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"content": "\u003cp>Take refuge! Gay marriage is upon us! And the sky’s not falling — how strange! With closed minds creaking open, more and more gay-friendly young adults reaching voting age, and legislators finally standing up for equal rights (go on with your bad selves, Iowa and Maine), the perfect stage is set for the release of \u003cb>Outrage\u003c/b>. Academy Award-nominated filmmaker Kirby Dick has taken on the failure of the American movie rating system in \u003cb>This Film Is Not Yet Rated\u003c/b> and child abuse in the Catholic church in \u003cb>Twist of Faith\u003c/b>, so he is no stranger to controversy. And he’s really asking for it with this new documentary, which exposes closeted lawmakers who promote an anti-gay agenda to cover up their own gay sexcapades in airport restrooms or in “alleys behind abandoned synagogues” (former New Jersey governor Jim McGreevey totally went there).\u003c/p>\n\u003cp>Outing someone is often a malevolent act perpetrated by bitchy bloggers and trashy tabloids, but Kirby Dick’s exposé is less about unwarranted attacks and more about tackling hypocrisy. 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But the reality is that they \u003ci>are\u003c/i> causing harm.\u003c/p>\n\u003cp>Anyone who believes that the recent rise in gay hate crimes has no relation to the bloated anti-gay rhetoric propagated by certain conservatives should get an award for delusion. We’ve seen how scary things can get when politicians prey on the public’s ignorance and prejudice in a quest for power. Just think back to McCarthyism or, more recently, the \u003ca href=\"http://www.youtube.com/watch?v=zRqcfqiXCX0\" target=\"offsite\" rel=\"noopener\">McCain/Palin rallies\u003c/a>. Or, say, Bush’s 2004 reelection campaign. George Bush’s campaign manager at that time, Ken Mehlman came up with the cynical idea to use gay marriage as a way to flame the fervor of evangelicals and secure their votes. And Mehlman is gay himself!\u003c/p>\n\u003cp>Dozens of similar cases exist on Capitol Hill and \u003cb>Outrage\u003c/b>‘s sole purpose is to find these men and hold them accountable. Several politicos are exposed in the film, but two superstar hypocrites are specifically targeted. The first is infamous toe-tapper and former Idaho senator Larry Craig, who was arrested for soliciting sex from an undercover officer in a Minneapolis airport bathroom in 2007. Despite this imbroglio and another sex scandal in the ’70s that involved young pages, Craig still asserts that he is not gay. And, beyond all reason, his \u003ca href=\"http://www.chinadaily.com.cn/lifestyle/2007-02/12/xin_0402041310558342096420.jpg\" target=\"offsite\" rel=\"noopener\">beard\u003c/a> (uh, I mean his wife), pretends to believe it. A commentator in the film sums it up pretty well: “That’s some weird shit!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other politician \u003cb>Outrage\u003c/b> focuses on is Florida Governor Charlie Crist, who supported Propostion 2 in 2008, which banned gay marriage, and also favored the gay adoption ban. Like Craig, Crist hides behind a woman when the rumors get too hot or some political gain is at stake. Kirby Dick asked one of Crist’s former “girlfriends” for her story and she replied, “Call me in ten years and I’ll tell you a story.” When McCain was looking for a running mate, Crist not only found another \u003ca href=\"http://static.guim.co.uk/Guardian/music/gallery/2008/aug/27/michaeljackson/1996-Newwife-UT0008411-9778.jpg\" target=\"offsite\" rel=\"noopener\">beard\u003c/a>, but proposed to her. This didn’t quite work as planned because a deranged aerial huntress trumps a closeted gay, yet he still had to marry the poor woman to keep up straight appearances. And now he has his sights on a 2012 presidential run. What could go wrong?\u003c/p>\n\u003cp>Although the film criticizes these men for their double lives, its primary concern is not to condemn them, but to showcase how damaging the closet can be to one’s psyche and to the political process. Former New Jersey Governor Jim McGreevey speaks openly about the harm done to his soul as a result of lying to himself, his wife, and his constituents. Along with the always amusing Massachusetts Congressman Barney Frank, McGreevey declares that coming out was the best thing he ever did for himself, not as a politician, but as a human being. Another former closet case featured in the documentary, one-time national field director for the RNC, Dan Gurley, abandoned his divisive anti-gay politics after his Gay.com profile was made public and has now become vice chairman of a gay-equality group. Like an apple a day or \u003ca href=\"http://farm1.static.flickr.com/87/269037944_b4c716255d.jpg?v=0\" target=\"offiste\" rel=\"noopener\">daily vitamins\u003c/a>, accepting yourself and coming out is good for you!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Act Up founder Larry Kramer says that “activism is about anger” and the documentary supplies its audience with a sufficient dose of outrage to leave the theater and do something, maybe even come out themselves. This is a movie about taking action and realizing that the cost of the closet is too high. Harvey Milk wrote in his will: “Let the bullets that rip through my brain smash every closet door in the country.” Some closet doors remain intact, but more and more of them are coming off their hinges and, someday soon, Harvey will get his last wish.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Take refuge! Gay marriage is upon us! And the sky’s not falling — how strange! With closed minds creaking open, more and more gay-friendly young adults reaching voting age, and legislators finally standing up for equal rights (go on with your bad selves, Iowa and Maine), the perfect stage is set for the release of \u003cb>Outrage\u003c/b>. Academy Award-nominated filmmaker Kirby Dick has taken on the failure of the American movie rating system in \u003cb>This Film Is Not Yet Rated\u003c/b> and child abuse in the Catholic church in \u003cb>Twist of Faith\u003c/b>, so he is no stranger to controversy. And he’s really asking for it with this new documentary, which exposes closeted lawmakers who promote an anti-gay agenda to cover up their own gay sexcapades in airport restrooms or in “alleys behind abandoned synagogues” (former New Jersey governor Jim McGreevey totally went there).\u003c/p>\n\u003cp>Outing someone is often a malevolent act perpetrated by bitchy bloggers and trashy tabloids, but Kirby Dick’s exposé is less about unwarranted attacks and more about tackling hypocrisy. He’s not taking every rumor from Capitol Hill and slapping it on the movie screen nor is he going after every closeted gay person of power, only those who breed homophobia through their voting records to protect their heteronormative façades.\u003c/p>\n\u003cp>There has already been a backlash against this movie, most alarmingly captured as a DC newscaster \u003ca href=\"http://www.youtube.com/watch?v=BC41rgZgmA0\" target=\"offsite\" rel=\"noopener\">threatens to punch Mike Rogers\u003c/a> (a blogger featured in the film) on live television. What seems to drive that specific threat is the newscaster’s paranoia over his own guarded secrets. Other negative responses stem from not understanding why Dick would go after closeted men for what they do in private when they’re not hurting anyone. But the reality is that they \u003ci>are\u003c/i> causing harm.\u003c/p>\n\u003cp>Anyone who believes that the recent rise in gay hate crimes has no relation to the bloated anti-gay rhetoric propagated by certain conservatives should get an award for delusion. We’ve seen how scary things can get when politicians prey on the public’s ignorance and prejudice in a quest for power. Just think back to McCarthyism or, more recently, the \u003ca href=\"http://www.youtube.com/watch?v=zRqcfqiXCX0\" target=\"offsite\" rel=\"noopener\">McCain/Palin rallies\u003c/a>. Or, say, Bush’s 2004 reelection campaign. George Bush’s campaign manager at that time, Ken Mehlman came up with the cynical idea to use gay marriage as a way to flame the fervor of evangelicals and secure their votes. And Mehlman is gay himself!\u003c/p>\n\u003cp>Dozens of similar cases exist on Capitol Hill and \u003cb>Outrage\u003c/b>‘s sole purpose is to find these men and hold them accountable. Several politicos are exposed in the film, but two superstar hypocrites are specifically targeted. The first is infamous toe-tapper and former Idaho senator Larry Craig, who was arrested for soliciting sex from an undercover officer in a Minneapolis airport bathroom in 2007. Despite this imbroglio and another sex scandal in the ’70s that involved young pages, Craig still asserts that he is not gay. And, beyond all reason, his \u003ca href=\"http://www.chinadaily.com.cn/lifestyle/2007-02/12/xin_0402041310558342096420.jpg\" target=\"offsite\" rel=\"noopener\">beard\u003c/a> (uh, I mean his wife), pretends to believe it. A commentator in the film sums it up pretty well: “That’s some weird shit!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other politician \u003cb>Outrage\u003c/b> focuses on is Florida Governor Charlie Crist, who supported Propostion 2 in 2008, which banned gay marriage, and also favored the gay adoption ban. Like Craig, Crist hides behind a woman when the rumors get too hot or some political gain is at stake. Kirby Dick asked one of Crist’s former “girlfriends” for her story and she replied, “Call me in ten years and I’ll tell you a story.” When McCain was looking for a running mate, Crist not only found another \u003ca href=\"http://static.guim.co.uk/Guardian/music/gallery/2008/aug/27/michaeljackson/1996-Newwife-UT0008411-9778.jpg\" target=\"offsite\" rel=\"noopener\">beard\u003c/a>, but proposed to her. This didn’t quite work as planned because a deranged aerial huntress trumps a closeted gay, yet he still had to marry the poor woman to keep up straight appearances. And now he has his sights on a 2012 presidential run. What could go wrong?\u003c/p>\n\u003cp>Although the film criticizes these men for their double lives, its primary concern is not to condemn them, but to showcase how damaging the closet can be to one’s psyche and to the political process. Former New Jersey Governor Jim McGreevey speaks openly about the harm done to his soul as a result of lying to himself, his wife, and his constituents. Along with the always amusing Massachusetts Congressman Barney Frank, McGreevey declares that coming out was the best thing he ever did for himself, not as a politician, but as a human being. Another former closet case featured in the documentary, one-time national field director for the RNC, Dan Gurley, abandoned his divisive anti-gay politics after his Gay.com profile was made public and has now become vice chairman of a gay-equality group. Like an apple a day or \u003ca href=\"http://farm1.static.flickr.com/87/269037944_b4c716255d.jpg?v=0\" target=\"offiste\" rel=\"noopener\">daily vitamins\u003c/a>, accepting yourself and coming out is good for you!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Act Up founder Larry Kramer says that “activism is about anger” and the documentary supplies its audience with a sufficient dose of outrage to leave the theater and do something, maybe even come out themselves. This is a movie about taking action and realizing that the cost of the closet is too high. Harvey Milk wrote in his will: “Let the bullets that rip through my brain smash every closet door in the country.” Some closet doors remain intact, but more and more of them are coming off their hinges and, someday soon, Harvey will get his last wish.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“There are always possibilities,” Spock said. And if the \u003cb>Star Trek\u003c/b> franchise reboot is indeed life from death, we must return to this place again.\u003c/p>\n\u003cp>That, if you’ll pardon the allusion to 1982’s \u003cb>The Wrath of Khan\u003c/b> (and of course you will), is the eminently logical thinking behind director J.J. Abrams’ audaciously entertaining outing, which remains just aware enough of the mythology’s most cherished moments to move on without dishonoring them. Abrams’ appropriately funny, silly and exciting new take on \u003cb>Trek\u003c/b> clearly understands its original mission objectives, and puts extra emphasis on the boldly going.\u003c/p>\n\u003cp>And on the coming together. Abrams shows us the formative years (or, well, the formative brief moments) of the headstrong, thrill-seeking, frequently precipice-dangling James T. Kirk (Chris Pine) and the half-human, half-Vulcan logician scientist Spock (Zachary Quinto). They’re at odds at first, but friendship takes root in the rich soil of common destiny as they board the starship Enterprise and accumulate her most familiar crew: Uhura (Zoe Saldana), Sulu (John Cho), Chekov (Anton Yelchin) and Scotty (Simon Pegg).\u003c/p>\n\u003cp>It doesn’t happen as has been told before. But the movie justifies its alterations to this ensemble origin story very cleverly, twisting causality in a manner most consistent with the \u003cb>Trek\u003c/b> ethos. Let’s just say it involves a genocidal, time-warping renegade Romulan (Eric Bana), with a major axe to grind against young Mr. Spock.\u003c/p>\n\u003cp>Not to mention significant screen time for old Mr. Spock, as portrayed with warmth and evident joy by the actor who originated him, Leonard Nimoy. That means real pressure for Quinto, but the newcomer comports himself with vigorous dignity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there’s our new Captain Kirk. All told, the performance probably could not have been better. In archetypal terms, Pine seems as the mid-sixties William Shatner must have, with the cheeky spunk and all-purpose good looks of a small-screen swashbuckler coming into his own. For fun, Pine delivers a Shatnerian gesture here and there, and one classic line reading near the movie’s end, but he doesn’t get daunted or distracted, and makes the part his own.\u003c/p>\n\u003cp>The carefully chosen creative team also includes screenwriters Roberto Orci and Alex Kurtzman, alumni of Abrams’ \u003cb>Alias\u003c/b>, and composer Michael Giacchino, an alumnus of Abrams’ \u003cb>Lost\u003c/b>. These folks have done worse, and better, respectively — Orci and Kurtzman also wrote the \u003cb>Transformers\u003c/b> movies, and Giacchino also scored \u003cb>The Incredibles\u003c/b> — but the prevailing mentality, of a TV-serial with an expansive sense of adventure, is just what anything called \u003cb>Star Trek\u003c/b> needs.\u003c/p>\n\u003cp>The presentation, as much to Abrams’ credit as to his writers, is a marvel of polished panache. It finds the right time and place for familiar catchphrases — your “fascinatings” and “dammit Jims” and “I’m givin’ her all she’s gots” — and even ventures some character-consistent new ones, like when cranky ship’s physician Leonard “Bones” McCoy (Karl Urban) caps off a harangue at young Kirk with the admonishment that “space is disease and danger wrapped in darkness and silence!”\u003c/p>\n\u003cp>Arguably, there isn’t enough darkness or silence in \u003cb>Star Trek\u003c/b>. Cinematographer Dan Mindel goes a little overboard with the cool but eventually distracting halation effects to remind us how bright and shiny this future world is, and the urgently adventurous pace of the story, though thrilling, seems just a wee bit afraid of time to think and room to breathe. One reason the second \u003cb>Trek\u003c/b> film can’t be topped but can be referenced is that it was, in its soul, such a quietly ruminative movie — with ships lumbering among hazy nebulae stalking each other like submarines, and characters sealing their bonds of friendship by confronting their mortality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as Kirk wisely suggested in that film, “galloping around the cosmos is a game for the young.” And here they are.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are always possibilities,” Spock said. And if the \u003cb>Star Trek\u003c/b> franchise reboot is indeed life from death, we must return to this place again.\u003c/p>\n\u003cp>That, if you’ll pardon the allusion to 1982’s \u003cb>The Wrath of Khan\u003c/b> (and of course you will), is the eminently logical thinking behind director J.J. Abrams’ audaciously entertaining outing, which remains just aware enough of the mythology’s most cherished moments to move on without dishonoring them. Abrams’ appropriately funny, silly and exciting new take on \u003cb>Trek\u003c/b> clearly understands its original mission objectives, and puts extra emphasis on the boldly going.\u003c/p>\n\u003cp>And on the coming together. Abrams shows us the formative years (or, well, the formative brief moments) of the headstrong, thrill-seeking, frequently precipice-dangling James T. Kirk (Chris Pine) and the half-human, half-Vulcan logician scientist Spock (Zachary Quinto). They’re at odds at first, but friendship takes root in the rich soil of common destiny as they board the starship Enterprise and accumulate her most familiar crew: Uhura (Zoe Saldana), Sulu (John Cho), Chekov (Anton Yelchin) and Scotty (Simon Pegg).\u003c/p>\n\u003cp>It doesn’t happen as has been told before. But the movie justifies its alterations to this ensemble origin story very cleverly, twisting causality in a manner most consistent with the \u003cb>Trek\u003c/b> ethos. Let’s just say it involves a genocidal, time-warping renegade Romulan (Eric Bana), with a major axe to grind against young Mr. Spock.\u003c/p>\n\u003cp>Not to mention significant screen time for old Mr. Spock, as portrayed with warmth and evident joy by the actor who originated him, Leonard Nimoy. That means real pressure for Quinto, but the newcomer comports himself with vigorous dignity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Bring on your mastodons! Bring on your mammoths!”\u003c/p>\n\u003cp>“I will — if any of you spineless worms are brave enough to go back with me into the trackless jungle where these monsters live.”\u003c/p>\n\u003cp>And so it begins, as Doctor Challenger recruits a team of Brits to explore \u003cb>The Lost World\u003c/b>. The classic 1925 silent film will screen at the Castro Theatre as part of the \u003ca href=\"http://www.sffs.org/sf-intl-film-festival.aspx\">52nd San Francisco International Film Festival\u003c/a> with the Los Angeles-based, hybrid-pop band Dengue Fever performing a live score. Get ready for some campy dinosaur battles, mischievous ape-men and khaki-clad adventurers bumbling around the Amazon. Many of the film’s sets are reminiscent of the waterways that wind through the Jungle Cruise ride at Disneyland. Savages, gators, intrepid explorers and dinaosaurs collide in this adaptation of Sir Arthur Conan Doyle’s classic novel, depicting a land where prehistoric beasts still roam the earth.\u003c/p>\n\u003cp>But it’s not all \u003cb>Mystery Science Theatre\u003c/b> type of material. \u003cb>The Lost World\u003c/b> marks stop-motion animatation wiz, \u003ca href=\"http://en.wikipedia.org/wiki/Willis_O%27Brien\">Willis O’Brien’s\u003c/a> impressive Hollywood feature debut, which led to his most famous gig: animating the original \u003cb>King Kong\u003c/b>. The technology may be dated, but imagine what it must have been like to see dinosaurs jumping around on screen in 1925. \u003cb>The Lost World\u003c/b> contains the perfect mix of sheer artistry and unintentional humor — similar to 1919’s \u003cb>The Cabinet of Dr. Caligari\u003c/b>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/denguefevermusic\">Dengue Fever\u003c/a> describes its sound as “a Cambodian pop rock psychedelic dance party!” The band was formed after keyboardist Ethan Holtzman returned from a trip to Angkor Wat with a tape of ’60s Cambodian pop music, which he used to infect his guitarist brother, Zac. The two discovered Cambodian singer, Chhom Nimol, performing at a Khmer restaurant in Long Beach, pulled together a group and recorded an album of covers. The band’s subsequent releases have included more original material, expanding its repertoir and influences to include Bollywood, Spaghetti Western, psychedelic rock, ska, Ethiopan jazz and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dengue Fever’s surf jingles, electric piano and ’60s inspired kitsch should fit \u003cb>The Lost World’s\u003c/b> mysterious, yet playful, tone well. It will be interesting to hear how singer Chhom Nimol integrates her vocals, often sung in both English and Khmer, with the film’s dialogue title cards. Hopefully the written score leaves room for spontaneity. I’m optimistic. It should be a fun show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Lost World\u003c/b> is playing at the Castro Theatre as part of the \u003cb>52nd San Francisco International Film Festival\u003c/b> on Tuesday, May 5, 2009. Castro Theatre, 429 Castro St., San Francisco, CA 94114. Screening at 8pm. Members $15, general $20.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Bring on your mastodons! Bring on your mammoths!”\u003c/p>\n\u003cp>“I will — if any of you spineless worms are brave enough to go back with me into the trackless jungle where these monsters live.”\u003c/p>\n\u003cp>And so it begins, as Doctor Challenger recruits a team of Brits to explore \u003cb>The Lost World\u003c/b>. The classic 1925 silent film will screen at the Castro Theatre as part of the \u003ca href=\"http://www.sffs.org/sf-intl-film-festival.aspx\">52nd San Francisco International Film Festival\u003c/a> with the Los Angeles-based, hybrid-pop band Dengue Fever performing a live score. Get ready for some campy dinosaur battles, mischievous ape-men and khaki-clad adventurers bumbling around the Amazon. Many of the film’s sets are reminiscent of the waterways that wind through the Jungle Cruise ride at Disneyland. Savages, gators, intrepid explorers and dinaosaurs collide in this adaptation of Sir Arthur Conan Doyle’s classic novel, depicting a land where prehistoric beasts still roam the earth.\u003c/p>\n\u003cp>But it’s not all \u003cb>Mystery Science Theatre\u003c/b> type of material. \u003cb>The Lost World\u003c/b> marks stop-motion animatation wiz, \u003ca href=\"http://en.wikipedia.org/wiki/Willis_O%27Brien\">Willis O’Brien’s\u003c/a> impressive Hollywood feature debut, which led to his most famous gig: animating the original \u003cb>King Kong\u003c/b>. The technology may be dated, but imagine what it must have been like to see dinosaurs jumping around on screen in 1925. \u003cb>The Lost World\u003c/b> contains the perfect mix of sheer artistry and unintentional humor — similar to 1919’s \u003cb>The Cabinet of Dr. Caligari\u003c/b>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/denguefevermusic\">Dengue Fever\u003c/a> describes its sound as “a Cambodian pop rock psychedelic dance party!” The band was formed after keyboardist Ethan Holtzman returned from a trip to Angkor Wat with a tape of ’60s Cambodian pop music, which he used to infect his guitarist brother, Zac. The two discovered Cambodian singer, Chhom Nimol, performing at a Khmer restaurant in Long Beach, pulled together a group and recorded an album of covers. The band’s subsequent releases have included more original material, expanding its repertoir and influences to include Bollywood, Spaghetti Western, psychedelic rock, ska, Ethiopan jazz and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s probably natural for the consequence of deep film-fest immersion to be a voice in my head saying, “Wait. Slow down. Let me process.” \u003c/p>\n\u003cp>But it’s not just my voice. It’s something in the collective unconscious. It’s a prevailing theme in many of the films I’ve so far seen. I say prevailing because this theme often seems to result from a kind of battle — usually between the filmmakers and their material, sometimes between them and their audience. \u003c/p>\n\u003cp>I should also say that most of what I’ve seen so far has been nonfiction — documentary, they used to call it, before it deservedly got mocked and co-opted and subverted and teased and interrogated. I want some kind of solace, so I gravitate toward whatever enables my impulse to sift through and review recent cultural history — to see what I’ve missed, even if the reason I missed it was that it wasn’t very meaningful to begin with and I got distracted. \u003c/p>\n\u003cp>Of course, I still do get distracted, and the movies aren’t helping.The peculiar “story structure by” credit in once-local director DougPray’s \u003cb>Art & Copy\u003c/b> notwithstanding, so many nonfiction films now seem to assume that the gathering and assembly of material is the samething as structure. Or, if they know better, they try instead and with very mixed results to get away with positing their own confusion and neurosis about structure as an essential element, a dramatic or comedic character unto itself. Well, that’s honest, we’re meant to think. Sometimes. As the documentary-maker in director Jerrold Tarog’s \u003cb>Confessional\u003c/b> puts it, “Lies plus lies equals truth.” Or, as the documentary-maker in local luminary Lourdes Portillo’s \u003cb>Al Mas Alla\u003c/b> puts it, “Maybe we need to go drinking so someone will talk to us.” \u003c/p>\n\u003cp>In this age of infinite status updates and infinite status anxiety, when narrative organization so often surrenders to the affirmation of enchantment, we risk putting out movies with all the urgency and insight of some friend-of-a-friend’s family pictures of Facebook. But if the friend is Lawrence Ferlinghetti, or Mike Tyson, or the two deeply estranged brothers who wrote the songs from “Mary Poppins,” well then of course we want to look. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Ferlinghetti\u003c/b> and \u003cb>Tyson\u003c/b> both were made by filmmakers who are friendly with their subjects, and \u003cb>The Boys: The Sherman Brothers’ Story\u003c/b> was made by its subjects’ sons. That doesn’t preclude urgency or insight, necessarily, but it does make a difference. Integrity, it suggests, will just have to be relative. The Shermans’ songs do beautifully reiterate their own enduring radiance. The poet and City Lights founder seems as he does in life — forever old, forever young. And the fighter reveals much of himself, yet never reveals the cheat code by which to defeat him in the Nintendo NES game “Mike Tyson’s Punch-Out!!” Still, the movies seem to fade back into the slipstream almost as swiftly as they arrived.\u003c/p>\n\u003cp>It’s not wrong to be afraid of what discoveries will emerge from waiting, slowing down and processing. Director Jaime Rosales has said he shot his true-event-based fiction film, \u003cb>Bullet in the Head\u003c/b>, “like a wildlife documentary,” whose mercilessly quotidian observation became an engine of suspense (and accordingly drove several people out of the theater on the night I saw it). \u003c/p>\n\u003cp>Speaking of crowd displeasers, I did make it to Peter Greenaway’s \u003cb>Rembrandt’s J’Accuse\u003c/b>, and ate it up. But I understand why some in the Monday night audience might have preferred to call it “Je Snooze” — someone to my left made derisive snoring sounds and walked out after twenty minutes; someone to my right actually did fall asleep. Greenaway, listed as “himself/public prosecutor” in the credits, announces early on that “most people are visually illiterate,” then proceeds to make his ferociously intelligent case for how the famous painter encoded a 17th century ruling-class conspiracy in his most famous painting. It’s an extraordinarily cinematic work, tightly stuffed into its 90 minutes and so visually rich that one viewing can’t possibly be enough. Certainly it transcends the whiff of rightful insecurity in other nonfiction fare — the distracting and gimmicky split-screen diffraction of \u003cb>Tyson\u003c/b>, the tedious bullet-pointed factoid text in \u003cb>Art & Copy\u003c/b>, and so on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But at least \u003cb>Art & Copy\u003c/b> presumes the visual literacy to see advertising as “a part of our culture, as opposed to some form of pollution,” in ad-man Dan Wieden’s words. I’ll buy that, but still I’m reeling, wondering how much of what I’ve seen is so immediately memorable that it’s ultimately forgettable.\u003c/p>\n\n",
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"content": "\u003cp>Lyme disease affects approximately 100,000 people in the United States annually, about .04 percent of the population. So when, in middle of \u003cb>Lymelife\u003c/b>, Melissa Bragg (played by Cynthia Nixon) bemoans the fact that her husband has contracted the disease, saying, “Why me? A bus, a robbery, an accident, but Lyme disease?!” it is likely the audience is asking themselves the same question. Of all the diseases for a coming-of-age film to focus on, Lyme disease?! Really?\u003c/p>\n\u003cp>The film, set on Long Island in the 1970s, is a voyeuristic peek into the tangled lives of two dysfunctional families, the Bartletts and the Braggs. The Bartlett Family is comprised of a philandering patriarch, Mickey (Alec Baldwin), his wife, Brenda (Jill Hennessey), who is wistful for the days she still lived in Queens, and their two sons, Jimmy (Kieran Culkin), who has joined the army in order to escape the family tension, and Scott (Rory Culkin).\u003c/p>\n\u003cp>The film follows fifteen-year-old Scott as he navigates the perils of adolescence — being bullied at school, pining for the girl next door, witnessing the dissolution of his parent’s marriage. The object of Scott’s affection is Adrianna Bragg (Emma Roberts), daughter of the unfortunate Lyme-afflicted Charlie (Timothy Hutton) and Melissa, who is both Mickey Bartlett’s employee and his mistress. Complications ensue.\u003c/p>\n\u003cp>The two families live in the same subdivision, in houses separated by a small patch of forest. Presumably this patch was intended to have some degree of metaphorical significance, a number of pivotal scenes are set there, however it fails to carry the suggestion to any material conclusion. The same is true for the Lyme disease motif: while it provides some comic relief with Scott being forced by his over-protective mother to wear duct-tape around the collar of his turtle neck, the brim of his beanie, his ankles and shirtsleeves to guard against ticks, the film fails to articulate any larger symbolism.\u003c/p>\n\u003cp>At its best, “Lymelife” achieves the difficult feat of portraying family dynamic in a way that is both compelling and true to life. It is not surprising, as brothers Derick and Steve Martini wrote the script, and the Bartlett boys are played by real-life brothers Kieran and Rory Culkin. The scenes in which both Culkin brothers are involved are by far the film’s highpoints.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its worst, the film over-reaches with heavy-handed or unresolved symbolism, forced dialogue and awkward acting. It tries on the clichés of a few different genres (the dark comedy, the family drama, the heart-warming coming-of-age tale), but fails to execute any convincingly. The film did succeed, however, in making me identify with Charlie Bragg. By the end, I too wished to be put out of my misery.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lyme disease affects approximately 100,000 people in the United States annually, about .04 percent of the population. So when, in middle of \u003cb>Lymelife\u003c/b>, Melissa Bragg (played by Cynthia Nixon) bemoans the fact that her husband has contracted the disease, saying, “Why me? A bus, a robbery, an accident, but Lyme disease?!” it is likely the audience is asking themselves the same question. Of all the diseases for a coming-of-age film to focus on, Lyme disease?! Really?\u003c/p>\n\u003cp>The film, set on Long Island in the 1970s, is a voyeuristic peek into the tangled lives of two dysfunctional families, the Bartletts and the Braggs. The Bartlett Family is comprised of a philandering patriarch, Mickey (Alec Baldwin), his wife, Brenda (Jill Hennessey), who is wistful for the days she still lived in Queens, and their two sons, Jimmy (Kieran Culkin), who has joined the army in order to escape the family tension, and Scott (Rory Culkin).\u003c/p>\n\u003cp>The film follows fifteen-year-old Scott as he navigates the perils of adolescence — being bullied at school, pining for the girl next door, witnessing the dissolution of his parent’s marriage. The object of Scott’s affection is Adrianna Bragg (Emma Roberts), daughter of the unfortunate Lyme-afflicted Charlie (Timothy Hutton) and Melissa, who is both Mickey Bartlett’s employee and his mistress. Complications ensue.\u003c/p>\n\u003cp>The two families live in the same subdivision, in houses separated by a small patch of forest. Presumably this patch was intended to have some degree of metaphorical significance, a number of pivotal scenes are set there, however it fails to carry the suggestion to any material conclusion. The same is true for the Lyme disease motif: while it provides some comic relief with Scott being forced by his over-protective mother to wear duct-tape around the collar of his turtle neck, the brim of his beanie, his ankles and shirtsleeves to guard against ticks, the film fails to articulate any larger symbolism.\u003c/p>\n\u003cp>At its best, “Lymelife” achieves the difficult feat of portraying family dynamic in a way that is both compelling and true to life. It is not surprising, as brothers Derick and Steve Martini wrote the script, and the Bartlett boys are played by real-life brothers Kieran and Rory Culkin. The scenes in which both Culkin brothers are involved are by far the film’s highpoints.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its worst, the film over-reaches with heavy-handed or unresolved symbolism, forced dialogue and awkward acting. It tries on the clichés of a few different genres (the dark comedy, the family drama, the heart-warming coming-of-age tale), but fails to execute any convincingly. The film did succeed, however, in making me identify with Charlie Bragg. By the end, I too wished to be put out of my misery.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "S.F. International Film Festival thinks global, acts local",
"headTitle": "S.F. International Film Festival thinks global, acts local | KQED",
"content": "\u003cp>\u003cb>Editor’s note:\u003c/b> Our tag-team take on the SFIFF begins today with Michael Fox’s post and Jonathan Kiefer’s comment (supplemented, hopefully, by your comments), with Kiefer posting and Fox commenting tomorrow. Both critics will return with an additional post next week at the festival midpoint. In addition, you can \u003ca href=\"http://twitter.com/kqed_arts\">follow them on Twitter\u003c/a> throughout the festival.\u003c/p>\n\u003cp>For a good many years, the S.F. International Film Festival displayed what might be called casual indifference to the output of local filmmakers. Whatever Bay Area work was shown — the occasional documentary and a goodly number of experimental shorts — typically emerged from the Golden Gate Awards competition; darned few local films were specifically invited and programmed. It was a source of no little frustration and bitterness in the film community, I can tell you.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The outlook brightened considerably in recent years with the SFIFF’s introduction of a “Cinema By The Bay” sidebar, and this year’s program fairly brims with feature-length local work. A watchful observer may guess that the SFIFF was embarrassed in recent years by the Mill Valley Film Festival’s enthusiastic, void-filling embrace of Bay Area filmmakers (notably Rob Nilsson). Said observer might also factor in that the S.F. Film Society (the fest’s parent organization) assumed several of the functions and dozens of the members of the Film Arts Foundation (of blessed memory) since the last SFIFF. The SF Film Society, naturally, wants to serve that constituency more prominently through the festival (and, not incidentally, keep those renewal memberships rolling in).\u003c/p>\n\u003cp>The most visible indicator of the festival’s focus on Bay Area filmmakers is the opening night selection, Peter Bratt’s \u003cb>La Mission\u003c/b>. Set and shot in the Mission District, the film (which premiered at Sundance but wasn’t previewed for critics here) follows the struggle of a macho father (Benjamin Bratt) to deal with the realization that his son is gay. The real find among the local work, however, is \u003cb>My Suicide\u003c/b>, David Lee Miller’s relentless, visual-idea-crammed look at the malaise — nay, epidemic — of high-school nihilism and image overload in the upper-crust suburbs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An equally introspective but decidedly slower pace drives \u003cb>Everything Strange and New\u003c/b> (another Sundance entry), Frazer Bradshaw’s haunting street-level, Oakland-set portrait of a married father of two going through either a late identity crisis or an early midlife crisis. Marin director Jonathan Parker trekked to New York to shoot \u003cb>(untitled)\u003c/b>, a satiric but less-than-involving look at art, ambition and commerce that stars the vibrant Marley Shelton as a shrewd gallery owner and the profoundly limited Adam Goldberg as a resentful new-music composer.\u003c/p>\n\u003cp>A certified highlight on the Bay Area documentary side is \u003cb>Al Más Allá\u003c/b>, Lourdes Portillo’s delicious tongue-in-cheek exposé of the hubris, ego and cluelessness of (some) documentary makers. The 43-minute hoot screens as part of the Golden Gate Persistence of Vision Award presentation to the veteran director of such works as \u003cb>Las Madres de la Plaza de Mayo\u003c/b> and \u003cb>Senorita Extraviada\u003c/b>. Christopher Felver’s eagerly anticipated \u003cb>Ferlinghetti\u003c/b> wasn’t available for preview, but we can tell you that it opens May 1 at the Roxie following its world premiere (and three screenings) at the festival.\u003c/p>\n\u003cp>We’ll also recommend, sight unseen, the latest work by some key members of the internationally renowned Bay Area doc community. Allie Light and Irving Saraf’s intimate \u003cb>Empress Hotel\u003c/b> ventures into the Tenderloin to profile the until-recently-homeless tenants at a residential hotel. Marcia Jarmel and Ken Schneider’s eye- and ear-opening \u003cb>Speaking In Tongues\u003c/b> spotlights multilingual teaching programs in S.F. schools, pointing the way toward the next stage in the U.S.’s immigration-assimilation tradition. Another facet of 21st-century America is exposed in Jennifer Maytorena Taylor’s \u003cb>New Muslim Cool\u003c/b>, which follows native Puerto Rican and Muslim convert Hamza Pérez on his new path as a hip-hop artist and activist. Finally, first-time Berkeley filmmaker Yun Suh supplies the obligatory sample of transnational political consciousness with \u003cb>City of Borders\u003c/b>, which probes for rays of light in the ongoing Palestinian-Israeli feud at Jerusalem’s sole gay bar.\u003c/p>\n\u003cp>On the non-local films that I have seen, all but one of which will open theatrically in the weeks after the festival, the overtly disturbing \u003cb>Z32\u003c/b> is not to be missed. \u003cb>Z32\u003c/b> considers an Israeli revenge mission through a freighted conversation between a young soldier and his girlfriend. Director Avi Mograbi, who intersperses his film with semi-surreal musical interludes, is expected to attend, and his post-show Q&As should be unusually pointed. In \u003cb>Modern Life\u003c/b>, longtime French photographer and doc maker Raymond Depardon revisits — no doubt for the last time — a handful of (mostly older) farmers he’s known and shot for years. Depardon is interested in individuals, not social issues, and takes a meditative approach in lieu of a taut narrative, litany of injustices and indignant POV.\u003c/p>\n\u003cp>The Gallic domestic drama \u003cb>Summer Hours\u003c/b> contemplates the changing of the old guard and the role of culture and memory in contemporary civilization, but I can name two dozen French directors who would have brought more pathos, insight and emotion to the material than the oddly detached Olivier Assayas. The deadpan Argentine slacker farce \u003cb>The Paranoids\u003c/b> is remarkable solely for Daniel Hendler’s nuanced hangdog performance, the only thing holding the viewer’s interest as the minutes go by. British TV-satire veteran Armando Iannucci serves up a heaping helping of good, nasty fun with \u003cb>In the Loop\u003c/b>, which uses a callow cabinet minister as the entry point to the backstage machinations on both sides of the pond accompanying the run-up to a war very much like the one in Iraq. And Duncan Jones (David Bowie’s son) takes the claustrophobic-astronaut flick for a clever and largely satisfying spin in \u003cb>Moon\u003c/b>, abetted by a curiously adept performance by Sam Rockwell.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The San Francisco International Film Festival\u003c/b> runs Thursday, April 23 through Thursday, May 7, 2009 at the Castro Theatre, Sundance Kabuki Cinemas and Clay Theatre in San Francisco, and the Pacific Film Archive Theatre in Berkeley. For \u003ca href=\"http://www.sffs.org\">tickets and information\u003c/a> visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Editor’s note:\u003c/b> Our tag-team take on the SFIFF begins today with Michael Fox’s post and Jonathan Kiefer’s comment (supplemented, hopefully, by your comments), with Kiefer posting and Fox commenting tomorrow. Both critics will return with an additional post next week at the festival midpoint. In addition, you can \u003ca href=\"http://twitter.com/kqed_arts\">follow them on Twitter\u003c/a> throughout the festival.\u003c/p>\n\u003cp>For a good many years, the S.F. International Film Festival displayed what might be called casual indifference to the output of local filmmakers. Whatever Bay Area work was shown — the occasional documentary and a goodly number of experimental shorts — typically emerged from the Golden Gate Awards competition; darned few local films were specifically invited and programmed. It was a source of no little frustration and bitterness in the film community, I can tell you.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The outlook brightened considerably in recent years with the SFIFF’s introduction of a “Cinema By The Bay” sidebar, and this year’s program fairly brims with feature-length local work. A watchful observer may guess that the SFIFF was embarrassed in recent years by the Mill Valley Film Festival’s enthusiastic, void-filling embrace of Bay Area filmmakers (notably Rob Nilsson). Said observer might also factor in that the S.F. Film Society (the fest’s parent organization) assumed several of the functions and dozens of the members of the Film Arts Foundation (of blessed memory) since the last SFIFF. The SF Film Society, naturally, wants to serve that constituency more prominently through the festival (and, not incidentally, keep those renewal memberships rolling in).\u003c/p>\n\u003cp>The most visible indicator of the festival’s focus on Bay Area filmmakers is the opening night selection, Peter Bratt’s \u003cb>La Mission\u003c/b>. Set and shot in the Mission District, the film (which premiered at Sundance but wasn’t previewed for critics here) follows the struggle of a macho father (Benjamin Bratt) to deal with the realization that his son is gay. The real find among the local work, however, is \u003cb>My Suicide\u003c/b>, David Lee Miller’s relentless, visual-idea-crammed look at the malaise — nay, epidemic — of high-school nihilism and image overload in the upper-crust suburbs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An equally introspective but decidedly slower pace drives \u003cb>Everything Strange and New\u003c/b> (another Sundance entry), Frazer Bradshaw’s haunting street-level, Oakland-set portrait of a married father of two going through either a late identity crisis or an early midlife crisis. Marin director Jonathan Parker trekked to New York to shoot \u003cb>(untitled)\u003c/b>, a satiric but less-than-involving look at art, ambition and commerce that stars the vibrant Marley Shelton as a shrewd gallery owner and the profoundly limited Adam Goldberg as a resentful new-music composer.\u003c/p>\n\u003cp>A certified highlight on the Bay Area documentary side is \u003cb>Al Más Allá\u003c/b>, Lourdes Portillo’s delicious tongue-in-cheek exposé of the hubris, ego and cluelessness of (some) documentary makers. The 43-minute hoot screens as part of the Golden Gate Persistence of Vision Award presentation to the veteran director of such works as \u003cb>Las Madres de la Plaza de Mayo\u003c/b> and \u003cb>Senorita Extraviada\u003c/b>. Christopher Felver’s eagerly anticipated \u003cb>Ferlinghetti\u003c/b> wasn’t available for preview, but we can tell you that it opens May 1 at the Roxie following its world premiere (and three screenings) at the festival.\u003c/p>\n\u003cp>We’ll also recommend, sight unseen, the latest work by some key members of the internationally renowned Bay Area doc community. Allie Light and Irving Saraf’s intimate \u003cb>Empress Hotel\u003c/b> ventures into the Tenderloin to profile the until-recently-homeless tenants at a residential hotel. Marcia Jarmel and Ken Schneider’s eye- and ear-opening \u003cb>Speaking In Tongues\u003c/b> spotlights multilingual teaching programs in S.F. schools, pointing the way toward the next stage in the U.S.’s immigration-assimilation tradition. Another facet of 21st-century America is exposed in Jennifer Maytorena Taylor’s \u003cb>New Muslim Cool\u003c/b>, which follows native Puerto Rican and Muslim convert Hamza Pérez on his new path as a hip-hop artist and activist. Finally, first-time Berkeley filmmaker Yun Suh supplies the obligatory sample of transnational political consciousness with \u003cb>City of Borders\u003c/b>, which probes for rays of light in the ongoing Palestinian-Israeli feud at Jerusalem’s sole gay bar.\u003c/p>\n\u003cp>On the non-local films that I have seen, all but one of which will open theatrically in the weeks after the festival, the overtly disturbing \u003cb>Z32\u003c/b> is not to be missed. \u003cb>Z32\u003c/b> considers an Israeli revenge mission through a freighted conversation between a young soldier and his girlfriend. Director Avi Mograbi, who intersperses his film with semi-surreal musical interludes, is expected to attend, and his post-show Q&As should be unusually pointed. In \u003cb>Modern Life\u003c/b>, longtime French photographer and doc maker Raymond Depardon revisits — no doubt for the last time — a handful of (mostly older) farmers he’s known and shot for years. Depardon is interested in individuals, not social issues, and takes a meditative approach in lieu of a taut narrative, litany of injustices and indignant POV.\u003c/p>\n\u003cp>The Gallic domestic drama \u003cb>Summer Hours\u003c/b> contemplates the changing of the old guard and the role of culture and memory in contemporary civilization, but I can name two dozen French directors who would have brought more pathos, insight and emotion to the material than the oddly detached Olivier Assayas. The deadpan Argentine slacker farce \u003cb>The Paranoids\u003c/b> is remarkable solely for Daniel Hendler’s nuanced hangdog performance, the only thing holding the viewer’s interest as the minutes go by. British TV-satire veteran Armando Iannucci serves up a heaping helping of good, nasty fun with \u003cb>In the Loop\u003c/b>, which uses a callow cabinet minister as the entry point to the backstage machinations on both sides of the pond accompanying the run-up to a war very much like the one in Iraq. And Duncan Jones (David Bowie’s son) takes the claustrophobic-astronaut flick for a clever and largely satisfying spin in \u003cb>Moon\u003c/b>, abetted by a curiously adept performance by Sam Rockwell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The San Francisco International Film Festival\u003c/b> runs Thursday, April 23 through Thursday, May 7, 2009 at the Castro Theatre, Sundance Kabuki Cinemas and Clay Theatre in San Francisco, and the Pacific Film Archive Theatre in Berkeley. For \u003ca href=\"http://www.sffs.org\">tickets and information\u003c/a> visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Franciso International Film Festival adventure starts tonight",
"headTitle": "San Franciso International Film Festival adventure starts tonight | KQED",
"content": "\u003cp>Hey, wow, this is my first time being fully credentialed for a major film festival, with the lanyard and everything. I am cautiously optimistic.\u003c/p>\n\u003cp>My plan is to flash the lanyard often, and see lots and lots of movies. And maybe spend some evenings with Francis Ford Coppola and Robert Redford and Elijah Wood and Evan Rachel Wood (no relation), among others, because they’ll all be around to receive awards. And, importantly, to absorb much wise tutelage from my colleague Michael Fox. To ask him, for instance: Hey, so, can I get in to that black-tie thingie? Should I? Do I have a journalistic responsibility to do so? How many freelance contributors of cultural commentary to public media companies do you know who own or, hell, can even afford to rent, tuxedos? Or is it all moot because I’m still not a VI enough P? Will I be shut out forever after making that crack about \u003cb>La Mission\u003c/b> in a comment on your blog post?\u003c/p>\n\u003cp>\u003c/p>\u003cp>I will also try to remember that however sceney this situation becomes, there’s still no getting around the fact that most of what I’m here to do is sit in the dark for hours and not look at or talk or listen to anybody else in the room with me. This is genius. This might be what keeps civilization from completely breaking down.\u003c/p>\n\u003cp>Mostly I’ll focus on the many virtues of the festival experience as a way of seeing movies. As a way of seeing movies, the festival experience has many virtues. Like the celebration of cinema. That’s virtuous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More specifically, it puts things in perspective. Thanks to this year’s festival, I can watch Sergio Leone’s \u003cb>Once Upon a Time in the West\u003c/b> on the big screen, and be like, “Whoa! Everybody looks all parched and scorched and filthy and unshaven and nasty! And the landscapes! And that guy just caught a fly in the barrel of his gun! And Charles Bronson’s eyes are the color of doom! And holy crap! Henry Fonda just murdered an entire family! Even the annoying little boy!” Otherwise, I could only watch it on a TV screen, and be like, “Oh yeah, I’ve seen this.” Hell, I could even see it on my iPhone screen, and be like, “This is really boring. And I’m a tool.”\u003c/p>\n\u003cp>Now, with this festival, as with every festival, there are logistical concerns.\u003c/p>\n\u003cp>First, it is spring, and some festival screenings occur during daylight hours. I know I have friends (hi Rachel) who object to seeing movies under such circumstances. It’s true that you can’t go sit in the park with a movie the way you would with a book — well, you can, with your iPhone, if you want to be like that — but such is just the glorious nature of the medium. Besides, these aren’t mere movies. They’re \u003ci>films\u003c/i>, dammit. My having called them movies a few paragraphs ago means nothing now. What if they could change your life? OK, some of them are only mere movies and won’t change your life. But as windows into and mirrors of the human condition, maybe — for a short while, at least — they contain all the natural light and heat you need. Just give it a try, and when the festival’s over you can go right on exposing yourself to the huge carcinogenic ball of fire in the sky.\u003c/p>\n\u003cp>Second, even allowing for pre-sunset showtimes, the schedule can be a bear. A golden bear, perhaps, but still. I do realize that the festival’s programmers have painstakingly designed its schedule to maximize flexibility. There’s so much flexibility, actually, that my mind reels with all the variables.\u003c/p>\n\u003cp>For instance: If I want to see, say, the restored print of John Cassavetes’ \u003cb>A Woman Under the Influence\u003c/b> at the Castro on the evening of Sunday, April 26, I won’t be able to see the latest film by the brilliantly challenging British visual theorist Peter Greenaway, \u003cb>Rembrandt’s J’Accuse\u003c/b>, at Berkeley’s Pacific Film Archive that same evening. So OK, maybe Gena Rowlands and Peter Falk in a vastly influential masterpiece of naturalistic ’70s-style marital disintegration are better suited to a Sunday evening. And of course there’ll be two more chances to see Greenaway’s restaging of a famous painting to interrogate its characters about 17th-century Amsterdam on the following Monday and Tuesday.\u003c/p>\n\u003cp>Problem solved, right? Well, except that Monday’s also the night for \u003cb>Tulpan\u003c/b>, that intriguing multinational production about a sheep herder in Kazakhstan whose big ears make it hard for him to get a girlfriend, not to mention \u003cb>My Neighbor, My Killer\u003c/b>, the documentary about Rwanda’s genocide; and Tuesday is when the PFA screens a new print of Antonioni’s classic 1955 desperate-housewives drama \u003cb>Le Amiche\u003c/b>.\u003c/p>\n\u003cp>And this is all assuming I don’t have anything better to do than haunt the film festival. OK, it’s true, I don’t.\u003c/p>\n\u003cp>Now, certainly, your tastes will differ from mine, but the conundrum is congruent. Maybe for you it’s a toss-up between, say, \u003cb>California Company Town\u003c/b>, Lee Anne Schmitt’s possibly strident Didionesque documentary-essay rumination on various Golden State burgs whose founding industries have abandoned them, and \u003cb>500 Days of Summer\u003c/b>, a festival centerpiece starring the unlimitedly talented Joseph Gordon-Levitt and the yummy indie-pixie-du-jour Zooey Deschanel. Actually, yeah, I want to see both of those too. When are you going? Let’s meet up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Follow Jonathan’s festival adventure on \u003ca href=\"http://twitter.com/kqed_arts\">Twitter\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey, wow, this is my first time being fully credentialed for a major film festival, with the lanyard and everything. I am cautiously optimistic.\u003c/p>\n\u003cp>My plan is to flash the lanyard often, and see lots and lots of movies. And maybe spend some evenings with Francis Ford Coppola and Robert Redford and Elijah Wood and Evan Rachel Wood (no relation), among others, because they’ll all be around to receive awards. And, importantly, to absorb much wise tutelage from my colleague Michael Fox. To ask him, for instance: Hey, so, can I get in to that black-tie thingie? Should I? Do I have a journalistic responsibility to do so? How many freelance contributors of cultural commentary to public media companies do you know who own or, hell, can even afford to rent, tuxedos? Or is it all moot because I’m still not a VI enough P? Will I be shut out forever after making that crack about \u003cb>La Mission\u003c/b> in a comment on your blog post?\u003c/p>\n\u003cp>\u003c/p>\u003cp>I will also try to remember that however sceney this situation becomes, there’s still no getting around the fact that most of what I’m here to do is sit in the dark for hours and not look at or talk or listen to anybody else in the room with me. This is genius. This might be what keeps civilization from completely breaking down.\u003c/p>\n\u003cp>Mostly I’ll focus on the many virtues of the festival experience as a way of seeing movies. As a way of seeing movies, the festival experience has many virtues. Like the celebration of cinema. That’s virtuous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More specifically, it puts things in perspective. Thanks to this year’s festival, I can watch Sergio Leone’s \u003cb>Once Upon a Time in the West\u003c/b> on the big screen, and be like, “Whoa! Everybody looks all parched and scorched and filthy and unshaven and nasty! And the landscapes! And that guy just caught a fly in the barrel of his gun! And Charles Bronson’s eyes are the color of doom! And holy crap! Henry Fonda just murdered an entire family! Even the annoying little boy!” Otherwise, I could only watch it on a TV screen, and be like, “Oh yeah, I’ve seen this.” Hell, I could even see it on my iPhone screen, and be like, “This is really boring. And I’m a tool.”\u003c/p>\n\u003cp>Now, with this festival, as with every festival, there are logistical concerns.\u003c/p>\n\u003cp>First, it is spring, and some festival screenings occur during daylight hours. I know I have friends (hi Rachel) who object to seeing movies under such circumstances. It’s true that you can’t go sit in the park with a movie the way you would with a book — well, you can, with your iPhone, if you want to be like that — but such is just the glorious nature of the medium. Besides, these aren’t mere movies. They’re \u003ci>films\u003c/i>, dammit. My having called them movies a few paragraphs ago means nothing now. What if they could change your life? OK, some of them are only mere movies and won’t change your life. But as windows into and mirrors of the human condition, maybe — for a short while, at least — they contain all the natural light and heat you need. Just give it a try, and when the festival’s over you can go right on exposing yourself to the huge carcinogenic ball of fire in the sky.\u003c/p>\n\u003cp>Second, even allowing for pre-sunset showtimes, the schedule can be a bear. A golden bear, perhaps, but still. I do realize that the festival’s programmers have painstakingly designed its schedule to maximize flexibility. There’s so much flexibility, actually, that my mind reels with all the variables.\u003c/p>\n\u003cp>For instance: If I want to see, say, the restored print of John Cassavetes’ \u003cb>A Woman Under the Influence\u003c/b> at the Castro on the evening of Sunday, April 26, I won’t be able to see the latest film by the brilliantly challenging British visual theorist Peter Greenaway, \u003cb>Rembrandt’s J’Accuse\u003c/b>, at Berkeley’s Pacific Film Archive that same evening. So OK, maybe Gena Rowlands and Peter Falk in a vastly influential masterpiece of naturalistic ’70s-style marital disintegration are better suited to a Sunday evening. And of course there’ll be two more chances to see Greenaway’s restaging of a famous painting to interrogate its characters about 17th-century Amsterdam on the following Monday and Tuesday.\u003c/p>\n\u003cp>Problem solved, right? Well, except that Monday’s also the night for \u003cb>Tulpan\u003c/b>, that intriguing multinational production about a sheep herder in Kazakhstan whose big ears make it hard for him to get a girlfriend, not to mention \u003cb>My Neighbor, My Killer\u003c/b>, the documentary about Rwanda’s genocide; and Tuesday is when the PFA screens a new print of Antonioni’s classic 1955 desperate-housewives drama \u003cb>Le Amiche\u003c/b>.\u003c/p>\n\u003cp>And this is all assuming I don’t have anything better to do than haunt the film festival. OK, it’s true, I don’t.\u003c/p>\n\u003cp>Now, certainly, your tastes will differ from mine, but the conundrum is congruent. Maybe for you it’s a toss-up between, say, \u003cb>California Company Town\u003c/b>, Lee Anne Schmitt’s possibly strident Didionesque documentary-essay rumination on various Golden State burgs whose founding industries have abandoned them, and \u003cb>500 Days of Summer\u003c/b>, a festival centerpiece starring the unlimitedly talented Joseph Gordon-Levitt and the yummy indie-pixie-du-jour Zooey Deschanel. Actually, yeah, I want to see both of those too. When are you going? Let’s meet up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Follow Jonathan’s festival adventure on \u003ca href=\"http://twitter.com/kqed_arts\">Twitter\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003cb>Grey Gardens\u003c/b> phenomenon just won’t quit. The 1975 Albert and David Maysles documentary about “Big” and “Little” Edie Bouvier Beale (aunt and first cousin of Jacqueline Kennedy) was the spark, spawning a legion of cult followers. Then came the 2006 musical starring Christine Ebersole and now HBO has gotten into the game. The newest \u003cb>Grey Gardens\u003c/b> incarnation, with Drew Barrymore and Jessica Lange in lead roles, serves more as a prequel than a retelling of the famous documentary. Writer and director Michael Sucsy takes us as far back as the 1930s to reveal the years that weren’t captured on film by the Maysles and the story of how two Manhattan socialites devolved into penniless recluses.\u003c/p>\n\u003cp>The film begins in 1936 at Little Edie’s debutante ball, where she is urged by her mother to accept the marry-or-die paradigm and hope for a “long leash.” But, despite drooling attention from a Getty and other high profile gentlemen, Little Edie has greater aspirations, mainly to become a world-famous dancer and actress. Her mother once had similar hopes for show business fame, but surrendered to a marriage with Phelan Beale, a man who would financially take care of her. This marriage ends with Phelan taking a “new fake wife” who inherits everything while Big Edie is only left with the Grey Gardens property and a monthly allowance of $150, hardly enough money to survive on, let alone upkeep the East Hampton estate.\u003c/p>\n\u003cp>As for Little Edie, she tries to make it in New York and has an affair with a married man (Julius Krug, the U.S. Secretary of the Interior under Truman), but both efforts fail miserably. Bruised by her big-city failure, Little Edie returns to East Hampton to take her place next to her mother, where they will come to live among cats, raccoons, and fleas in their crumbling mansion.\u003c/p>\n\u003cp>A sad tale, yes, but HBO’s \u003cb>Grey Gardens\u003c/b> still finds the humor in this riches-to-rags story. Barrymore does a great job with all the sideways glances of the annoyed, rebellious daughter and Jessica Lange also cleverly channels the role of the shrieky, overbearing mother, making for some hilarious bickering matches. The playful, teasing relationship is best exemplified when Big Edie responds, “Think of all the hat options,” to her daughter’s distress over losing her hair to alopecia, which was the reason behind Little Edie’s various turban fashion choices. But the ultimate comedic moment comes when Jackie O, played by Jeanne Tripplehorn, makes an appearance to offer some assistance after a health inspection raid. Little Edie looks her up and down before going in for the kill and asking: “Is it true that Jack Kennedy gave you gonorrhea?”\u003c/p>\n\u003cp>Equally amusing are the grainy scenes recreated from the original documentary that punctuate the back-story. Drew Barrymore has clearly watched the source material dozens of times and manages to hit all the right notes, whether she’s reciting the contagious lines detailing “\u003ca href=\"http://www.youtube.com/watch?v=xG5baCxTtgw\" target=\"offsite\" rel=\"noopener\">the best costume for the day\u003c/a>” or marching in the foyer with her American flag. Barrymore truly seems to love this role just as much as Little Edie loved putting on a show. And this unbridled passion compensates for Barrymore’s sometimes spotty accent and uneven acting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jessica Lange’s performance hits close to the mark as well, particularly when she sings “Tea for Two” with complete abandon just like Big Edie did in the documentary. Yet no amount of prosthetics, makeup, and false teeth can hide the fact that Lange has had her fair share of plastic surgery. Her face often looks tight and vacant, which is too bad because a good actress is lurking beneath all that work.\u003c/p>\n\u003cp>The heartbeat of this movie lies in the relationship between mother and daughter and the tension that thrives there. There isn’t enough space in the 14 rooms of Grey Gardens to hold the resentment the Edies harbor for each other. Little Edie resents her mother whom she blames for her failed career and Big Edie resents her daughter for stealing what used to be hers: the spotlight. Big Edie eventually apologizes for holding Little Edie back all of those years, but by then it’s too late and regret is pointless.\u003c/p>\n\u003cp>Yet there is nothing to regret. Maybe they didn’t live in the healthiest manner, but they managed to stay true to themselves despite adversity and pressure from the outside world to do otherwise. Some might want to dismiss the Edies as institution-worthy \u003ca href=\"http://www.xmission.com/~rowan/Crazy_Cat_Lady.jpg\" target=\"offsite\" rel=\"noopener\">cat ladies\u003c/a>, but there is sanity beneath their flea-bitten seclusion. The Beales simply couldn’t bear to squeeze into the pigeon holes carved out for women during that period so they chose to deviate from social mores and lost their luxury and moneyed comfort in the process. But they gained their own world, a wacky existence built on their passion for performance and their unconditional love for each other. And there isn’t anything crazy about that.\u003c/p>\n\u003cp>At the end of the movie, Little Edie is over the moon after viewing the Maysles documentary, calling it an “artistic smash.” It’s true; that documentary is truly smashing, but this HBO movie doesn’t completely reach those heights. It’s entertaining to be sure, and strikes a good balance between humor and misery, but ultimately it’ll be remembered as a footnote to the original, an intriguing peek into the extravagance that led up to the squalor and the potential that flourished into eccentric greatness.\u003c/p>\n\u003cp>\u003cb>Grey Gardens\u003c/b> premieres Saturday, April 18th, 2009 at 8pm on HBO. This post wouldn’t be complete if it didn’t include the following video in which Little Edie explains why there’s nothing worse than a S-T-A-U-N-C-H character:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=vWEeJbuF3bM&hl=en&fs=1&rel=0&color1=0x234900&color2=0x4e9e00]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cb>Grey Gardens\u003c/b> phenomenon just won’t quit. The 1975 Albert and David Maysles documentary about “Big” and “Little” Edie Bouvier Beale (aunt and first cousin of Jacqueline Kennedy) was the spark, spawning a legion of cult followers. Then came the 2006 musical starring Christine Ebersole and now HBO has gotten into the game. The newest \u003cb>Grey Gardens\u003c/b> incarnation, with Drew Barrymore and Jessica Lange in lead roles, serves more as a prequel than a retelling of the famous documentary. Writer and director Michael Sucsy takes us as far back as the 1930s to reveal the years that weren’t captured on film by the Maysles and the story of how two Manhattan socialites devolved into penniless recluses.\u003c/p>\n\u003cp>The film begins in 1936 at Little Edie’s debutante ball, where she is urged by her mother to accept the marry-or-die paradigm and hope for a “long leash.” But, despite drooling attention from a Getty and other high profile gentlemen, Little Edie has greater aspirations, mainly to become a world-famous dancer and actress. Her mother once had similar hopes for show business fame, but surrendered to a marriage with Phelan Beale, a man who would financially take care of her. This marriage ends with Phelan taking a “new fake wife” who inherits everything while Big Edie is only left with the Grey Gardens property and a monthly allowance of $150, hardly enough money to survive on, let alone upkeep the East Hampton estate.\u003c/p>\n\u003cp>As for Little Edie, she tries to make it in New York and has an affair with a married man (Julius Krug, the U.S. Secretary of the Interior under Truman), but both efforts fail miserably. Bruised by her big-city failure, Little Edie returns to East Hampton to take her place next to her mother, where they will come to live among cats, raccoons, and fleas in their crumbling mansion.\u003c/p>\n\u003cp>A sad tale, yes, but HBO’s \u003cb>Grey Gardens\u003c/b> still finds the humor in this riches-to-rags story. Barrymore does a great job with all the sideways glances of the annoyed, rebellious daughter and Jessica Lange also cleverly channels the role of the shrieky, overbearing mother, making for some hilarious bickering matches. The playful, teasing relationship is best exemplified when Big Edie responds, “Think of all the hat options,” to her daughter’s distress over losing her hair to alopecia, which was the reason behind Little Edie’s various turban fashion choices. But the ultimate comedic moment comes when Jackie O, played by Jeanne Tripplehorn, makes an appearance to offer some assistance after a health inspection raid. Little Edie looks her up and down before going in for the kill and asking: “Is it true that Jack Kennedy gave you gonorrhea?”\u003c/p>\n\u003cp>Equally amusing are the grainy scenes recreated from the original documentary that punctuate the back-story. Drew Barrymore has clearly watched the source material dozens of times and manages to hit all the right notes, whether she’s reciting the contagious lines detailing “\u003ca href=\"http://www.youtube.com/watch?v=xG5baCxTtgw\" target=\"offsite\" rel=\"noopener\">the best costume for the day\u003c/a>” or marching in the foyer with her American flag. Barrymore truly seems to love this role just as much as Little Edie loved putting on a show. And this unbridled passion compensates for Barrymore’s sometimes spotty accent and uneven acting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jessica Lange’s performance hits close to the mark as well, particularly when she sings “Tea for Two” with complete abandon just like Big Edie did in the documentary. Yet no amount of prosthetics, makeup, and false teeth can hide the fact that Lange has had her fair share of plastic surgery. Her face often looks tight and vacant, which is too bad because a good actress is lurking beneath all that work.\u003c/p>\n\u003cp>The heartbeat of this movie lies in the relationship between mother and daughter and the tension that thrives there. There isn’t enough space in the 14 rooms of Grey Gardens to hold the resentment the Edies harbor for each other. Little Edie resents her mother whom she blames for her failed career and Big Edie resents her daughter for stealing what used to be hers: the spotlight. Big Edie eventually apologizes for holding Little Edie back all of those years, but by then it’s too late and regret is pointless.\u003c/p>\n\u003cp>Yet there is nothing to regret. Maybe they didn’t live in the healthiest manner, but they managed to stay true to themselves despite adversity and pressure from the outside world to do otherwise. Some might want to dismiss the Edies as institution-worthy \u003ca href=\"http://www.xmission.com/~rowan/Crazy_Cat_Lady.jpg\" target=\"offsite\" rel=\"noopener\">cat ladies\u003c/a>, but there is sanity beneath their flea-bitten seclusion. The Beales simply couldn’t bear to squeeze into the pigeon holes carved out for women during that period so they chose to deviate from social mores and lost their luxury and moneyed comfort in the process. But they gained their own world, a wacky existence built on their passion for performance and their unconditional love for each other. And there isn’t anything crazy about that.\u003c/p>\n\u003cp>At the end of the movie, Little Edie is over the moon after viewing the Maysles documentary, calling it an “artistic smash.” It’s true; that documentary is truly smashing, but this HBO movie doesn’t completely reach those heights. It’s entertaining to be sure, and strikes a good balance between humor and misery, but ultimately it’ll be remembered as a footnote to the original, an intriguing peek into the extravagance that led up to the squalor and the potential that flourished into eccentric greatness.\u003c/p>\n\u003cp>\u003cb>Grey Gardens\u003c/b> premieres Saturday, April 18th, 2009 at 8pm on HBO. This post wouldn’t be complete if it didn’t include the following video in which Little Edie explains why there’s nothing worse than a S-T-A-U-N-C-H character:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vWEeJbuF3bM'\n title='//www.youtube.com/embed/vWEeJbuF3bM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three minutes can go by quickly, often times too quickly. The three minutes following a morning tap on the snooze button can seem like a blink of an eye. If you go to a water park and hop on a three-minute winding tube ride, I bet you’ll wish it were twice as long. And if you’re shooting for a night of romance with a cutie pie, three minutes is not a favorable duration. As a parameter for short films, three minutes can either be the perfect length or 180 long and tedious seconds — similar to brushing your teeth for three minutes.\u003c/p>\n\u003cp>\u003cb>The Best of the Three-Minute Film Festival\u003c/b> features top films from previous festivals, made within a span of 30 days, all of which are approximately three minutes long. The festival has been running since 2001 and organizers of the event encourage all filmmakers to participate, regardless of skill level and production value. It’s important that films of all genres and lengths are accessible and kudos to the Three-Minute Film Festival for providing an outlet. This particular event showcases what they view as the best of the best from previous festivals.\u003c/p>\n\u003cp>Some of the winning films from the past few years are viewable on the \u003ca href=\"http://www.threeminutefilmfestivalsf.com/index.html\">Three-Minute Film Festival\u003c/a> website. I watched all eight films and was sincerely disappointed in the quality and ambition of the work. It wasn’t a complete wash, there were two that held my attention and didn’t provoke that nervous jitter I get while watching something uncomfortable or embarrassing. Maybe there just weren’t that many submissions in total. But I have the notion that there are many talented filmmakers, especially in the Bay Area, who could use the exposure.\u003c/p>\n\u003cp>The film \u003cb>I AM: A Proclamation of Self\u003c/b> tied for second place in 2008 and will be screened as part of \u003cb>The Best of the Three-Minute Film Festival\u003c/b>. The film features several people saying their name with vigor and authority, sometimes over and over again. The description explains how, “Hearing and speaking your own name produces a reaction in the brain which stimulates self confidence and ego.” This may be true, but it’s hard to believe that the people shown in the film responded honestly. What I saw was an uneasy montage of people reciting their first and last names, much aware of the camera and the person hitting the record button. The film didn’t reveal any inner truths to me but left me wondering why this is being screened in front of an audience.\u003c/p>\n\u003cp>In 2006, the \u003cb>True Story\u003c/b> won third place at the \u003cb>Three-Minute Film Festival\u003c/b> and was pick of the litter from those I viewed online. It consists of a black and white photo slideshow with a narrator telling the tale of a most unfortunate hitchhiking experience. The film doesn’t come across as contrived as the rest; it’s not the greatest quality but it has a nice rhythm. It doesn’t lag and while watching it, I didn’t think twice about the time issue. It was one of those three minutes that goes by without lingering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I like the idea of the \u003cb>Three-Minute Film Festival\u003c/b> and \u003cb>The Best of the Three-Minute Film Festival\u003c/b>, respectively, but there is room for growth. Despite my distaste for some of their noteworthy films, I don’t want to see ordinary people stop making movies or be hindered by technical constraints. If the organizers of the festival enact better criteria for judging and actively seek more filmmakers, the results would be much better. But as they say on their website, “Make the best movie that you can. But remember that none of us knows what we’re doing and anything you do will be great.” Really? Anything?\u003c/p>\n\u003cp>It’s not the medium that matters; people should create with whatever they can get their hands on, no matter the cost or popularity of their recording device. What it boils down to is good ideas and clever execution. That’s what I would like to see more of at \u003cb>Three-Minute Film Festivals\u003c/b> to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Best of the Three-Minute Film Festival\u003c/b> is playing at the Madrone Lounge on Thursday, April 16, 2009. Madrone Lounge, 500 Divisadero St., San Francisco, CA 94117. Screening at 8pm. FREE! Hosted by Jeff Cleary with additional music by DJ DeadLover.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three minutes can go by quickly, often times too quickly. The three minutes following a morning tap on the snooze button can seem like a blink of an eye. If you go to a water park and hop on a three-minute winding tube ride, I bet you’ll wish it were twice as long. And if you’re shooting for a night of romance with a cutie pie, three minutes is not a favorable duration. As a parameter for short films, three minutes can either be the perfect length or 180 long and tedious seconds — similar to brushing your teeth for three minutes.\u003c/p>\n\u003cp>\u003cb>The Best of the Three-Minute Film Festival\u003c/b> features top films from previous festivals, made within a span of 30 days, all of which are approximately three minutes long. The festival has been running since 2001 and organizers of the event encourage all filmmakers to participate, regardless of skill level and production value. It’s important that films of all genres and lengths are accessible and kudos to the Three-Minute Film Festival for providing an outlet. This particular event showcases what they view as the best of the best from previous festivals.\u003c/p>\n\u003cp>Some of the winning films from the past few years are viewable on the \u003ca href=\"http://www.threeminutefilmfestivalsf.com/index.html\">Three-Minute Film Festival\u003c/a> website. I watched all eight films and was sincerely disappointed in the quality and ambition of the work. It wasn’t a complete wash, there were two that held my attention and didn’t provoke that nervous jitter I get while watching something uncomfortable or embarrassing. Maybe there just weren’t that many submissions in total. But I have the notion that there are many talented filmmakers, especially in the Bay Area, who could use the exposure.\u003c/p>\n\u003cp>The film \u003cb>I AM: A Proclamation of Self\u003c/b> tied for second place in 2008 and will be screened as part of \u003cb>The Best of the Three-Minute Film Festival\u003c/b>. The film features several people saying their name with vigor and authority, sometimes over and over again. The description explains how, “Hearing and speaking your own name produces a reaction in the brain which stimulates self confidence and ego.” This may be true, but it’s hard to believe that the people shown in the film responded honestly. What I saw was an uneasy montage of people reciting their first and last names, much aware of the camera and the person hitting the record button. The film didn’t reveal any inner truths to me but left me wondering why this is being screened in front of an audience.\u003c/p>\n\u003cp>In 2006, the \u003cb>True Story\u003c/b> won third place at the \u003cb>Three-Minute Film Festival\u003c/b> and was pick of the litter from those I viewed online. It consists of a black and white photo slideshow with a narrator telling the tale of a most unfortunate hitchhiking experience. The film doesn’t come across as contrived as the rest; it’s not the greatest quality but it has a nice rhythm. It doesn’t lag and while watching it, I didn’t think twice about the time issue. It was one of those three minutes that goes by without lingering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I like the idea of the \u003cb>Three-Minute Film Festival\u003c/b> and \u003cb>The Best of the Three-Minute Film Festival\u003c/b>, respectively, but there is room for growth. Despite my distaste for some of their noteworthy films, I don’t want to see ordinary people stop making movies or be hindered by technical constraints. If the organizers of the festival enact better criteria for judging and actively seek more filmmakers, the results would be much better. But as they say on their website, “Make the best movie that you can. But remember that none of us knows what we’re doing and anything you do will be great.” Really? Anything?\u003c/p>\n\u003cp>It’s not the medium that matters; people should create with whatever they can get their hands on, no matter the cost or popularity of their recording device. What it boils down to is good ideas and clever execution. That’s what I would like to see more of at \u003cb>Three-Minute Film Festivals\u003c/b> to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Best of the Three-Minute Film Festival\u003c/b> is playing at the Madrone Lounge on Thursday, April 16, 2009. Madrone Lounge, 500 Divisadero St., San Francisco, CA 94117. Screening at 8pm. FREE! Hosted by Jeff Cleary with additional music by DJ DeadLover.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Well, I’ll tell you. First: The San Francisco Film Society puts on some good classes. And not just the mind-numbing kind where wannabe filmmakers pay many dollars for the privilege of standing around with strangers, diddling a Panasonic HVX200 HD camera and discussing the finer points of P2 Cards, codecs, and final deliverables, whatever the hell those are.\u003c/p>\n\u003cp>No, this educational buffet also offers many tender morsels of immediately obvious practical value, like the class called “How To Ask People for Money,” which seems like it might be useful not just for the wannabe filmmakers but also for the rest of us. Or, better, the class I attended at the Ninth Street Film Center the other night, called “San Francisco: The Movie.” This was billed as the “definitive presentation of what has made our city one of the most intensely filmed and meaningful locations in film history,” and presented by SFFS Creative Director Miguel Pendás, who gives tours of San Francisco movie locations and has obviously spent many hours geeking out on this stuff.\u003c/p>\n\u003cp>Which is great. The evening amounted to a fun few hours with Pendás, about a dozen film buffs, and Chaplin, DeMille, Stroheim, Welles, Hitchcock and the gang.\u003c/p>\n\u003cp>Yes, I did say DeMille. Who knew that the old epic-monger’s first take on \u003cb>The 10 Commandments\u003c/b>, from 1923, involved some spectacular and apparently safety-averse photography of the Saints Peter and Paul Church in North Beach, then still under construction? DeMille used it to punish a wanton commandment-violator by collapsing a shoddily built church wall on the man’s mother. Before you click your little secular-hedonist tongue, bear in mind that the same not-so-subtle sort of dramatization later recurred in 1936’s \u003cb>San Francisco\u003c/b>, in which the quake of ’06 brought a rather perverse form of deus ex machina for a wily Barbary Coast heathen played by Clark Gable. If there’s one thing to be said for the movies of San Francisco, it’s that people get punished in them.\u003c/p>\n\u003cp>“Chinatown appears in a lot of melodramas,” Pendás dryly said, early on. “The association we have is this kind of Twilight Zone of exotic goings on, and when white people go in there, they’re in danger.” Case in point: 1931’s \u003cb>Chinatown After Dark\u003c/b>. Or, of course, 1947’s \u003cb>The Lady from Shanghai\u003c/b>, a noir staple in which Orson Welles plays with those aforementioned associations as only he could. Not to mention Wayne Wang’s clever, confounding and raffishly sophisticated 1982 masterpiece \u003cb>Chan is Missing\u003c/b>, whose subject is assimilation — of Chinese-American culture, and of film culture — and the subversion thereof. Pendás didn’t mention \u003cb>Big Trouble in Little China\u003c/b>, but maybe that’s for the best.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, he had other things to discuss. Of 1957’s \u003cb>Kiss Them For Me\u003c/b>, Pendás observed, “Tragic things happen, even though this is billed as a romantic comedy.” That has proven true of 1968’s \u003cb>Petulia\u003c/b>, too — and, come to think of it, of several other Bay Area movies as well. But \u003cb>Kiss Them For Me\u003c/b> is the one in which the Cary Grant character quips, “True love almost always fades, but money stays green forever.” Which of course brings me back to the brutally poetic reiteration of same in Eric Von Stroheim’s silent 1924 San Francisco classic \u003cb>Greed\u003c/b>. Not that money (and how to ask people for it) is the only reason for a San Francisco movie romance to sour — although Pendás was shrewd to point out, about Jimmy Stewart’s character in Hitchcock’s \u003cb>Vertigo\u003c/b>, that “falling in love with someone from a higher social class makes him dizzy.”\u003c/p>\n\u003cp>Meanwhile, \u003cb>The Maltese Falcon\u003c/b> was not neglected, nor even the later, locally set commercial thrillers of the ’90s, well assessed by Pendás as “films that borrow from the suspense legacy, but have become very extreme and very cynical.” And he even got in a word about \u003cb>So I Married an Axe Murderer\u003c/b>, in which the city registers as “a beautiful place, but has nothing to do with the movie.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actually, I knew a lot of this stuff already, because it’s a subject of special interest and research for me. But I didn’t want to be that jackass who’s always butting in with showoffy, time-squandering tirades about \u003cb>Big Trouble in Little China\u003c/b> or what have you. We only had three short hours, after all. What I really learned from “San Francisco: The Movie” is what we all already knew, but enjoy reminding ourselves: This place \u003ci>really is\u003c/i> one of the most meaningful locations in film history. It’s so full of meaning, in fact, that a single class can only just begin to cover it. Maybe a few more are in order.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, I’ll tell you. First: The San Francisco Film Society puts on some good classes. And not just the mind-numbing kind where wannabe filmmakers pay many dollars for the privilege of standing around with strangers, diddling a Panasonic HVX200 HD camera and discussing the finer points of P2 Cards, codecs, and final deliverables, whatever the hell those are.\u003c/p>\n\u003cp>No, this educational buffet also offers many tender morsels of immediately obvious practical value, like the class called “How To Ask People for Money,” which seems like it might be useful not just for the wannabe filmmakers but also for the rest of us. Or, better, the class I attended at the Ninth Street Film Center the other night, called “San Francisco: The Movie.” This was billed as the “definitive presentation of what has made our city one of the most intensely filmed and meaningful locations in film history,” and presented by SFFS Creative Director Miguel Pendás, who gives tours of San Francisco movie locations and has obviously spent many hours geeking out on this stuff.\u003c/p>\n\u003cp>Which is great. The evening amounted to a fun few hours with Pendás, about a dozen film buffs, and Chaplin, DeMille, Stroheim, Welles, Hitchcock and the gang.\u003c/p>\n\u003cp>Yes, I did say DeMille. Who knew that the old epic-monger’s first take on \u003cb>The 10 Commandments\u003c/b>, from 1923, involved some spectacular and apparently safety-averse photography of the Saints Peter and Paul Church in North Beach, then still under construction? DeMille used it to punish a wanton commandment-violator by collapsing a shoddily built church wall on the man’s mother. Before you click your little secular-hedonist tongue, bear in mind that the same not-so-subtle sort of dramatization later recurred in 1936’s \u003cb>San Francisco\u003c/b>, in which the quake of ’06 brought a rather perverse form of deus ex machina for a wily Barbary Coast heathen played by Clark Gable. If there’s one thing to be said for the movies of San Francisco, it’s that people get punished in them.\u003c/p>\n\u003cp>“Chinatown appears in a lot of melodramas,” Pendás dryly said, early on. “The association we have is this kind of Twilight Zone of exotic goings on, and when white people go in there, they’re in danger.” Case in point: 1931’s \u003cb>Chinatown After Dark\u003c/b>. Or, of course, 1947’s \u003cb>The Lady from Shanghai\u003c/b>, a noir staple in which Orson Welles plays with those aforementioned associations as only he could. Not to mention Wayne Wang’s clever, confounding and raffishly sophisticated 1982 masterpiece \u003cb>Chan is Missing\u003c/b>, whose subject is assimilation — of Chinese-American culture, and of film culture — and the subversion thereof. Pendás didn’t mention \u003cb>Big Trouble in Little China\u003c/b>, but maybe that’s for the best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
