ART hound

Geneva Anderson digs into art

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.

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

The San Francisco International Film Festival celebrates its 60th with expanded programming, new venues and name tweaks—Wed, April 5, through Wed, April 19, 2017

A still from Bay Area artist and filmmaker Lynn Hershman Leeson’s new documentary, “Tania Libre,” a portrait of the radical Cuban artist Tania Bruguera, whose work blurs the line between art and activism. The film, Leeson’s seventh, continues her ongoing exploration of groundbreaking women artists. Her influential “!Women Art Revolution” (2010) (SFIFF 54) turned the camera on women artists who are underrepresented in leading museums. Leeson will be awarded the SF International Film Festival’s Golden Gate Persistence of Vision Award on Tuesday, April 11 at YBCA. “Civic Radar,” a retrospective of Leeson’s extraordinary career runs through May 21 at YBCA and an exhibition with Tania Bruguera will open in June there. The 60th SF International Film Festival runs April 5-19, 2017. Image: courtesy, SFFilm

The 2017 San Francisco International Film Festival opened Wednesday at the historic Castro Theatre with Gillian Robespierre’s sentimental indie comedy, Landline (2016), and runs for the next 14 days, offering 181 films from 51 countries, 6 world premieres, 57 women directors and upwards of 100 participating filmmaker guests.  This grand festival, the longest running film festival in the Americas, celebrates its 60th anniversary with a few changes and expanded programming that tackles urgent social issues and captures the immense talent as well as the heart of its Bay Area locale.

New this Year

This mammoth fest is now called “SF International Film Festival,” instead of SFIFF, and that’s because its sponsor, SFFILM, changed its name; it was formerly the San Francisco Film Society.  SFFILM’s mission remains to “champion the world’s finest films and filmmakers through programs anchored in and inspired by the spirit and values of the San Francisco Bay Area.”  Other changes in the festival include: a start date that is two weeks earlier than usual; closing night festivities that occur two days before the festival’s actual end date; the main Festival Box Office is now headquartered in SOMA, in the YBCA Grand Lobby; and the festival itself is spread all over in 14 San Francisco and 1 Berkeley venue, including the Castro Theatre, the Roxie, the Alamo Drafthouse New Mission Theater, SFMOMA’s new state of the art Phyllis Wattis Theater, the new Dolby Cinema (on Market St.) and PFA (inside Berkeley’s new BAMPFA).

The sprawl presents a logistics nightmare for those driving in who require parking.  Your best bet is to buy all your tickets in advance and plan to see films within walking distance of one another.   It’s worth the hassle to get there.  Nothing beats seeing a film the way it was meant to be seen—on the big screen with state-of-the-art acoustics and an engaged audience to keep you company.   This festival delivers one of the highest ratios of face time with creative talent and flies in special guests from all over the world for nearly every film who participate in engaging post-screening Q & A’s.  These are the exchanges that build lifelong memories and a foundation for understanding cinema.

Shah Rukh Khan (SRK), the undisputed King of Bollywood, will be honored in a special tribute at the Castro on Friday, April 9.  Following an on stage conversation with the charismatic mega-star, Karan Johar’s moving drama, “My Name is Khan” (2010), will screen.  Khan stars as Rizvan Khan, an Indian Muslim Indian battling Asperger’s syndrome, who moves to San Francisco to stay with his brother after their mother dies.  In this stand-out dramatic performances, Khan is forced to navigate the post-9/11 prejudicial landscape. His lot only worsens when he falls in love with and marries a Hindu woman who demands that he tell the U.S. president directly, “My name is Khan, and I am not a terrorist.” As he embarks on this epic quest, with quite showy drama, his warm personality wins hearts and becomes his saving grace. Image: courtesy SFFilm

Special programs

Be on the lookout for a series of high-profile tributes and awards: (Ethan Hawke (April 8, YBCA), Tom Luddy (Mel Novikoff Award, April 9, Castro), Eleanor Coppola (George Gund III Craft of Cinema Award, April 10, SFMOMA), Lynn Hershman Leeson (Persistence of Vision Award, April 11, YBCA), John Ridley (April 12, Alamo Drafthouse), Gordon Gund (April 13, SFMOMA), James Ivory (April 14, SFMOMA), Shah Rukh Khan (April 14, Castro).

Do you love Eastern European and Russian film? Tom Luddy, the recipient of this year’s Mel Novikoff Award, is largely responsible for laying the groundwork for BAMPFA’s vast collection of Soviet-era film when he was the director of PFA, way back in the day by collecting prints that might have otherwise been lost. He then went on to co-found the Telluride Film Festival and, after that, went on to become director of special projects for Francisco Ford Coppola and Zoetrope Studios and then on to collaborate with filmmakers such Agnès Varda, Chris Marker, and Jean-Luc Goddard. The Novikoff Award is presented to an individual whose work has enhanced the film-going public’s appreciation of world cinema. For his afternoon film screening, Luddy has selected the rarely screened Gennadi Shpalikov film, “A Long Happy Life” (Russia, 1966), one of the richest and truest depictions of love in Soviet-era Russia ever created, along with Jean-Luc Goddard’s short “Une bonne à toute faire,” (1981), which was filmed at Coppola’s American Zoetrope and evokes a tableau from a Georges de La Tour painting. (Screens: Sunday, April 9, 4 pm, Castro) Image: courtesy SFFilm

There’s an enhanced music and film schedule.  This year’s Centerpiece feature  is Geremy Jasper’s Patti Cake$, about an aspiring rap star (April 12, Castro).  The Man With a Movie Camera with Devotchka (April 13, Castro) combines Dziga Vertov’s 1929 avant-garde trip through three Soviet cities with a live Devotchka performance.)

Australian actress Danielle Macdonald as aspiring rapper Patricia Dombrowski—a.k.a. Killa P, a.k.a. Patti Cake$—in a scene from Geremy Jasper’s feature debut “PattiCake$,” this year’s Centerpiece Film and the unqualified breakout hit of this year’s Sundance Festival. Cheered on by her grandmother (Cathy Moriarty) and only friends, Jheri (Siddharth Dhananjay) and Basterd (Mamoudou Athie), Patti somehow manages to shoulder her mother’s (Bridget Everett) heartaches and misfortunes and keep her swagger. This film was in part funded by a grant from SFFilm. Both Jasper and Macdonald will be in attendance. Screens: Wednesday, April 12, 7:30 pm, Castro. Image: courtesy SFFilm

The festival is also unveiling new programs involving the technology world.  An inaugural Creativity Summit will launch with Dr. Ed Catmull, president of Pixar and Dsiney Animation Studios giving the State of Cinema address (April 8, Dolby Cinema).

Structure:

The first weekend is dedicated to parties, special events and major new films.  Following that is a week of international and Bay Area cinema mixed with cross-media explorations culminating in the festival’s 60th anniversary commission at Castro on April 16: The Green Fog–A San Francisco Fantasia, an exciting new collaboration by SFFilm and Stanford Live in which the renowned Kronos Quartet will perform a new score by composer Jacob Garchik to accompany a visual collage by filmmaker Guy Maddin.  In addition, the festival continues to tip its hat to new and global filmmakers through its awards.  Ten narrative features and ten documentary features will compete for the Golden Gate Awards (GGAs) and nearly $40,000 in total prizes.

A scene from Guy Maddin’s “The Green Fog” in which the filmmaker challenged himself to remake Hitchcock’s “Vertigo” without using any footage from Hitchcock’s classic. Assisted by Evan Johnson, his “Forbidden Room” collaborator, the duo used a variety of Bay Area-based footage from studio classics, ’50’s noir, documentary and experimental films, and 70’s prime time TV —and employed Maddin’s assemblage techniques— to create what Maddin describes as a “parallel universe” version. “The Green Fog–A San Francisco Fantasia” closes the 60th SF International Film Festival,” on April 16 at the historic Castro Theater. The special commission by SFFilm, in collaboration with Stanford Live, includes the world renowned Kronos Quartet performing a new score by composer Jacob Garchik that “collides and converses with Maddin and Johnson’s irreverent footage. Image: SFFilm

Stay-tuned, ARThound will next preview the festival’s top films.

Festival Details:

When:  The 60th SF International Film Festival runs 14 days─ Wednesday, April 5 –Wednesday, April 19, 2017.

Tickets: $15 most films, more for Special Events and Parties which generally start at $20.   Passes—the popular CINEVOUCHER 10-pack ($140 general public and $120 for SFFilm members) and the exclusive CINEVISA early admittance to every screening, party, and program (with exception of Film Society Awards Night) ($1350 SFFilm members and $1675 general public).   How to buy tickets—purchase online at http://www.sffilm.org/festival/attend/tickets or in person during the festival.  Main Festival Box Office: is YBCA Grand Lobby, open daily Thursday, April 6 – Sunday, April 16, noon to 8 pm. During the festival , other screening venues also sell tickets.

Advance ticket purchases absolutely recommended as many screenings go to Rush.  Check the festival website to see which films are currently at rush (the list is updated frequently).

Day-of Noon Release Tickets: Each day of the Festival, tickets may be released for that day’s rush screenings. Pending availability, tickets may be purchased online or in person at the main festival box,  starting at noon. Not all shows will have tickets released, and purchasing is first-come, first-served.

Rush tickets:  Last-minute or rush tickets may be available on a first served basis to those waiting in line for cash only about 10 minutes before show time.  If you want rush tickets, plan to line up at least 45 minutes prior to screening time. No rush tickets for screenings at BAMPFA

More info: For full schedule and tickets, visit: http://www.sffilm.org/festival

 

April 5, 2017 Posted by | Art, Film | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment