon in Mexico long before she officially came out at age 81.

Every year the festival showcases talented Latin American celebrities.  Catherine Gund and Daresha Kyi’s captivating music-filled documentary, Chavela (2017), was a huge hit in Havana and introduced Mexican ranchera singer Chavela Vargas who burst onto the Mexican music scene in the 1950’s.  She was known for her passionate, rebellious performances, and for often wearing men’s clothing.  She burned-out due to alcoholism and then rebounded late in life, coming out as lesbian at age 81, and establishing herself as musical and lesbian icon for a new generation of fans.  Gund and Kyi masterfully explore the singer’s legacy and her elusive and contradictory nature relying on filmed interviews with the late singer done in the 1990’s, more recent interviews with those who knew her, and a montage of archival footage from 70 years of performances.

Cuban Film:

Whether the focus is a period film looking back at Cuban history, a documentary or an entertaining drama or comedy, Cuban film inherently addresses life in Cuba and, for an outsider, there’s no better window on the island.  Before each screening of the two Cuban films in official competition for the fiction prize —Gerardo Chijona’s Los Buenos Demonios (2017) and Ernesto Daranas’ Sergio & Serguéi (2017) (winner of the Audience Award for Best Film), there were long lines of people eager to see how Cuba would be reflected on the big screen.

A scene from Cuban director Magda González Grau’s ¿Por qué lloran mis amigas? (2017). Photo: habanafilmfestival.com

Cuban director Magda González Grauda’s elegant drama, ¿Por qué lloran mis amigas? (Why My Friends Cry, 2017), was enlivened greatly by superb acting on the part of its four costars, all prominent film and television actresses—Luisa María Jiménez, Jasmín Gómez, Edith Massola and Amarilys Núñez.  The film, not included in official competition, screened as part of the enormous Latin America in Perspective portion of the festival which offers some 17 categories of films. The story revolves around four female friends who were very close growing up and who reunite after 20 years have passed.  Their discussion grows more candid the more time they spend together and shines a light on Cuban society, unleashing pent up emotions, frustrations and insecurities about the courses their lives have taken, the secrets they are keeping and how far they are willing to go to help each other out.  With a production team of mainly women, it was a joy to see them all take the stage in Havana.

Cuban actress and director, Isabel Santos.

Isabel Santos is one of Cuba’s most revered and beloved actresses and she made multiple appearances at the festival.  She starred in Carlos Barba’s 25 horas (2017), in the short fiction competition.  She co-starred in Gerardo Chijona’s Los Buenos Demonos (The Good Devils, 2017), in the feature-length fiction competition.  She was also one of 10 female directors included in the festival’s official documentary competition with her own 40 min doc, Gloria City (2017).  The film deftly explores the intertwining of fact and myth associated with the first Americans to settle in Cuba, at the beginning of the 20th century, in the village Gloria City, presently in the municipality of Sierra de Cubitas, on Camagüey Province’s northern coast, about 500 kilometers east of Havana.  Santos, who is from Camagüey, interviewed Cuban essayist and author Enrique Cirules (1938-2016), also from Camagüey, who wrote two books on the subject of Gloria City.  We can only imagine what this powerhouse would turn out if she were to direct a feature-length film.

Details: The 40th Festival of New Latin American Cinema is December 6-16, 2018 in Havana.  Click here for information.  Plan on making plane and hotel reservations well in advance of the festival.  Once in Havana, festival passes can be purchased at the Hotel Nacional de Cuba, where the festival is headquartered, or, individual tickets can be purchased at various screening venues.  Due to the immense popularity of the festival, and to avoid long lines, purchasing a festival pass is advised.

 

 

 

March 3, 2018 Posted by | Film | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Pounce!— tickets on sale now for Devour! Sonoma Chefs & Shorts Gala Dinner at the 21st Sonoma International Film Festival

SIFF21’s five-course dinner and film shorts event, “Devour! Sonoma Chefs & Shorts Gala Dinner” is Thursday, March 22, 2018, 6pm, at the Sonoma Veterans Hall.  A unique collaboration between SIFF and Devour! The Food Film Fest, the evening will celebrate cinema, food and wine.  Image: courtesy Phototype

The Sonoma International Film Festival (SIFF), March 21-25, 2018, celebrates its 21st anniversary this year and has just announced its first special film/food/wine event, Devour! Sonoma Chefs & Shorts Gala Dinner, Thursday, March 22, 2018, at 6pm the Sonoma Veterans Hall.  SIFF is partnering with Canada’s renowned Devour! The Food Film Fest to bring this unique experience to SIFF film and food aficionados.

The evening will feature an extraordinary five-course dinner, with each course taking its inspiration from short food films from around the world.  Lia Rinaldo, managing director of Devour! will serve as curator.   Culinary collaborators include luminaries such as Dominique Crenn (first woman to earn two Michelin Stars and named Best Female Chef in 2016, Atelier Crenn, San Francisco), Evan Funke (Felix Trattoria, Los Angeles), Michael Howell (Founder of Devour!, Wolfville, Nova Scotia) and Sonoma Chefs John McReynolds (Edge) and John Toulze (The Girl and The Fig).  Each course will be paired with Sonoma’s finest wine, including Gloria Ferrer and WindVane, as well as Benjamin Bridge from Michael Howell’s backyard in Wolfville, Nova Scotia.  The films are screened simultaneously with the dinner.  This unique offering has sold out in many locations around the world, and with this combination of award-winning chefs, great local foods and wines, it’s sure to please SIFF’s savvy foodies.   “SIFF is thrilled to work with Devour! The Food Film Fest to bring this first Chefs & Shorts culinary experience to our festival attendees!” said SIFF Executive Director Kevin McNeely.

Details:  Devour! Sonoma Chefs & Shorts Gala Dinner is Thursday, March 22, 2018, at 6pm the Sonoma Veterans Hall.  Tickets are $120 for Soiree pass holders, $150 for all other pass holders and $200 for general public.  Click here to purchase tickets for this event or visit  www.sonomafilmfest.org to first purchase your festival pass.

 SIFF Pass Information:
SIFF21 is Wednesday, March 21 through Sunday, March 25.  The best way to experience this very popular festival and to have access to all films is by getting a SIFF pass. Currently, Cinema Passes are $225 and Soiree Passes are $725.  All Cinema pass holders will have day access to the Backlot Tent in SIFF Village.  Soiree pass holders will have day VIP area and evening party access.  For information about tickets, festival passes, prices, and benefits visit www.sonomafilmfest.org.

More about Devour!  Combining cinematic talent with extraordinary gastronomic activities, Devour! The Food Film Fest is the world’s largest film festival focused on food and drink. This annual five-day festival hosts 100+ events, high profile chefs & celebrated filmmakers from around the world and, just this past season, attracted almost 11,000 food and film lovers to Nova Scotia, Canada. The eighth edition of Devour! is slated for October 24-28, 2018.

 

January 31, 2018 Posted by | Film, Food | , , , , , , , , , , , , , , , , | Leave a comment