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"content": "\u003cp>I’m hesitant to tell you anything about \u003cb>Beautiful Losers\u003c/b> because I’d prefer that you just go see it. However, I feel it’s my duty to encourage you to flake on your Friday night plans so you can see this film as soon as possible. I am not a film buff nor an expert in filmmaking. I am an artist and a writer who spends lots of time documenting the work of other artists, and that’s why I was aching to see \u003cb>Beautiful Losers\u003c/b> long before its local premiere. It is a non-fictional story about eleven streetwise kids who made art because it made them happy and who eventually found success doing what they loved to do.\u003c/p>\n\u003cp>If you grew up feeling the opposite of mainstream — like an outsider/freak/weirdo — this film is for you. If you’ve ever felt judgmental, or in the dark about skate culture and street art, this film is for you, too. And, if you’ve ever wanted some insight into how artists think and what it means to be a visual thinker, this film will help you to understand by shining a light on some often-misunderstood creative minds.\u003c/p>\n\u003cp>\u003cb>Beautiful Losers\u003c/b> was directed by Aaron Rose, a guy who opened an art gallery in New York almost by accident and took his friends seriously as artists regardless of how others might have viewed them. Using footage acquired over several years, Rose tells the story of these artists through interviews, music and, most importantly, images of their artwork. He opens a door that is rarely cracked and lets you in on a story about young artists with something major and subversive to say to the world — pioneers who didn’t care about spreading their message to gallery patrons and art critics but instead directed their attention at like-minded people who shared a similar struggle of being young and disenchanted with the world. Some were skaters and the creative risks they took on their boards fed the risks they took with their art. Their canvases were trains and billboards, streets and mailboxes — platforms that allowed them to communicate widely to an everyday audience.\u003c/p>\n\u003cp>There are local connections in the film because many of the artists lived in San Francisco, and a major traveling exhibition of their work (co-curated by Rose and also titled \u003cb>Beautiful Losers\u003c/b>) made one of its first stops at Yerba Buena Center for the Arts in 2004. So, if nothing else, watch this film to learn more about artists from your community.\u003c/p>\n\u003cp>\u003cb>Beautiful Losers\u003c/b> is a carefully crafted film about grown-up artists looking back on an important time in their careers, which flew by quickly but made them who they are today. While they are not the only eleven artists who contributed to the do-it-yourself movement, they are the ones who helped the movement achieve widespread success. It’s a film that I will watch again to remind myself to keep communicating through visual means and to keep trying to make connections and inspire moments of joy in the lives of friends and strangers. The film not only spoke to my heart, it gave me a hug of encouragement and told me to keep doing my thing, even when it feels like it might not be worth it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Beautiful Losers\u003c/b> runs from Friday, September 5, 2008 through Thursday, September 11, 2008 at the Lumiere Theatre. For \u003ca href=\"http://www.landmarktheatres.com/Market/SanFrancisco/LumiereTheatre.htm\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit landmarktheatres.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m hesitant to tell you anything about \u003cb>Beautiful Losers\u003c/b> because I’d prefer that you just go see it. However, I feel it’s my duty to encourage you to flake on your Friday night plans so you can see this film as soon as possible. I am not a film buff nor an expert in filmmaking. I am an artist and a writer who spends lots of time documenting the work of other artists, and that’s why I was aching to see \u003cb>Beautiful Losers\u003c/b> long before its local premiere. It is a non-fictional story about eleven streetwise kids who made art because it made them happy and who eventually found success doing what they loved to do.\u003c/p>\n\u003cp>If you grew up feeling the opposite of mainstream — like an outsider/freak/weirdo — this film is for you. If you’ve ever felt judgmental, or in the dark about skate culture and street art, this film is for you, too. And, if you’ve ever wanted some insight into how artists think and what it means to be a visual thinker, this film will help you to understand by shining a light on some often-misunderstood creative minds.\u003c/p>\n\u003cp>\u003cb>Beautiful Losers\u003c/b> was directed by Aaron Rose, a guy who opened an art gallery in New York almost by accident and took his friends seriously as artists regardless of how others might have viewed them. Using footage acquired over several years, Rose tells the story of these artists through interviews, music and, most importantly, images of their artwork. He opens a door that is rarely cracked and lets you in on a story about young artists with something major and subversive to say to the world — pioneers who didn’t care about spreading their message to gallery patrons and art critics but instead directed their attention at like-minded people who shared a similar struggle of being young and disenchanted with the world. Some were skaters and the creative risks they took on their boards fed the risks they took with their art. Their canvases were trains and billboards, streets and mailboxes — platforms that allowed them to communicate widely to an everyday audience.\u003c/p>\n\u003cp>There are local connections in the film because many of the artists lived in San Francisco, and a major traveling exhibition of their work (co-curated by Rose and also titled \u003cb>Beautiful Losers\u003c/b>) made one of its first stops at Yerba Buena Center for the Arts in 2004. So, if nothing else, watch this film to learn more about artists from your community.\u003c/p>\n\u003cp>\u003cb>Beautiful Losers\u003c/b> is a carefully crafted film about grown-up artists looking back on an important time in their careers, which flew by quickly but made them who they are today. While they are not the only eleven artists who contributed to the do-it-yourself movement, they are the ones who helped the movement achieve widespread success. It’s a film that I will watch again to remind myself to keep communicating through visual means and to keep trying to make connections and inspire moments of joy in the lives of friends and strangers. The film not only spoke to my heart, it gave me a hug of encouragement and told me to keep doing my thing, even when it feels like it might not be worth it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Trouble the Water\u003c/b> sounds like the newest release from 20th Century Fox. The movie tells the story of two “born hustlers,” a small-time drug dealer and a struggling rapper whose lives are forever changed when their home in New Orleans’ Ninth Ward is destroyed by Hurricane Katrina. Trapped in their attic and abandoned by the rescue effort, the two have to get themselves and almost 30 of their friends and neighbors out of the floodwaters and into safety. Though they lose a tremendous amount in the storm, our heroes gain courage, strength, and a new perspective of the world in their quest for survival. Sounds like a hit, doesn’t it? Get some young actors or hip-hop stars looking to be taken seriously, teach them how to say “Y’heard me?” like a true N’awlins native, and wait for the Golden Globes to start rolling in. Hollywood would be all over this movie, if someone had bothered to write it.\u003c/p>\n\u003cp>But nobody wrote \u003cb>Trouble the Water\u003c/b>, because it’s a true story, and nobody hired Mekhi Pfeiffer to play Scott Roberts because Mr. Roberts plays himself. \u003cb>Trouble the Water\u003c/b> is a documentary about Scott Roberts and his wife Kim who really did find themselves leading almost 30 people out of the Ninth Ward. The film, directed and produced by Tia Lessin and Carl Deal, follows the young couple from a day before the hurricane to a year and a half later, chronicling their struggles first to survive, then to rebuild their lives.\u003c/p>\n\u003cp>Like all citizens of the Ninth Ward, Kim and Scott lose nearly everything in the hurricane and leave New Orleans with their lives barely intact. During their flight from the city, they encounter nearly every drama that has become inextricably linked to Katrina: frustration with a non-existent rescue effort, battles with FEMA over money that never came, nights in abandoned schools and convention centers packed to the gills with displaced residents. To finally reach safety, they must first steal a boat and paddle to dry land, then stuff a truck with women and children before driving away from the disaster zone they once called home. Their story is dramatic and difficult, but it is not one we haven’t heard before.\u003c/p>\n\u003cp>What makes \u003cb>Trouble the Water\u003c/b> fresh is its perspective: much of the movie is seen directly through the eyes of Kim Roberts, who filmed Hurricane Katrina on a camcorder she bought for $20. This first-person perspective gives viewers a glimpse of the hurricane as it really happened. No one can forget the images of people waving for help on the rooftops of flooded homes, but it’s a completely different experience to see the view from the rooftops themselves. Though Mrs. Roberts cannot claim to be the world’s best camerawoman, her shots and running commentary provide some of the movie’s most stirring, remarkable moments. The documentarians splice Kim’s shots together with archival footage and footage they shots themselves, and ultimately craft a piece that touches on many of the issues of race, class, and bureaucratic bungling that have come to be synonymous with Katrina.\u003c/p>\n\u003cp>But at its core, \u003cb>Trouble the Water\u003c/b> is a story of redemption fit for Hollywood. As I watched Kim and Scott’s lives unfold and change, I couldn’t help but think that, if this movie were a fictional film, I would probably consider it trite and strained. However, there’s nothing as true as reality; thus, when we see how Hurricane Katrina, for all its destructive power, might have created a new life for Kim and Scott Roberts, we can’t help but believe it. And in that belief lies a message not only about Katrina, but about storytelling and maybe even humanity: that redemption isn’t something that poets and filmmakers craft, that real people save each other and themselves every day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Trouble the Water\u003c/b> opens Friday, September 5, 2008 at Kabuki Theater, 1881 Post Street. There will be a Q&A with the directors/producers, Tia Lessin and Carl Deal, following the 7:25 show on Friday, September 5th as well as an appearance by executive producer Danny Glover before the 5:00 show that same day. For \u003ca href=\"http://sundancecinemas.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit sundancecinemas.com or call 415.346.3243.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cp>The Pacific Film Archive’s weekly \u003cb>Alternative Visions\u003c/b> series blasts off and blows up on Tuesday, September 2 at 7:30 p.m., with a new feature from the tirelessly resourceful multimedia culture jammer and mad maven of San Francisco’s \u003ca href=\"http://www.othercinema.com/\" target=\"offsite\" rel=\"noopener\">Other Cinema\u003c/a>, Craig Baldwin.\u003c/p>\n\u003cp>Adventurous moviegoers who recall Baldwin from, say, \u003cb>Tribulation 99: Alien Anomalies Under America\u003c/b>, a sort of unified field theory of pre-9/11 American conspiracies, surely will not want to miss his latest high-camp concoction of postwar California cultural history, \u003cb>Mock Up on Mu\u003c/b>. And the rest of you, who’ve never heard of him but might just be in the mood for a cheeky satirical rhapsody wrought from cinematic spare parts, should see it too.\u003c/p>\n\u003cp>\u003cb>Mu\u003c/b> unspools an untold, often untoward, but not entirely untrue tale of occultist and Jet Propulsion Lab founder Jack Parsons (Kal Spelletich); his poet-painter wife Marjorie Cameron (Michelle Silva), the so-called “mother of the New Age movement”; and Scientology originator L. Ron Hubbard (Damon Packard), who in Baldwin’s poetically spastic mashup of found footage and staged live-action speculation, oversees lunar theme parks and informs his acolytes that, among other things, “we must take pity on the poor meat puppets who play host to the parasitic picture stories–memories from realms both real and imaginary, from this solar system as well as others.”\u003c/p>\n\u003cp>It goes to show, once again, that there’s such a fine line between the respective agonies and ecstasies of religion and cinema.\u003c/p>\n\u003cp>Baldwin will be on hand to answer your questions (such as “WTF?”) or let you confess to him, as someone does to Mr. Hubbard in the film, “You have taught me to turn my psychological idiosyncrasies into assets for our cosmic initiative!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alternative Visions\u003c/b> runs Tuesday evenings through October 28, 2008 at the Pacific Film Archive in Berkeley and includes films by Bruce Conner, Lewis Klahr, Valie Export, and James Benning, among others. For \u003ca href=\"http://bampfa.berkeley.edu/filmseries/altvis_sept08\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cp>For two decades now, East Bay director Rob Nilsson has been making a particular, and particularly idiosyncratic, type of ghost story. He doesn’t traffic in the supernatural — to the contrary, his films are constructed from the brick and mortar of neo-realism — but he fills the screen with invisible characters: the grifters, hookers, homeless and hapless we usually make a point of not seeing, in real life as well as in the movies\u003c/p>\n\u003cp>Nilsson has spent the past dozen years working with the Tenderloin yGroup (as he dubbed it), a company of gutsy hard cases with checkered pasts who take acting far beyond therapy or entertainment. Perpetually inspired by his late idol John Cassavetes (\u003cb>A Woman Under the Influence\u003c/b>), Nilsson pushes himself and his nonprofessional actors to expose the raw emotional truths of lives focused first and foremost on survival. Shooting with low-cost digital video in high-contrast black-and-white, the director and the troupe have churned out one minimalist feature after another, most of them premiering at the high-toned Mill Valley Film Festival.\u003c/p>\n\u003cp>The \u003cb>9 @ Night\u003c/b> cycle is finally getting a theatrical release at the Roxie Theater. Seeing all nine films together, and being immersed in a world that’s seemingly familiar yet is hidden and disorienting beneath the surface, is addictive. Furthermore, characters like the aging streetwalker Lou (Brett McCabe), one of four tough yet vulnerable women whose destinies propel \u003cb>Need\u003c/b>, and who reappears fleetingly in \u003cb>Stroke\u003c/b> and the finale, \u003cb>Go Together\u003c/b>, crisscross throughout the series.\u003c/p>\n\u003cp>A central element of this body of work is that Nilsson and his cast invented the characters, devised their back stories and improvised each film. Because the actors have vivid faces and definite histories — some look like they’ve led hard lives; others give off the vibe of people who made a regrettably poor choice or two (with drink or drugs, probably) and took a header from the middle class into the gutter — they play their roles with a powerful, lived-in gravitas. The improvised storylines, however, are less compelling.\u003c/p>\n\u003cp>While the filmmakers and cast know intimately where the characters come from, they’re often unsure where they’re going. Developing a narrative on the fly is tricky stuff, and some of the films (like \u003cb>Need\u003c/b>) succeed better than others. In \u003cb>Stroke\u003c/b>, Johnny (Edwin Johnson) takes in a friend (Teddy Weiler) after Phil suffers a stroke and loses his ability to talk. The story takes its own sweet time covering a rather limited patch of ground, unless you consider the hike from the Tenderloin to Pier 31 a journey of epic proportions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I appreciate Nilsson and company’s implicit assertion that conventional narrative filmmaking is false and manipulative, and that strong characters should be sufficient to command our attention. I likewise applaud the filmmakers’ rebuke of the airbrushed, spit-polished, art-directed-to-death nonsense that Hollywood dishes up week after week after week. At the same time, I wish there were more laughs strewn through the series; even desperate people in desperate circumstances retain a gallows sense of humor, strained through a filter of bitterness.\u003c/p>\n\u003cp>The scope of its ambition, and its commitment to depicting the unglamorous lives of ordinary people, entitles \u003cb>9 @ Night\u003c/b> to be mentioned alongside \u003cb>The Decalogue\u003c/b>, Krzysztof Kieslowski’s brilliantly conceived and executed series loosely inspired by the 10 Commandments. Nilsson’s Tenderloin characters have their own street-hardened morality, as you’d expect, but it leans surprisingly close to the golden rules that guide supposedly upstanding citizens.\u003c/p>\n\u003cp>If movies had the power to change our society, the \u003cb>9 @ Night\u003c/b> series would stand as the most important films of the year. But they don’t anymore, and so the apparitions of \u003cb9 night> live for a few hours on the screen, then recede once again into the shadows.\u003c/b9>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rob Nilsson’s 9 @ Night\u003c/b> screens August 29-September 4, 2008 at the Roxie Theatre in San Francisco, Sept. 4 at the Cerrito Speakeasy Theater in El Cerrito, Sept. 5-11, 2008 at the Rafael Film Center in San Rafael and Sept. 7 at the Parkway Speakeasy Theater in Oakland. For \u003ca href=\"http:www.citizencinema.net%20target=\" offsite>more information\u003c/a>, visit citizencinema.net.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For two decades now, East Bay director Rob Nilsson has been making a particular, and particularly idiosyncratic, type of ghost story. He doesn’t traffic in the supernatural — to the contrary, his films are constructed from the brick and mortar of neo-realism — but he fills the screen with invisible characters: the grifters, hookers, homeless and hapless we usually make a point of not seeing, in real life as well as in the movies\u003c/p>\n\u003cp>Nilsson has spent the past dozen years working with the Tenderloin yGroup (as he dubbed it), a company of gutsy hard cases with checkered pasts who take acting far beyond therapy or entertainment. Perpetually inspired by his late idol John Cassavetes (\u003cb>A Woman Under the Influence\u003c/b>), Nilsson pushes himself and his nonprofessional actors to expose the raw emotional truths of lives focused first and foremost on survival. Shooting with low-cost digital video in high-contrast black-and-white, the director and the troupe have churned out one minimalist feature after another, most of them premiering at the high-toned Mill Valley Film Festival.\u003c/p>\n\u003cp>The \u003cb>9 @ Night\u003c/b> cycle is finally getting a theatrical release at the Roxie Theater. Seeing all nine films together, and being immersed in a world that’s seemingly familiar yet is hidden and disorienting beneath the surface, is addictive. Furthermore, characters like the aging streetwalker Lou (Brett McCabe), one of four tough yet vulnerable women whose destinies propel \u003cb>Need\u003c/b>, and who reappears fleetingly in \u003cb>Stroke\u003c/b> and the finale, \u003cb>Go Together\u003c/b>, crisscross throughout the series.\u003c/p>\n\u003cp>A central element of this body of work is that Nilsson and his cast invented the characters, devised their back stories and improvised each film. Because the actors have vivid faces and definite histories — some look like they’ve led hard lives; others give off the vibe of people who made a regrettably poor choice or two (with drink or drugs, probably) and took a header from the middle class into the gutter — they play their roles with a powerful, lived-in gravitas. The improvised storylines, however, are less compelling.\u003c/p>\n\u003cp>While the filmmakers and cast know intimately where the characters come from, they’re often unsure where they’re going. Developing a narrative on the fly is tricky stuff, and some of the films (like \u003cb>Need\u003c/b>) succeed better than others. In \u003cb>Stroke\u003c/b>, Johnny (Edwin Johnson) takes in a friend (Teddy Weiler) after Phil suffers a stroke and loses his ability to talk. The story takes its own sweet time covering a rather limited patch of ground, unless you consider the hike from the Tenderloin to Pier 31 a journey of epic proportions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I appreciate Nilsson and company’s implicit assertion that conventional narrative filmmaking is false and manipulative, and that strong characters should be sufficient to command our attention. I likewise applaud the filmmakers’ rebuke of the airbrushed, spit-polished, art-directed-to-death nonsense that Hollywood dishes up week after week after week. At the same time, I wish there were more laughs strewn through the series; even desperate people in desperate circumstances retain a gallows sense of humor, strained through a filter of bitterness.\u003c/p>\n\u003cp>The scope of its ambition, and its commitment to depicting the unglamorous lives of ordinary people, entitles \u003cb>9 @ Night\u003c/b> to be mentioned alongside \u003cb>The Decalogue\u003c/b>, Krzysztof Kieslowski’s brilliantly conceived and executed series loosely inspired by the 10 Commandments. Nilsson’s Tenderloin characters have their own street-hardened morality, as you’d expect, but it leans surprisingly close to the golden rules that guide supposedly upstanding citizens.\u003c/p>\n\u003cp>If movies had the power to change our society, the \u003cb>9 @ Night\u003c/b> series would stand as the most important films of the year. But they don’t anymore, and so the apparitions of \u003cb9 night> live for a few hours on the screen, then recede once again into the shadows.\u003c/b9>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rob Nilsson’s 9 @ Night\u003c/b> screens August 29-September 4, 2008 at the Roxie Theatre in San Francisco, Sept. 4 at the Cerrito Speakeasy Theater in El Cerrito, Sept. 5-11, 2008 at the Rafael Film Center in San Rafael and Sept. 7 at the Parkway Speakeasy Theater in Oakland. For \u003ca href=\"http:www.citizencinema.net%20target=\" offsite>more information\u003c/a>, visit citizencinema.net.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It started as a symbol, a bright blue circle on a black background, which showed up on stickers, buttons and on faded black t-shirts. That was how I became aware of The Germs. L.A.’s first punk band of note entered my teenage consciousness through the album cover design for \u003cb>G.I.\u003c/b>, the first punk record — the first record period — to be released by Slash Records, which would boom a short while later by signing X. The symbol looked vaguely medical, like something out of \u003cb>The Andromeda Strain\u003c/b>, but was instantly iconic, like the cover of \u003ca href=\"http://sleevage.com/joy-division-unknown-pleasures/\">Joy Division’s \u003cb>Unknown Pleasures\u003c/b>\u003c/a>, another simple graphic on a black background. To Darby Crash, the band’s founder and leader, it symbolized a circle of influence encompassing those who knew The Germs, those who had become “infected” with punk rock.\u003c/p>\n\u003cp>Then, of course, there is the come on, “What We Do Is Secret,” a phrase that was always associated with the circle, so much so that I believed that it was the title of the album (instead of \u003cb>G.I.\u003c/b>). What could be more seductive? A new movement from somewhere deep inside California’s southern wasteland, emanating from a nondescript garage in one of the miles and miles of tract homes that radiate out from Hollywood, a ground zero, an epicenter. Curiosity peaked. It became a mission to discover exactly what it is that they “do.”\u003c/p>\n\u003cp>Then there was the band’s appearance in \u003ca href=\"http://www.youtube.com/watch?v=t4kvKUfeFpc\">\u003cb>The Decline of Western Civilization\u003c/b>\u003c/a>, a film whose influence was so great and was so often cited, my friends and I referred to it as just “\u003cb>Decline\u003c/b>.” Penelope Spheeris’s documentary about the early L.A. punk scene features a hilarious interview with The Germs’ manager — “It’s more like being the mother of four three-year-olds who are always fighting with each other… Sometimes I get to the end of my rope and just wanna batter my children.” Darby Crash makes breakfast and plays with his pet tarantula. The Germs’ performance in the film is comical. The band is certainly tight, providing a slinky, sinister backdrop for Darby Crash, who opens his mouth and lets out one gutteral moan after another, which Spheeris subtitles with each song’s lyrics, an interesting comment on the band’s importance and the state in which she’s found them. The crowd throws things at the stage and taunts Crash, who is clearly strung out on drugs, falling down and hurting himself, just barely able to squawk out a phrase or two now and again. Someone draws all over Darby’s body with a sharpie, as he prowls the stage like a panther, clearly the ringleader of this chaotic catharsis. The performance ends with Crash falling off the P.A. system, microphone cord wrapped around his neck, a grimace on his face, and voilá — another icon. This image is used on the documentary’s poster and accompanying soundtrack album. My teenage friends and I will stare at it for hours.\u003c/p>\n\u003cp>The Germs broke up shortly after that performance, reforming to play one gig in December, 1980 to “show the new punks on the scene what it had all been like back at the beginning.” By the time the blue circles of influence had radiated to my home town in central CA, Darby Crash had already offed himself, sealing his own and the band’s legend.\u003c/p>\n\u003cp>No wonder this story would compel the production of the bio-pic, \u003cb>What We Do Is Secret\u003c/b>. Its subject is a potent L.A. myth and the rebirth of Southern California’s music scene; a scene that, like all good subcultures, was destined to self-destruct. It is the tale of an energetic resistance movement, of punks creating anti-corporate anthems over music too chaotic for most ears in an era that witnessed the rise of Ronald Reagan. For young Hollywood filmmakers, who may not have even been born at the time, this period must be fascinating, not to mention ripe for mining: only a few good films (\u003cb>Repo Man\u003c/b> and Spheeris’s\u003cb>The Decline of Western Civilization\u003c/b> and \u003cb>Suburbia\u003c/b>) attempted to document it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given all the history involved, I was excited to see \u003cb>What We Do Is Secret\u003c/b>, and I think that, all considered, the filmmakers did a really good job capturing some of the energy of the early punk scene. They paint a compelling portrait of Darby Crash who, according to this film, was queer in a (sometimes) brutally heterosexual scene. Who knew?\u003c/p>\n\u003cp>However, there is something basically unsatisfying in the conception of most musical bio-pics. Sure, the quickest way to win an Oscar is to simulate the ups and downs of a beloved music icon, with requisite temper tantrums, infidelity and the deal-clinching (for Oscar anyway) drug withdrawal scene. But I always walk out of those movies disgusted. Is this how we choose to explore the genius of Ray Charles? By watching a terrible actor (Jamie Foxx) behave badly in scene after scene, then finally kick drugs and “see” his momma for the first time? Is that all there is to Patsy Cline (\u003cb>Sweet Dreams\u003c/b>, Jessica Lange) — bad luck with bad men? Was Edith Piaf (\u003cb>La Vie En Rose\u003c/b>, Marion Cotillard) really just a collection of hyper-stylized nervous ticks, more bad luck with bad men, and a problem with booze and pills? Was the tragedy of Ian Curtis (\u003cb>Control\u003c/b>, Sam Riley) just a bad marriage and an epileptic fit?\u003c/p>\n\u003cp>It’s difficult to capture creative genius on film. Even the best documentaries wrestle with this problem. Perhaps that’s what makes \u003cb>I’m Not There\u003c/b> and \u003cb>The Rose\u003c/b> so compelling. They try to get at the essence of their subjects (Dylan, Joplin) by discarding any connection with reality. One doesn’t reveal a beloved creative artist through the facts of his or her life, but through portraying the strategies he or she develops to deal with that life. It isn’t so much occurrences, which are easily filmed, that are at the root of a person’s creativity; it’s the internal processes that are essential to what builds these characters into people we are compelled to look at, compelled to love.\u003c/p>\n\u003cp>Similarly, there is something dispiriting to watching Shane West (nee Shane Wreck) simulate the life of Darby Crash, even if he’s had the practice of actually being in a reconstituted version of The Germs. West walks well enough down the path of Darby’s life (the conception of the band, Crash’s onstage mishaps, and his ultimate death wish), but he cannot encapsulate the things that made Darby Crash a legend. Crash’s drive, his own unique character, his creative intelligence and charisma are the elements responsible. Watching an actor, no matter how good, try to simulate that is a somewhat empty experience. Likewise, watching the reenactment of The Germs’ gig, the same gig that appears in \u003cb>The Decline of Western Civilization\u003c/b>, is like seeing an animal at the zoo in a simulation of his “natural habitat.” The animals look lackluster and bored. It’s strange to see a mosh pit look that way, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>What We Do Is Secret\u003c/b> opens in Bay Area theaters Friday, August 29, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given all the history involved, I was excited to see \u003cb>What We Do Is Secret\u003c/b>, and I think that, all considered, the filmmakers did a really good job capturing some of the energy of the early punk scene. They paint a compelling portrait of Darby Crash who, according to this film, was queer in a (sometimes) brutally heterosexual scene. Who knew?\u003c/p>\n\u003cp>However, there is something basically unsatisfying in the conception of most musical bio-pics. Sure, the quickest way to win an Oscar is to simulate the ups and downs of a beloved music icon, with requisite temper tantrums, infidelity and the deal-clinching (for Oscar anyway) drug withdrawal scene. But I always walk out of those movies disgusted. Is this how we choose to explore the genius of Ray Charles? By watching a terrible actor (Jamie Foxx) behave badly in scene after scene, then finally kick drugs and “see” his momma for the first time? Is that all there is to Patsy Cline (\u003cb>Sweet Dreams\u003c/b>, Jessica Lange) — bad luck with bad men? Was Edith Piaf (\u003cb>La Vie En Rose\u003c/b>, Marion Cotillard) really just a collection of hyper-stylized nervous ticks, more bad luck with bad men, and a problem with booze and pills? Was the tragedy of Ian Curtis (\u003cb>Control\u003c/b>, Sam Riley) just a bad marriage and an epileptic fit?\u003c/p>\n\u003cp>It’s difficult to capture creative genius on film. Even the best documentaries wrestle with this problem. Perhaps that’s what makes \u003cb>I’m Not There\u003c/b> and \u003cb>The Rose\u003c/b> so compelling. They try to get at the essence of their subjects (Dylan, Joplin) by discarding any connection with reality. One doesn’t reveal a beloved creative artist through the facts of his or her life, but through portraying the strategies he or she develops to deal with that life. It isn’t so much occurrences, which are easily filmed, that are at the root of a person’s creativity; it’s the internal processes that are essential to what builds these characters into people we are compelled to look at, compelled to love.\u003c/p>\n\u003cp>Similarly, there is something dispiriting to watching Shane West (nee Shane Wreck) simulate the life of Darby Crash, even if he’s had the practice of actually being in a reconstituted version of The Germs. West walks well enough down the path of Darby’s life (the conception of the band, Crash’s onstage mishaps, and his ultimate death wish), but he cannot encapsulate the things that made Darby Crash a legend. Crash’s drive, his own unique character, his creative intelligence and charisma are the elements responsible. Watching an actor, no matter how good, try to simulate that is a somewhat empty experience. Likewise, watching the reenactment of The Germs’ gig, the same gig that appears in \u003cb>The Decline of Western Civilization\u003c/b>, is like seeing an animal at the zoo in a simulation of his “natural habitat.” The animals look lackluster and bored. It’s strange to see a mosh pit look that way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I admit I didn’t have high hopes for \u003cb>I Served the King of England\u003c/b>. The movie tells the story of a waiter whose ambition is to own a hotel and become a millionaire. On his way to realizing these goals, he marries a Nazi. Combine this with director Jiri Menzel’s love of Charlie Chaplin, and in my mind it all added up to a light-hearted comedy about Nazi Germany, which is far from my favorite genre. So imagine my pleasure and surprise to find a thoughtful, original satire not so much about the power of the human spirit but about how we ignore evil, adapt to our circumstances and move on.\u003c/p>\n\u003cp>The story is told in flashbacks as the main character, Jan Dite, now in a small border town after being imprisoned by the Communist government for achieving his goal of becoming a millionaire, thinks back on his life and loves. The gorgeous cinematography adds to the poignancy of his story as scenes of relatively mundane things (a tree falling in a forest) to more surprising ones (a woman pouring raspberry grenadine on herself or a man laying out a carpet of money) have the grace and charm of a ballet.\u003c/p>\n\u003cp>This same charm is found in Dite. A small Czech man from a small town, he is fascinated by the behavior of the rich men he waits on. Dite moves through the restaurants where he works determined to learn everything he can about these privileged people so that he can become one of them. He’s so busy observing the ways of the rich that he pays no attention to Hitler’s rise to power and what it means to his countrymen (in one scene, he changes the radio from one of Hitler’s speeches to some kicky music that better suits his mood while he tries on a medal from the emperor of Ethiopia). This political indifference makes his marriage to a Nazi a non-issue. He doesn’t question her ideology or protest when his bride hangs a picture of Hitler on their bedroom wall, even going as far as moving his head so she will have a clearer view of it while they are making love.\u003c/p>\n\u003cp>Dite is not trying to profit from anyone’s misfortunes; he’s simply focused on his own ambitions and goals. He truly can’t see the evil around him because of the jollity that masks the sinister nature of the Nazis’ takeover. Watching the movie, I kept thinking of political theorist Hannah Arendt’s famous observation about how evil can be difficult to recognize because it is often so banal. But in \u003cb>I Served the King of England\u003c/b>, evil seems not so much banal as frivolous. For example, during the war, Dite works at a German reproductive center which is set up to produce perfect Aryan babies. The idea of creating master race specimens is fairly horrifying, but it’s difficult to see the young women at the institute as monsters since they spend all their time frolicing and swimming nude when they aren’t having sex with German soldiers.\u003c/p>\n\u003cp>\u003cb>I Served the King of England\u003c/b> has a light touch, even while taking on subjects like evil, greed and redemption. At the end of the movie, Dite has given up his desire for success and recognition and hangs his prized medal from the emperor on a goat. As he reflects on his life, he says, “Sometimes you only become human against your will.” Stripped of his ambitions for money and wanting only peace, Dite is able to realize how his desire for wealth cut him off from the reality around him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>I Served the King of England\u003c/b> opens in Bay Area theaters on Friday, August 29, 2008.\u003c/p>\n\n",
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"content": "\u003cp>Quite reasonably identified as one of “the 50 most beautiful people in New York” three years ago, when she was 90, Mimi Weddell has enjoyed a distinguished (if not famous) career as an actor, a character and a muse. She is someone who knows how to give the camera what it wants and, in \u003cb>Hats Off\u003c/b>, Bay Area filmmaker Jyll Johnstone gently wonders how she knows.\u003c/p>\n\u003cp>Weddell, whose headshot might be in the dictionary under “a class act,” didn’t really get started as a public persona until she was 65, but she’s anything but a dawdler. “Doesn’t time go really fast?” she says of her own drive. “It’s moment by moment by moment and you’ve got to grab it.”\u003c/p>\n\u003cp>She hustles, all right, sometimes enduring 14-hour days of cattle-call auditions, often all for naught. “I rarely get calls for little old ladies,” says one casting director who has worked with Weddell, “’cause that’s not what the world is about anymore.”\u003c/p>\n\u003cp>Which must be why it’s so satisfying to see that, in the tradition of local filmmakers Dan Geller and Dayna Goldfine’s \u003cb>Ballets Russes\u003c/b>, Johnstone’s film has a wise, sly way of telling the commercially youth-obsessed entertainment industry to kiss off. A few spots of generically jazzy soundtrack music notwithstanding, \u003cb>Hats Off\u003c/b> doesn’t patronize its subject or its audience.\u003c/p>\n\u003cp>Instead, it delights with judicious selections from the Mimi Weddell highlight reel: out for blood in \u003cb>Dracula’s Last Rites\u003c/b>, dozing off at the Nicholson-Streep wedding in \u003cb>Heartburn\u003c/b>; stealing brief scenes in \u003cb>Law & Order\u003c/b>, just “doing it” at the gym in a Nike commercial, among many others. It must be said that Weddell’s gymnastic skills do impress — not because she’s old, but because she also seems to smoke like a madwoman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The nutshell meaning of Weddell’s “rise above it” mantra: Try not to say in bed too much and, as you age, you’ll tend to dwell less on life’s misery. Works for her, most of the time.\u003c/p>\n\u003cp> “If you don’t dance, for heaven’s sake, you cannot aspire; you do not lift up from this earth,” she says. To which her daughter Sarah responds, “Baloney. Yeah, talk to me when you have to pay the phone bill and you can’t figure out how to do it. Talk to the earthbound girl.”\u003c/p>\n\u003cp>So there’s that, too. What really gets \u003cb>Hats Off\u003c/b> past the potential for greeting card platitudes is its kind but clear-eyed appraisal of poignant family dynamics. Witness the telling detachment with which Sarah, who still lives with Mimi as an adult, calls her parents by their first names; or off-handedly tells her mother, “You probably wish you didn’t have children — they must have held you back,” one day while slicing Brussels sprouts; or chides herself with a mocking laugh for spoiling Mimi’s life by being a “complete schlump of a daughter.”\u003c/p>\n\u003cp>Mimi’s son Tom has a subtly wounded quality, too, and a bond with her that implies as much mutual admiration as mutual disappointment.\u003c/p>\n\u003cp>Why Weddell’s life warrants a documentary portrait at all, Johnstone sees, is that it’s ultimately a life much fuller and therefore more affecting than her self-cultivated image lets on.\u003c/p>\n\u003cp> “She’s a great success,” Sarah says. “She’s lived on her wits and her beauty.” It is and isn’t a compliment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hats Off\u003c/b> runs August 22 through 28, 2008 at Kabuki Theater, 1881 Post Street. For \u003ca href=\"http://www.sundancecinemas.com/kabuki.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit sundancecinemas.com or call 415.346.3243.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nutshell meaning of Weddell’s “rise above it” mantra: Try not to say in bed too much and, as you age, you’ll tend to dwell less on life’s misery. Works for her, most of the time.\u003c/p>\n\u003cp> “If you don’t dance, for heaven’s sake, you cannot aspire; you do not lift up from this earth,” she says. To which her daughter Sarah responds, “Baloney. Yeah, talk to me when you have to pay the phone bill and you can’t figure out how to do it. Talk to the earthbound girl.”\u003c/p>\n\u003cp>So there’s that, too. What really gets \u003cb>Hats Off\u003c/b> past the potential for greeting card platitudes is its kind but clear-eyed appraisal of poignant family dynamics. Witness the telling detachment with which Sarah, who still lives with Mimi as an adult, calls her parents by their first names; or off-handedly tells her mother, “You probably wish you didn’t have children — they must have held you back,” one day while slicing Brussels sprouts; or chides herself with a mocking laugh for spoiling Mimi’s life by being a “complete schlump of a daughter.”\u003c/p>\n\u003cp>Mimi’s son Tom has a subtly wounded quality, too, and a bond with her that implies as much mutual admiration as mutual disappointment.\u003c/p>\n\u003cp>Why Weddell’s life warrants a documentary portrait at all, Johnstone sees, is that it’s ultimately a life much fuller and therefore more affecting than her self-cultivated image lets on.\u003c/p>\n\u003cp> “She’s a great success,” Sarah says. “She’s lived on her wits and her beauty.” It is and isn’t a compliment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hats Off\u003c/b> runs August 22 through 28, 2008 at Kabuki Theater, 1881 Post Street. For \u003ca href=\"http://www.sundancecinemas.com/kabuki.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit sundancecinemas.com or call 415.346.3243.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>The Judge and the General\u003c/b> tells the story of Judge Juan Guzman, who prosecuted the first criminal cases against the general of the title, Chilean dictator Augusto Pinochet. \u003c/p>\n\u003cp>In Chile judges investigate as well as try cases themselves, and when Guzman was assigned to Pinochet’s case by lottery, lawyers for families of the victims who were “disappeared” under Pinochet didn’t hold out much hope. Guzman came from a conservative right wing family who toasted the coup that removed Socialist president Salvador Allende from power and put Pinochet in his place for the next 17 years. \u003c/p>\n\u003cp>The film documents the investigations, using news footage and interviews with the judge, the victims’ families, lawyers in the cases, and experts. I admire the filmmakers for not having voice-over narration explaining what is going on, as this means they have to rely on editing to tell a coherent story. But in this case I wanted more details about Guzman and I wanted someone to underline for me what was extraordinary about his actions. \u003c/p>\n\u003cp>Guzman is a fascinating character; he’s refined, dignified and soft spoken as he talks about how investigating “opened the eyes of my soul.” So it’s frustrating not to know more about how this came about. How does someone go from regarding complaints against Pinochet as communist propaganda to deciding what Pinochet and his secret police did is pure evil? \u003c/p>\n\u003cp>The film underscores the horrors of Pinochet’s crimes again and again and goes scrupulously into the logistics of the investigations. This was interesting, but rather than seeing the mechanics of the investigations, I wanted to understand what drove Guzman to keep on with them when his life was being threatened and he had to travel everywhere with bodyguards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The Judge and the General\u003c/b> made me think about people’s capacity for change. The movie shows that plenty of Chileans continued to support the Pinochet regime, human rights violations and all. And then there is Guzman, whose political views shifted based on what he saw and heard. His transformation wasn’t just personal; it affected a country and gave people who had been ignored for years hope that they would finally be heard. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Judge and the General\u003c/b> airs August 19 at 10pm on KQED. \u003cahref target=\"offsite\"> For more information visit westwindproductions.org\u003c/ahref>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>The Judge and the General\u003c/b> tells the story of Judge Juan Guzman, who prosecuted the first criminal cases against the general of the title, Chilean dictator Augusto Pinochet. \u003c/p>\n\u003cp>In Chile judges investigate as well as try cases themselves, and when Guzman was assigned to Pinochet’s case by lottery, lawyers for families of the victims who were “disappeared” under Pinochet didn’t hold out much hope. Guzman came from a conservative right wing family who toasted the coup that removed Socialist president Salvador Allende from power and put Pinochet in his place for the next 17 years. \u003c/p>\n\u003cp>The film documents the investigations, using news footage and interviews with the judge, the victims’ families, lawyers in the cases, and experts. I admire the filmmakers for not having voice-over narration explaining what is going on, as this means they have to rely on editing to tell a coherent story. But in this case I wanted more details about Guzman and I wanted someone to underline for me what was extraordinary about his actions. \u003c/p>\n\u003cp>Guzman is a fascinating character; he’s refined, dignified and soft spoken as he talks about how investigating “opened the eyes of my soul.” So it’s frustrating not to know more about how this came about. How does someone go from regarding complaints against Pinochet as communist propaganda to deciding what Pinochet and his secret police did is pure evil? \u003c/p>\n\u003cp>The film underscores the horrors of Pinochet’s crimes again and again and goes scrupulously into the logistics of the investigations. This was interesting, but rather than seeing the mechanics of the investigations, I wanted to understand what drove Guzman to keep on with them when his life was being threatened and he had to travel everywhere with bodyguards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Judge and the General\u003c/b> made me think about people’s capacity for change. The movie shows that plenty of Chileans continued to support the Pinochet regime, human rights violations and all. And then there is Guzman, whose political views shifted based on what he saw and heard. His transformation wasn’t just personal; it affected a country and gave people who had been ignored for years hope that they would finally be heard. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Judge and the General\u003c/b> airs August 19 at 10pm on KQED. \u003cahref target=\"offsite\"> For more information visit westwindproductions.org\u003c/ahref>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a nostalgic quality to \u003cb>In Search of a Midnight Kiss\u003c/b>. Maybe it’s the black and white cinematography, or maybe it’s because the film is oddly reminiscent of classic screwball comedies. Perhaps it’s because \u003cb>Midnight Kiss\u003c/b> reminds me of seminal independent films like \u003cb>Slacker\u003c/b>, \u003cb>Stranger Than Paradise\u003c/b> or \u003cb>Party Girl\u003c/b>.\u003c/p>\n\u003cp>\u003cb>In Search of a Midnight Kiss\u003c/b> is the story of two misfits who find each other on New Year’s Eve and the tension caused by their oddball pairing and the suspense of whether or not, at the strike of twelve, they will turn to each other and have that all-important kiss.\u003c/p>\n\u003cp>The movie starts off with couples kissing everywhere, underlining the loneliness and isolation of Wilson (Scoot McNairy) the slacker main character, who has chucked everything and moved to Los Angeles, screenplay in hand. Working as a clerk in a video store, Wilson is caught masterbating to an image of his best friend’s girl — having photoshopped her head onto the body of a naked model. Suffering through the humiliation, he is convinced to take out a personal ad on craigslist seeking someone with whom he might ring in the New Year. Wilson quickly dashes off his call, “Misanthrope Seeks Misanthrope.”\u003c/p>\n\u003cp>Vivian (Sara Simmonds) responds, instructing Wilson to meet her at a Hollywood cafe — she’ll give him five minutes to convince her to spend the evening with him. When the two meet, it’s not fireworks, it’s oil and water, but they stick it out and take a trip downtown — on the subway — in L.A! They spend the day together walking around, getting to know one another. Fighting. Retreating. He’s all gangly limbs and awkward hair. She is black nail polish and oversized sunglasses, the promise of glamour or a glamour that is fading. (She’s an actress.) Inside the quotation marks that lie on either side of their conversation, there is something essentially sweet, oddly damaged and ultimately charming about each character.\u003c/p>\n\u003cp>Downtown L.A. is alternately magical in black and white or grainy and run down. It is the perfect metaphor for these two lonely hearts. Both still cling to a shred of hope for the future, but they’ve each been around these blocks a few times and understand how that hope keeps moving another arm’s length away with every reach. Will their Hollywood dreams come true? Will they end up alone at midnight with no one to kiss?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>In Search of a Midnight Kiss\u003c/b> reminded me of the heyday of indie film. When Sundance was on the rise, Spike Lee hit big with \u003cb>She’s Gotta Have It\u003c/b>, and when the independent film world coined its own stars, like Parker Posey, or revived the careers of faded ones like John Travolta. It has that feeling of real conversation (\u003cb>My Dinner With Andre\u003c/b>), with all the thrust and parry of a couple of oddballs trying to find common ground. It is a portrait of two real outsiders, each with their own particular eccentricities, struggling to make some meaning out of the world, to find connection in the age of infinite internet connectivity. At first, Scoot McNairy and Sara Simmonds make unlikely romantic leads. But their laid back charm casts a slacker spell and we realize how truly radiant each performer is, flirting and fronting and brilliantly baring their souls to the camera, revealing the sensitive creatures tentatively peering out from inside their cynical shells.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>In Search of a Midnight Kiss\u003c/b> opens Friday, August 15, 2008.\u003c/p>\n\n",
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"content": "\u003cp>You might think of short films as, at best, mere trifles, or warm-ups to more sophisticated and complete-seeming films of feature length. You might think, movie-wise, that shorter means lamer.\u003c/p>\n\u003cp>Well, SF Shorts — whose longer, tellingly less concise name is the San Francisco International Festival of Short Films — should enlighten you. All it will require is eight batches of short films, loosely arranged by theme and played out over four days.\u003c/p>\n\u003cp>Many great short films are not at all commercially viable, which often correlates to their greatness. Except, of course, when the whole not-being-viable thing gives license to hacks and lousy storytellers. Many short films, actually, are horrible. It’s weird; those don’t feel short at all. They feel interminable.\u003c/p>\n\u003cp>But, the great ones are alive with narrative precision and formal inventiveness and with not caring much about lowering their denominator or otherwise pandering, usually because their makers long ago have been liberated by the idea that nobody’s going to see the thing anyway, so big whoop if they don’t “get it.”\u003c/p>\n\u003cp>Still, what’s not to get? Consider the perfect title of \u003cb>Frog Jesus\u003c/b>; the wit and animated whimsy of \u003cb>Procrastination\u003c/b> (“Procrastination is thesaurusizing words in your emails”); the great O. Henry ending of \u003cb>My 13\u003c/b>, in which a French guy narrates his remembrance of being 13, particularly the part about having a crush on his pal’s sister and stealing her diary; the astounding storytelling economy of \u003cb>Frankie\u003c/b>, about a tough Irish teenager prepping for fatherhood; the disarmingly light touch with which \u003cb>Anti-narrative Number 4\u003c/b>, described in the program as “a conceptual video in which a man’s life is examined,” self-consciously subverts any expectation that it might be pretentious. Among many other pleasures and surprises.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, unfortunately, some of these films are so good that they’re going to make you realize how much of your life you’ve already squandered on crappy and forgettable movies of feature length. Don’t waste any more time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SF Shorts runs August 6 through 9, 2008, at the Victoria Theatre, 2961 16th Street (www.victoriatheatre.org) and the Red Vic Movie House, 1727 Haight Street (www.redvicmoviehouse.com). For \u003ca href=\"http://www.sfshorts.org/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfshorts.org.\u003c/p>\n\n",
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"content": "\u003cp>It’s hard, sometimes, to be a movie critic. A critic is supposed to be objective; discerning and shrewd, sure, but objective. He or she should know what a moviegoer will be expecting out of a movie when they buy a ticket, and he or she should judge the movie on how well it meets or exceeds those expectations. But when half the charm of a movie is in the story of the actors and filmmakers themselves, it can be hard for a critic to know what somebody with little prior knowledge of the film will think.\u003c/p>\n\u003cp>Such is the case with \u003cb>Baghead\u003c/b>, the newest release from writers/directors/producers Mark and Jay Duplass. \u003cb>Baghead\u003c/b> is the story of four struggling (read: failing) actors who go to the woods for a weekend to try and write a screenplay that will make them all famous. In the beginning, they drink and laugh and crush on each other, but when they start seeing a man with a bag over his head outside their windows, things take a turn for the creepy.\u003c/p>\n\u003cp>I can say with confidence that, even standing on its own, \u003cb>Baghead\u003c/b> is a good movie. The storyline moves effortlessly from being a bumbling comedy about four nobodies in a clumsy, frantic love quadrangle to being legitimately scary. The camera work — the entire movie was filmed on a camcorder, and it shows — lends a compelling sense of realism to the film, and the performances are spot on and tremendously natural. But that’s where \u003cb>Baghead\u003c/b>‘s backstory starts to become entangled with the film itself: the performances are natural because the actors are playing themselves. Because \u003cb>Baghead\u003c/b> is not really a horror film about a guy with a bag on his head; it’s a meta-film, about the difficulties of making an independent film, and of being poor and ignored in a world of the rich and famous. \u003cb>Baghead\u003c/b> is a movie made by guys nobody knows, starring actors nobody knows, about actors nobody knows making a movie nobody will see.\u003c/p>\n\u003cp>The film gets even more meta when you take into account the fact that the movie the characters are trying to write is a horror film about a guy with a bag on his head, and that the Baghead guy they thought they saw is actually a friend of theirs, who is working in tandem with one of the characters to make a movie about four people being stalked by a guy with a bag on his head. So, let’s reiterate: The Duplass brothers are indie filmmakers who made an indie film about actors trying to write an indie film, but who are actually the subject of another indie film without knowing it. Get it?\u003c/p>\n\u003cp>I did, but, then, I read the press release, so I knew who the filmmakers were and what the goal of their movie was. Though I enjoyed trying to pick my way through the self-referential mess that is \u003cb>Baghead\u003c/b>, I found myself wondering if people who didn’t know that backstory would have any idea what was going on. My ultimate answer to myself was yes, the movie does a good enough job explaining itself that you don’t need to know all about it to enjoy it, or even to appreciate the levels of filmmaking commentary that exist within it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Baghead\u003c/b> is a movie that has a bit to say, about the benefits and downfalls of guerilla filmmaking, but it’s also an exaltation of the independent style, with a camera that never stays quite still and four terrific performances from four actors you may never see again. It’s fun, it’s funny, it’s just a little scary, and it ends exactly the way it should. Though hidden at first from the untrained eye, \u003cb>Baghead\u003c/b> reveals itself to be a love letter to the indie film, and it?s a joyous thing to watch.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard, sometimes, to be a movie critic. A critic is supposed to be objective; discerning and shrewd, sure, but objective. He or she should know what a moviegoer will be expecting out of a movie when they buy a ticket, and he or she should judge the movie on how well it meets or exceeds those expectations. But when half the charm of a movie is in the story of the actors and filmmakers themselves, it can be hard for a critic to know what somebody with little prior knowledge of the film will think.\u003c/p>\n\u003cp>Such is the case with \u003cb>Baghead\u003c/b>, the newest release from writers/directors/producers Mark and Jay Duplass. \u003cb>Baghead\u003c/b> is the story of four struggling (read: failing) actors who go to the woods for a weekend to try and write a screenplay that will make them all famous. In the beginning, they drink and laugh and crush on each other, but when they start seeing a man with a bag over his head outside their windows, things take a turn for the creepy.\u003c/p>\n\u003cp>I can say with confidence that, even standing on its own, \u003cb>Baghead\u003c/b> is a good movie. The storyline moves effortlessly from being a bumbling comedy about four nobodies in a clumsy, frantic love quadrangle to being legitimately scary. The camera work — the entire movie was filmed on a camcorder, and it shows — lends a compelling sense of realism to the film, and the performances are spot on and tremendously natural. But that’s where \u003cb>Baghead\u003c/b>‘s backstory starts to become entangled with the film itself: the performances are natural because the actors are playing themselves. Because \u003cb>Baghead\u003c/b> is not really a horror film about a guy with a bag on his head; it’s a meta-film, about the difficulties of making an independent film, and of being poor and ignored in a world of the rich and famous. \u003cb>Baghead\u003c/b> is a movie made by guys nobody knows, starring actors nobody knows, about actors nobody knows making a movie nobody will see.\u003c/p>\n\u003cp>The film gets even more meta when you take into account the fact that the movie the characters are trying to write is a horror film about a guy with a bag on his head, and that the Baghead guy they thought they saw is actually a friend of theirs, who is working in tandem with one of the characters to make a movie about four people being stalked by a guy with a bag on his head. So, let’s reiterate: The Duplass brothers are indie filmmakers who made an indie film about actors trying to write an indie film, but who are actually the subject of another indie film without knowing it. Get it?\u003c/p>\n\u003cp>I did, but, then, I read the press release, so I knew who the filmmakers were and what the goal of their movie was. Though I enjoyed trying to pick my way through the self-referential mess that is \u003cb>Baghead\u003c/b>, I found myself wondering if people who didn’t know that backstory would have any idea what was going on. My ultimate answer to myself was yes, the movie does a good enough job explaining itself that you don’t need to know all about it to enjoy it, or even to appreciate the levels of filmmaking commentary that exist within it.\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>\u003cb>Baghead\u003c/b> is a movie that has a bit to say, about the benefits and downfalls of guerilla filmmaking, but it’s also an exaltation of the independent style, with a camera that never stays quite still and four terrific performances from four actors you may never see again. It’s fun, it’s funny, it’s just a little scary, and it ends exactly the way it should. Though hidden at first from the untrained eye, \u003cb>Baghead\u003c/b> reveals itself to be a love letter to the indie film, and it?s a joyous thing to watch.\u003c/p>\n\n\u003c/div>\u003c/p>",
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