As the Bay Area's overstuffed October film calendar fades into fatigued memory – and just to recap, there was the Mill Valley Film Festival, the Arab Film Festival, SF DocFest, YBCA's Koji Wakamatsu retrospective, PFA's Julien Duvivier, Ermanno Olmi and Robert Beavers retrospectives, and ending tonight, the SF Film Society's French Cinema Now – local cinephiles take cold comfort in knowing it was all just a preparatory cakewalk for November. Here's what lies in wait for the next week alone – the 3rd i Film Festival, SF Film Society's Taiwan Film Days, the American Indian Film Festival, PFA's New Spanish Cinema series (plus kickoffs for Ingrid Bergman in Europe and Alain Resnais retrospectives) and last but not least, the launch of a revamped SF Latino Film Festival. One hates to bitch about too much of a good thing, but really. With 52 weeks in the year, there's gotta be a way to do this without cannibalizing the same finite, overlapping audience. Please. Meanwhile, here are the coming week's overwhelming possibilities.
The 3rd i San Francisco International South Asian Film Festival returns for its seventh edition November 5 to 8, with two nights apiece at the Roxie and Castro Theaters. Sure to be a highlight is Saturday's Castro revival of legendary producer/star Guru Dutt's 1960 Bollywood classic Full Moon (Chaudhvin Ka Chand). Set amongst the Muslim aristocracy of early 20th century Lucknow, this lushly photographed film follows a love triangle beset with comic misunderstanding, mistaken identity and ultimate tragedy. Any disappointment I had over the film's digital, rather the 35mm presentation, has been tempered with the announcement that Dutt's son Aran will be on hand to introduce the screening. That night, 3rd i's Saturday at the Castro concludes with recent Bollywood hit My Heart Goes Hooray! (Kil Bole Hadippa!). Although this girls-just-wanna-play-cricket pic doesn't star Shahrukh Khan, I'm not exactly dreading 148 minutes of watching Shahid Kapoor (Rani Mukherjee in Drag King mode might be a different story). And anyone with a taste for the wildly different won't want to miss Friday's late-night Roxie screening of Quick Gun Murugun. This ambitious masala mish-mash pits a gaily-garbed vegetarian caballero against a criminal carnivore – while spoofing vintage Bollywood, Spaghetti Westerns and a hundred other things. Expect a lot of cartoonish violence, special FX and in-jokes infinitum (plus a color-palate influenced by Wisit Sasanatieng's Tears of the Black Tiger).
There are several non-Bollywood narrative features in the line-up. Of the two I previewed I'm most enthusiastic about Bombay Summer. This moody, hang-loose Indian indie chronicles the evolving friendship between three Mumbai 20-somethings – Geeta, a graphic design company exec who still lives at home, Jaider, her coddled poet boyfriend, and Madan, a drug deliveryman and photographer who comes between them. In the dark, uneven British anti-family comedy Mad, Sad & Bad, three damaged adult siblings stumble through the weeks leading up to the death of their widowed, alcoholic mother. A 17-year-old Kashmiri boy's struggle to escape his fate is at the center of Bay Area director Tariq Tapa's neo-realist feature debut Zero Bridge. The film was just recently nominated for a Gotham Award for Best Film Not Playing at a Theater Near You. The directors for all three of these films are expected to attend.
3rd i can be counted on to present some terrific documentaries, and this year is no exception. While I haven't previewed it, closing night film Yes Madam, Sir appears to be one not to miss. The film is about Kiran Bedi, India's first elite policewoman, and Variety's Richard Kuipers calls it "an enthralling chronicle of her brilliant, tempestuous career" in a full-on rave review. Both Kiran Bedi and the film's director, Megan Doneman, are scheduled to attend. Of the three docs I've seen, I most strongly recommend Opening Night film Supermen of Malegaon, a charming story of cinema-obsessed textile mill workers making their own inspired version of Superman. Anyone who was blown away by Manufactured Landscapes' unearthly images of Bangladesh's "ship-breaking" industry will want check out Ironeaters, a sobering, multi-angled look at a back-breaking business that feeds an estimated three million Bangladeshis. The contradictory disconnect between "Kama Sutra India" and "no public kissing India" is the fascinating subject of Kaushik Mukherjee's brave documentary Love in India. Other docs in the fest include Warrior Boys (South Asian gangs in Vancouver), Searching for Sandeep (Australian lesbian finds romance on-line) and Children of the Pyre (kids living off Varanasi's cremation industry).
Opportunities to see new Taiwanese films in the Bay Area have been sparse lately. In 2008 and 2009 combined, the SF International Film Festival screened only three, and more tellingly, the SF Asian American Film Festival showed none at all. Is it because the country's three best known filmmakers (Ang Lee, Tsai Ming-liang, Hou Hsiou-hsien) are choosing to work abroad? Or are the films too culturally specific to travel well? Or have recent Taiwan films simply not been very good? Fortunately, the SF Film Society attempts to fill in some gaps with Taiwan Film Days, a three-day showcase of seven recent (2007-2009) films screening this weekend at Landmark's Opera Plaza Cinema. Based on reviews I've read, the clear winner appears to be the opening night film Cape No. 7, a spirited epic about a cache of WWII unrequited love letters and the formation of an unlikely rock band. The film obviously struck a chord, as it became Taiwan's all-time box office champ and the country's Oscar submission for last year. Speaking of Oscars, we'll also get to see Taiwan's submission for this year, No Puedo Vivir Sin Ti (the only film in the series not being screened in 35mm). Other films include Beyond the Arctic, God Man Dog, Somewhere I have Never Traveled, What on Earth Have I Done Wrong and Yang Yang.
(Whether by accident or design, the Yerba Buena Center for the Arts is showing a brand new 35mm print of Hou Hsiou-hsien's 1989 masterpiece A City of Sadness on Thursday evening and Sunday afternoon. The film follows one Taiwanese family over four years, from the withdrawal of Japanese troops in 1945 to the island's secession from mainland China in 1949.)
Like many people, I had mixed emotions when word got around that our Latino Film Festival was no more. While it was distressing to think of not having a Bay Area festival focused on Latino cinema, the old festival had become too unwieldy (17 days and 15 venues in 2008), with lackluster programming and careless exhibition practices. The hope was that something better might take its place, which appears to be exactly what's happened. Last week a new organization comprised of former Latino Film Festival volunteers and contractors calling themselves Cine+Más, announced details of a new San Francisco Latino Film Festival. The fest kicks off this Thursday night with a Clay Theater screening of Spoken Word, the first film in seven years from director Victor Nuñez (Ruby in Paradise, Ulee's Gold). That'll be followed by three days of screenings at the Mission Cultural Center. I don't dare look at the line-up, given prior commitments to 3rd i and Taiwan Film Days. But the following week the festival takes command of two screens at Landmark's Lumiere Theater for 20 shows over two days (Friday, Nov. 13 and Saturday, Nov. 14). The line-up looks promising and includes two films I'm dying to see – Berlin Silver Bear winner Gigante from Uruguay, and an acclaimed Mexican film that's traveled the fest circuit over the past year, I'm Going to Explode. Other highlights include two films we saw on the SF Film Society's Kabuki Screen earlier this year, The Pope's Toilet and Lake Tahoe, as well as a repeat of Nuñez' Spoken Word. I hope people get out and support these folks in this new endeavor!
(Former Latino Film Festival director Sylvia Perel is also presenting a three-day film festival in Redwood City this weekend. If I lived in Redwood City, I wouldn't miss Calle 13: Sin Mapa, a documentary about everyone's favorite potty-mouthed Puerto Rican hip-hop/reggaetón group that's been tagged "a very long wait" on my Netflix queue ever since its July release.)
But wait, there's still more! The American Indian Film Festival rolls out its 34th edition with six days at Landmark's Embarcadero Cinema (Nov. 6 to 11), followed by three days at the Palace of Fine Arts (Nov. 12 to 14). Among its offerings are an already sold-out screening of Peter Bratt's La Mission (the film which opened this year's SF International Film Festival) and Jim Thorpe, The World's Greatest Athlete, which just had its West coast premiere at Mill Valley. The Pacific Film Archive hosts a four-film New Spanish Cinema series this weekend. The film I regret missing most is Camino, a study of religious extremism and its effect upon 11-year-old girl with cancer. The film recently won six Goya Awards (Spain's Oscar), including nods for Best Film, Director, Screenplay and Actress.
And finally, taking a peek beyond the immediate horizon, there's the upcoming SF Film Society's 4th SF International Animation Festival (Nov. 11 to 16) featuring the local premiere of Wes Anderson's Fantastic Mr. Fox; and Italian Cinema Now (Nov. 15 to 22) honoring director Marco Risi and boasting the local premier of Marco Bellocchio's acclaimed new film, Vincere. Lee Neighborhood Theater's 3rd Annual Chinese American Film Festival (Nov. 12 to 19) returns to the 4-Star Theater with eight films, including John Woo's Red Cliff II. Then on Sunday, Nov. 15 I'll be spending the afternoon and evening in the company of a favorite American actor, as the SFMOMA and Castro Theater co-present Erased James Franco. This four-part event concludes with video artist Carter's new work starring Franco, preceded by the two films which influenced it, Todd Haynes Safe and John Frankenheimer's Seconds. Plus as a special treat, SFMOMA will screen several episodes of the TV show Freaks and Geeks, handpicked and introduced by Franco.
The 13th Arab Film Festival (AFF) kicks off Thursday night, October 15 and continues through Sunday, October 25 in San Francisco (Castro, Opera Plaza), San Jose (Camera 12 Cinemas) and Berkeley (Shattuck Cinemas). This year's line-up of films from the Arabic-speaking world seems typically strong, with an emphasis on gritty street tales from Cairo, films relating to the Palestinian issue and women's rights – and surprisingly (or perhaps not), four narrative features and docs of LGBT interest.
It's unfortunate that AFF has to compete against the Mill Valley Film Festival and SF Docfest in what's become an overstuffed fall festival jam-up – there looks to be some promising films here. AFF outreach to on-line press didn't appear to happen this year, so unlike years past, I wasn't able to preview anything. In the informational capsules below, I apologize in advance for errors, and for a heavy reliance on Variety. As often as not, it's the only available English language resource for news and opinion on these films.
Pomegranates and Myrrh (Palestine, dir. Najwa Najjar) This year's Opening Night film is a Ramallah-set drama about a Palestinian-Christian folk dancer who marries an olive farmer. When the Israeli government confiscates his family's land and he goes to jail on trumped-up charges of assaulting an Israeli soldier, his new bride is left to deal with the aftermath while fending off the advances of a tempting Lebanese choreographer (Ali Suliman, who starred in Paradise Now and was Hiam Abbas' seductive lawyer in The Lemon Tree). And speaking of Abbas (The Visitor), she's said to have a movie-stealing supporting role here as a no-nonsense café owner. Check out John Anderson's rave review in Variety.
Help (Lebanon, dir. Marc Abi Rached) Also on board for Opening Night at the Castro is a late night (10:30pm) screening of this controversial film about a homeless teenage boy who befriends a prostitute – one who's being threatened by mobsters and lives with a gay man. In an unprecedented move, the film was banned in Lebanon after initially being approved by censors. The official reason was nudity and tough subject matter, but more plausibly it's because the film's star, Joanna Andraos, is the daughter of a prominent Lebanese parliament member who is up for re-election. Lebanese films have been among the most vital and challenging works at recent AFFs. Perhaps this is another one.
Basra (Egypt, dir. Ahmed Rashwan) In Yousry Nasrallah's astounding 1999 film The City (AFF2001), actor Bassem Samra (The Yacoubian Building's straight trade) played a Cairo accountant who moved to France to become an actor. 10 years later in Basra, Samra stars as a photojournalist departing France for Egypt at the start of the Iraq War, going through an existential life crisis that intensifies as Baghdad is captured and an Al Jazeera reporter is killed by US bombs. In addition to being the name of Iraq's second largest city, "basra" means "snap" in Egyptian Arabic; employed in card games when two players have the same card, or when two people think the same thing or say the same word.
Demons of Cairo (Egypt, dir. Ahmed Atef) Bassem Samra also stars in this grim Cairo tale in which a gang of street urchins are overlorded by a pregnant drug dealer. Samra plays a former kingpin whose release from jail sets off a turf war. In his very mixed Variety review, Jay Weissberg criticizes the film's "over-the-top gore" and "over ambitious narrative." The film's Arabic title, Al Ghaba translates as The Jungle.
Casanegra (Morocco, dir. Nour-Eddine Lakhmari) Casanegra is the pejorative nickname given to Casablanca by its underclasses. It's also the name of this neo-film noir that's become a smash hit on home turf and has been selected as Morocco's submission for this year's Best Foreign Language Film Oscar. Fed up with their dead-end lives, two smalltime crooks/childhood friends take on the classic "one last job" for a big gangster in order to earn money to immigrate to Sweden. According the Jay Weissberg's rave review in Variety, the film is brimming with social critique and its dialogue has become the country's latest street lingo. He goes on to make comparisons with Martin Scorcese and Anthony Mann, and calls the performances by its two non-professional lead actors, "career-making." I'll be disappointed to miss this at the AFF, but will keep my fingers crossed it shows up at Palm Springs in January.
Laila's Birthday (Palestine, dir. Rachid Mashrawi) This wry satire about the daily frustrations of life in Ramallah is the one AFF film I've already seen, having caught a screening at this year's SF International Film Festival. It's one I recommend, particularly for the lead performance of veteran actor Mohammed Bakri as a former judge turned taxi driver who's just trying to get through the day (and make it home with a cake and present for his daughter Laila). The film is structured as a series of vignettes, each involving a different taxi passenger with their own particular issue. At the SFIFF, Laila's Birthday was shown as a digital projection, which did the film no favors. I'd be curious to learn if AFF screens a 35mm print. Alissa Simon's positive Variety review is worth a read.
The Beirut Apartment (Lebanon/Italy, dir. Daniele Salaris) Not Quite the Taliban (Belgium/Jordan, dir. Fadi Hindash) In the first part of this LGBT-themed docu-double bill, Italian filmmaker Salaris rents a tucked away Beirut apartment in which to film. Lebanese Queers from all walks of life come there to safely and confidently share their stories and feelings on subjects like sexuality, religion, endless war and politics. The second film takes a look at the hypocritical, hidden nature of contemporary homosexuality in the Arab world, with the director promising to "explode some of our own myths from the inside."
Garbage Dreams (Egypt, dir. Mai Iskandar) Zaballeens (Arabic for "garbage people") are a 60,000 strong Coptic Christian community which collects and recycles 80 percent of Cairo's garbage – 13,000 tons a day in a city of 18 million people with no municipal garbage collection system. Now Cairo is starting to hire foreign multi-national waste-hauling firms to handle the problem, and the Zaballeen's means of existence is threatened. This documentary was shot over four years and follows three Zaballeen boys as they come to terms with the transition. World-premiering at this year's SXSW, Garbage Dreamsdrew acclaim for its cinematography and even-handed portrait of a complicated issue.
Heat Harara (Morocco/Netherlands, dir. Lodewijk Crijns Two 20-year-old women, one Dutch and one Dutch/Moroccan, take their car to Morocco to buy furnishings for their new henna/nail salon. After a suspiciously calculated car crash, a series of events will lead them to consider smuggling a gay Moroccan back to Holland to rejoin his boyfriend. I couldn't find any English language reviews of this made-for-Dutch TV movie, but it sounds intriguing.
Fawzeya's Secret Recipe (Egypt, dir. Magdy Ahmed Ali) Egyptian star Ilham Shaheen won a Best Actress prize at last year's Abu Dhabi Film Festival for this populist melodrama set in the slums of Cairo. Her titular character is bawdy, self-reliant, optimistic, on her fifth husband and a rock of tenacity for her family and neighbors. In his generally favorable Variety review, Jay Weissberg praises Ali as a director who "embraces sensitive pro-feminist topics in a mainstream way" and "celebrates female independence while slyly condemning government corruption." On the award-winning lead performance he states that Shaheen "gives Fawzeya her all in a grandstanding perf that's in keeping with the pic's generally high-pitched style."
Salt of This Sea (Palestine, dir. Annemarie Jacir) The AFF sponsored a sold-out benefit screening of this in Berkeley last spring, which is probably why it's only being shown in San Jose during the festival. In this feature directorial debut, a young Brooklyn-born Palestinian woman (spoken word artist Suheir Hammad) travels to Israel to reclaim an uncle's money left in a frozen bank account since the 1948 Nakba. After being rebuffed by the bank, she hooks up with a waiter (Saleh Bakri, the handsome lothario from The Band's Visit), with whom she stages a bank robbery. They hit the road, stopping along the way to visit her uncle's now Israeli-occupied home in Jaffa, and the ruins of his ancestral village (the best part of the film, according to all the reviews I've read). Unfortunately, those same reviews described with movie with words like reductive, didactic, agenda-driven, un-nuanced and full of credibility-straining plot turns. Bakri, however, is repeatedly singled out for his fine performance.
Henna (UAE, dir. Saleh Karama) In this rare narrative feature from the United Arab Emirate of Ras Al Khaimah, the theme of rapidly encroaching development is explored through the eyes of an 8-year-old fishing village girl whose parents have divorced. In his decidedly mixed review in Variety, Jay Weissberg says that while the film "just about works as a glimpse into an unfamiliar culture," "the execution lacks any vitality, subsuming the message under stolid filmmaking," and the "mediocre digital quality and flat lighting, coupled with uninspired dialogue, hinder involvement."
Niloofar (France/Iran/Lebanon, dir. Sabine El Gemayel) The AFF traditionally does not show films from Iran. This year, however, there's one set in an Iranian community within the borders of Iraq (although it was filmed in Iran in the Persian language). In this first feature from film editor El Gemayel (The Olive Harvest SFIFF2003), a 13-year-old girl is promised in marriage the day she becomes a woman. Managing to hide her menstruations for two years while being clandestinely home-schooled, she executes an escape with the help of an uncle. A step-brother is sent to track her down and save the family's honor. In his mixed Variety review, Robert Koehler finds the material "intrinsically fascinating," but "the determinedly paint-by-numbers filmmaking style and dramatization make for dull stuff on screen."
Since posting my initial overview of this year's Mill Valley Film Festival line-up, the programmers have added an Opening Night screening of John Hillcot's The Road. Based on Cormac McCarthy's Pulitzer Prize-winning novel, the film stars Viggo Mortensen as a father leading his son across a post-apocalyptic America. The festival kicks off tonight, and here are some capsules of what I've had the chance to preview.
Hipsters (Russia dir. Valery Todorovsky) I never expected that my favorite film of the fest would be a splashy, wide-screen Russian musical set in 1955 Moscow, but there you go. Hipsters recounts the phenomenon of stilyagi, the name given to Russian youth who rebelled against gray Soviet monoculture by emulating jazz music and fashion from the west. The film follows the transformation of Mels, a stodgy young communist whom love converts into pompadoured, sax-playing free spirit. Full of romance, comedy, bright costumes and cleverly choreographed production numbers – each done in a different musical style with engaging lyrics – Hipsters is clearly an exaggerated, romanticized version of post-Stalinist Russia. But it's a version that doesn't totally whitewash reality. The scorned stilyagi are subject to mob attacks, and one character speaks of an aunt who was arrested because her Stalin portrait hung opposite the bathroom. I'll rarely watch a DVD screener twice, but couldn't resist with Hipsters. This should be a blast to see on the big screen with an audience.
Precious: Based on the Novel "Push" by Sapphire (US dir. Lee Daniels) Hallelujah, the hype turns out to be justified for this alternately horrifying and humorous hardknock fairytale that won audience awards at both Sundance and Toronto. Newcomer Gabourey Sidibe is unforgettable as Clarice "Precious" Jones, an illiterate, ridiculed, morbidly obese teen with a hyperactive fantasy life and the most horrible mother in the history of cinema (an unforgettable turn by comedienne Mo'Nique). About to be thrown out of school for being pregnant – for the second time, by her own father –salvation comes in the form of a caring lesbian alternative school teacher (Paula Patton). Daniels directs with compassion and freewheeling imagination, from a first-time screenplay by Geoffrey Fletcher. Daniels, Sidibe and Patton are all expected to attend the MVFF Opening Night screening. Opens in Bay Area Theaters on November 13.
An Education (UK dir. Lone Scherfig) In 1961 London, a bright schoolgirl falls under the sway of a smooth talking playboy, receiving a deliciously poignant education in life whilst jeopardizing her academic future. Scherfig's evocation of pre-Swinging Sixties UK highlife – its nightclubs, racetracks, and weekend jaunts to Paris – is terrific fun, while the performances all resonate, especially Carey Mulligan and a Brit-accented Peter Sarsgaard as the inter-generational couple. Based on a Nick Hornby script, this is by far my favorite film of Scherfig's (Italian For Beginners) and her personal appearance at the festival is reason enough to catch it there before the October 16 theatrical release.
The Maid (Chile, dir. Sebastian Silva) In this heartbreaking and hilarious social satire, Raquel is a housekeeper who's taken care of the same upper class family for 23 years. After a thwarted sense of self causes her to start acting out resentments, the confused family responds by hiring on additional help. The first two maids flee after being terrorized by Raquel. Finally, a woman with a taste for jogging and irreverence joins the household staff – and she's got Raquel's number good. Filmed almost entirely indoors with a handheld camera that reflects our heroine's entrapment, The Maid explores thorny master/servant issues without demonizing the former or martyring the latter. This Sundance Grand Jury Prize winner for World Cinema will open in Bay Area theaters on November 13.
Soundtrack For a Revolution (US dir. Bill Guttentag, Dan Sturman) This exceptional documentary traces the history of the American Civil Rights Movement via the protest songs which inspired its leaders and participants. As one interviewee states, "They could take away everything else, except our songs – which meant we kept our souls." From "We Shall Overcome" to "Wade in the Water," the film recounts how these songs came to be written and then incorporated into the movement. The directors seamlessly blend moving first-person accounts (Julian Bond, Coretta Scott King, songwriter Guy Carawan), contemporary performances of the songs (The Roots, Ritchie Havens, Wyclef Jean) and a lot of archival material I know I haven't seen elsewhere. Apart from its focus on the music, this is perhaps the most concise and affecting film I've seen on the African American struggle for civil rights, period. Co-director Guttenberg is expected to attend the festival, and a special Concert for a Revolutionfeaturing The Blind Boys of Alabama (who perform in the film) will take place after the Oct. 16 screening.
Dark and Stormy Night (US, dir. Larry Blamire) I approached this one with trepidation, not having liked Blamire's vintage sci-fi parodies (The Lost Skelton of Cadavra, Trail of the Screaming Forehead). Here he takes on the Haunted House genre, and comes up with a spoof that's ambitious, reverent and often enough, completely nuts. All the tropes show up – the reading of a will, secret panels, an escaped maniac from the local asylum, ancestral portraits with roving eyeballs, expository monologues – everything but the sour-faced female caretaker. Blamire expertly lifts all this from such films as The Cat and the Canary, The Dark Old House and the spooky comedies of The Bowery Boys, Abbott and Costello and the Three Stooges. Not all of the two dozen stock characters work equally well, but I happily found my least favorites getting bumped off early in the proceedings. Among the ones who fortunately live through the night are a pair of bickering guy/gal reporters straight out of His Girl Friday, and a turbaned, Andrea Martin-channeling medium.
Shameless (Czech Republic, dir. Jan Hrebejk) In this droll, melancholic little film about the foibles of adult relationships, TV weatherman Oskar gets the heave-ho when his wife discovers he's screwing their Hungarian au pair. After losing his job, he begins a new career driving drunks home from bars, which is how he meets his new love, an older celebrated Czech songstress. Meanwhile, his ex-wife meets a blue collar single dad who loves her big nose, and the two have sex for the first time in her ex-husband's childhood bedroom. Slight, piquant, and oddly satisfying, Shameless has a low key charm that could use some of the edginess that underscored Hrebejk's earlier works like Up and Down and Beauty in Trouble.
Hellsinki (Finland dir. Aleksi Mäkelä) Booze was illegal in 1960s Finland, giving rise to a bootlegger underground in the depressed Helsinki neighborhood of Rööperi. This solid, but unremarkable genre yarn follows the fates of three small time gangsters through a decade and a half's worth of up-and-downward mobility. When alcohol starts being sold legally in 1969, more nefarious career options arise for the trio. Krisu (Peter Franzen) takes his thuggery to Sweden and returns home a junkie, while momma's boy Kari intentionally screws up a bank robbery to regain the sanctuary of prison life. Meanwhile, troubled hothead Tom gets married and makes a fortune in the burgeoning mail-order porn biz. The film has been tagged a Finnish Goodfellas, which is in many ways an apt comparison. Actor Peter Franzen is expected to attend the festival.
Superstar (Iran, dir. Tamineh Milani) An insufferably arrogant and bellyaching movie star has his life changed when an impudent, self-righteous – oops, I mean spunky, precocious young girl shows up and claims to be his long lost daughter from a forgotten affair. This is so not my thing. I'd had all I could stand 20 minutes before reaching the end, which I understand contains some sort of twist. Milani is said to be one of Iran's top directors and this sentimental melodrama made gobs of rials for the country's cinemas. Recommended for those with a curiosity about mainstream Iranian crowd pleasers.
One year after the smash success of its inaugural French Cinema Now (FCN), the SF Film Society has announced the line-up for its anticipated 2009 follow-up fest. This year's expanded program includes 11 new films and one revival, mostly culled from the Berlin Film Festival and Cannes' Directors Fortnight sidebar. It's an impressive roster – there are seven films I've been jonesing to see, plus four others which look plenty promising. Nothing has the marquee value of last year's Palme d'Or winner The Class, or all-star ensembler A Christmas Tale, but that's AOK. With the possible exception of the latest Claude Chabrol joint, none of these 11 films are what I'd call sure bets for theatrical distribution – exactly the stuff I want to see at a festival. Here's a brief rundown of what to expect from Oct. 30 to Nov. 4 at Landmark's Clay Theater.
I'd like to say that my #1 object of desire in this year's FCN is some tony art film, but alas, it's comedy OSS 117: Lost in Rio that's got me most riled. I got the biggest kick out of 2006's OSS 117: Cairo, Nest of Spies, featuring Jean Dujardin as the vain, meathead-ed, culturally clueless secret agent Hubert Bonisseur de la Bath. I loved all the inane hijinks and sparkling 1950's art direction, and am counting on more of the same in this Rio-set sequel. An added bonus: director Michel Hazanavicius is expected to attend the film's sole FCN screening on Saturday, October 31.
Another comedy I'm looking forward to is Alain Guiraudie's The King of Escape. This one caught my eye because it stars Hafsia Herzi, the fiery young actress who wowed us in The Secret of the Grain (SFIFF51) and French Girl (SFIFF52). Here she plays a 16-year-old country teen who romantically pursues a dumpy, middle-aged gay tractor salesman – much to his surprise – and her family's extreme consternation. This got some terrific reviews when it screened in Directors Fortnight. Writer/director Guiraudie will be in town for the film's two screenings.
On a more serious note, conflict between a seemingly benevolent French-Arab factory owner and his Muslim employees is at the center of actor/writer/director Rabah Ameur-Zaimeche's Adhen. His first two features, Wesh Wesh (2001) and Bled Number One (2006) were both shown at our 2006 Arab Film Festival. I expected Adhen to show up in this year's AFF (Oct. 15 to 18 in SF, Oct. 23 to 25 in Berkeley), but am just as happy to see it as part of FCN. This is probably the "oldest" of FCN's 11 new films, having premiered in Directors Fortnight in 2008.
Last month's headlines concerning French police raiding and bulldozing immigrant camps in Calais directly relates to another FCN selection, Philippe Lioret's Welcome. Vincent Lindon (La moustache, Friday Night) portrays a swimming instructor with a wrecked marriage who wrestles with helping a 17-year-old Kurdish Iraqi refugee – one determined to swim across the English Channel from Calais to Great Britain. This is one of three FCN offerings which world-premiered at Berlin.
As with last year's FCN, there's one documentary in the 2009 mix, Thorn in the Heart by Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep). Combining home movies, interviews and a bit of animation, Gondry's film is a portrait of his Aunt Suzette, a rural schoolteacher for 35 years. Her titular thorn is a troubled relationship with gay slacker son Jean-Yves. This got wildly mixed reviews when it screened as a Special Presentation at Cannes, with many critics damning the project as too personal and of interest only to actual members of la famille Gondry. Given the director's reputation and the subject matter, I plan on giving this a shot.
For this year's Closing Night, the FCN programmers have selected a formidable pairing of Benoît Jaquot's Villa Amalia and Claude Chabrol's Bellamy, both of which premiered at Berlin. The former represents director Jacquot's fifth outing with Isabelle Huppert, starring here as a respected composer/pianist who radically alters her life after discovering a lover's infidelity. All vestiges of her persona get discarded – family, friends, profession and possessions – sending her on an existential journey southward to an island off the coast of Naples. Relatedly, Huppert has made seven films with Claude Chabrol. In his 57th film Bellamy, the 79-year-old "French Hitchcock" works for the first time with screen legend Gerard Depardieu in a role written specifically for him. His titular character is modeled on Jules Maigret, the beloved French detective created by writer Georges Simenon in 1931. Bellamy is about a Parisian police commissioner who becomes involved in a murder case while vacationing in the south of France. It's said to be the director's wittiest, most accessible film in years – a perfect note on which to end the festival.
There are four FCN selections of which I was previously unaware, starting with Opening Night film The French Kissers. This teen comedy is the directorial debut of comic book writer Riad Sattouf, and is beguilingly described by Screen International's Mike Goodridge as a cross between American Pie and André Téchiné's coming-of-ager Wild Reeds. Newcomer Vincent Lacoste stars as Hervé, a 14-year-old class nerd who finds himself being pursued by the class beauty. Playing his mom is Noémie Lvovsky (the best friend in FCN 2008's Actresses), accompanied by some intriguing cameos from the likes of Emmanuelle Devos, Irene Jacob and Persepolis writer/director Marjane Satrapi. Director Sattouf is expected to attend the screening. (Interesting to note that all three filmmakers attending FNC are directors of comedies).
Another adolescent-centered film is Sylvie Verheyde's Stella. Set in 1977, it concerns an average 11-year-old who has inexplicably been admitted to a prestigious Parisian preparatory school. Hanging out in her parents working class bar has made her tops in pinball and pop music. When it comes to academics, however, she'll need the help and friendship of the class brain, a daughter of Argentine-Jewish intellectuals. This film has received critical raves all around. I'm particularly looking forward to seeing singer/songwriter Benjamin Biolay (a.k.a. Catherine Deneuve's ex-son-in-law) as Stella's father, plus Guillaume Depardieu in one of his final screen appearances (as a sympathetic bar customer).
Ex-film crtitic Axelle Ropert makes her feature directorial debut with The Wolberg Family, a dramedy in which a small town Jewish mayor struggles in vain to keep his family from unraveling. Ropert is best known for the off-beat screenplays she's written for director Serge Bozon (La France SFIFF51). Here Bozon returns the favor by taking on a pivotal acting role as Mde Wolberg's needling Bohemian brother. Making the film a total Bozon Family affair is Serge's sister Celine, who's responsible for The Wolberg Family's wide-screen cinematography. Boyd Van Hoeij waxes rhapsodic in his Directors Fortnight review in Variety.
Yet another 2009 Directors Fortnight selection is Yuki & Nina, a collaborative effort from formalist Japanese director Nobuhiro Suwa (2005's A Perfect Couple with Valeria Bruni-Tedeschi and Bruno Todeschini) and actor Hippolyte Giradot (last seen around here in A Christmas Tale and Amos Gitai's One Day You'll Understand). The two co-wrote and co-directed. Giradot also stars as the divorced father of Yuki, a desperate 10-year-old girl determined not to abandon her best friend Nina by moving to Japan with her mother. The story is told entirely from the children's POV and is said to contain elements of magic realism when the duo escape to a forest.
Last year's FCN featured three revival screenings, which represented fully one-third of the fest's line-up – French Cinema Now (and Then) if you will. There's only one vintage film this year, François Truffaut's The 400 Blows, chosen to mark the somewhat arbitrary 50th anniversary of French New Wave. It's not a terribly interesting choice, at least when compared to last year's Six in Paris omnibus and two early Arnaud Desplechin works. But it's as appropriate as anything else to mark this commemoration. As unlikely as it may seem, perhaps not everyone has seen this essential classic in 35mm.
The Mill Valley Film Festival (MVFF) announced its 2009 line-up last week, adhering to what has become a proven formula for the 32-year-old festival: Start with a dozen or so indie-ish, autumn-release prestige pics, often with stars and directors in tow. Next throw in a couple big name tributes and high profile selections from the year's fest circuit. Then round things out with a big helping of docs, shorts, live music events and largely unheralded narrative features from around the globe. There are close to 100 programs from 34 countries this year, and what follows is a picky, subjective look at a portion of what's in store from October 8 to 18.
First off, MVFF has become the Bay Area festival for movie-stargazing. This year offers the opportunity to ogle Uma Thurman (appearing at a tribute with her new film Motherhood), Clive Owen (star of the co-Opening Night film The Boys Are Back, followed the next night with a tribute and screening of 1998's Croupier) and Woody Harrelson (also getting the tribu-treatment alongside a look at his acclaimed new film The Messenger). For those who like their stars a bit more edgy and obscure, MVFF presents veteran character actor Seymour Cassel – best known for his collaborations with John Cassavetes – in conversation with iconoclastic Bay Area filmmaker Rob Nilsson. Cassel's latest film, the LeVar Burton-directed Reach For Me, screens the following night. And while we're at it, Nilsson's got a new film in the festival, too (Imbued).
The tribute which really had Bay Area cinephiles oohing and aahing, however, is sadly not to be. Iconic French new wave actress, singer and director Anna Karina recently had an accident which prevents her from attending the festival. Happily, she has issued a rain check and promises to come here next spring. Meanwhile, MVFF will still be screening Karina's first directorial effort in 30 years, Victoria (described as Some Like it Hot meets Breathless), as well as a revival of 1965's Pierrot le fou, one of seven features she made with then-husband Jean-Luc Godard.
Of all the "stars" attending MVFF32, perhaps none will be on the lips of movie-goers in the next few months more than Gabourey Sidibe, the star of co-Opening Night film Precious: Based on the Novel "Push" by Sapphire. The film, which won Sundance's Jury Prize and Audience Award back in January, just got a huge push at Toronto (where it snagged another audience prize) with newly onboard executive producers Tyler Perry and Oprah Winfrey beating the drum. Precious is the inspirational story of a derided, African-American teen who's pregnant for a second time with her father's baby. TV actress/comedienne Mo'Nique has won accolades for her portrayal of the mother-from-hell, and even Mariah Carey has been singled out for her small role as a social worker. MVFF Director of Programming Zoe Elton is predicting that Precious will go on to become this year's Slumdog Millionaire, i.e. the little film that could. Director Lee Daniels is also expected to attend the screening. (Precious opens in limited release on November 6.)
There were two British films in competition at Cannes this year (well, three if you count Jane Campion's Bright Star), and MVFF has got them both. Ken Loach's Looking For Eric is one of two Closing Night films (along with Jean-Marc Vallée's The Young Victoria), and stars ex-Manchester United soccer champ Eric Cantona as an apparitional life coach to a put-upon postman. The other is Andrea Arnold's Fish Tank, in which a council flats teen (a much lauded performance from newcomer Katie Jarvis) experiences sexual tension with her mother's new boyfriend (Hunger's Michael Fassbender). Fish Tank is Arnold's second feature, and just like its predecessor, 2006's Red Road, was the winner of Cannes' Prix du Jury. It's my second most anticipated film in the festival.
And what's first? That would be André Téchiné's The Girl on the Train, starring Émilie Dequenne (best known for her titular role in the Dardenne Brothers' Rosetta) as a young woman who falsely accuses some black and Arab youths of an anti-Semitic attack. Based on true events, the film co-stars my favorite Israeli actress Ronit Elkabetz (The Band's Visit, Late Marriage), vet actor Michel Blanc, and Catherine Deneuve, making her sixth appearance in a Téchiné film. The Girl on the Train premiered at this year's Berlin Film Festival along with another anticipated French film on the MVFF roster, François Ozon's flying baby movie, Ricky. Unfortunately, Latin America is grossly underrepresented at Mill Valley this year, a lamentable programming decision given the fact we no longer have an exclusively Latin American film festival in the Bay Area. I've scoured the line-up and come up with only one narrative feature from the region – Sebastian Silva's The Maid. Happily, this social satire about a maid becoming unhinged after 23 years of service to the same upper class Chilean family is one I've been looking forward to ever since it won the Sundance Grand Jury Prize for World Cinema.
Asian film enthusiasts will be thrilled to learn that master Hong Kong director John Woo is expected to attend the MVFF screening of his new film, Red Cliff. This two-part historical epic represents Woo's return to Chinese language films after a 15-year stint in Hollywood. It's also purported to be the most expensive film ever made in Asia, with an all-star cast that includes Tony Leung Chiu Wai and Takeshi Kaneshiro. With the aim of celebrating the 100th anniversary of Hong Kong cinema, MVFF will also be screening Johnnie To's Sparrow, which had a theatrical run at San Francisco's 4 Star Theater earlier this year. A more impressive choice might have been Red Cliff II, which has been touring festivals since January. Or even To's more recent Vengeance, starring craggy French rock n' roller Johnny Hallyday.
A last-minute addition that you won't find in the printed program is the latest from Polish maestro Andrzej Wajda. Many incorrectly assumed that 2007's Katyn, which screened at MVFF last year and was nominated for a Best Foreign Language Film Oscar, would be the 83-year-old director's last. But he turned up in Berlin this year with Sweet Rush, an older woman/younger man film-within-a-film romance that surprisingly copped the festival's boundary-pushing Alfred Bauer Prize. Kudos to the programming staff for securing this one.
As for the rest of the World Cinema section, it's mostly filled with unknown entities (to me at least), making it difficult to know quite what to spotlight here. I'm a fan of Czech director Jan Hrebejk (Up and Down, Beauty in Trouble) and am pleased to see his latest, Shameless, in the line-up. I'm also intrigued by the made-for-$500 Romanian film about two teens trapped in an Elevator. Hipsters is a splashy Russian musical about rebellious Soviet youth in 1955 Moscow, while another period piece Hellsinki, concerns young Finnish criminals in the 1960s/1970s. The clip from Israel's Surrogate shown at the MVFF press conference made it look pretty darn sexy. Jermal is an Indonesian father/son drama set on a remote deep-sea fishing depot. A film about a narcissistic, egomaniacal movie star would seem to be an unlikely entry from Iran, but nonetheless we have Tahmineh Milani's Superstar. In addition there are a couple films each from India, South Africa, Australia, Denmark and Sweden that look promising. Finally, anyone planning to wait until the marvelous An Education opens in theaters on October 16 should know that director Lone Scherfig (Italian for Beginners, Wilbur Wants to Kill Himself) will be attending that film's MVFF screening.
I've touched on a handful of the fest's U.S. narrative features and here are a few more worth considering. First off, director Jason Reitman (Thank You for Smoking, Juno) will receive a tribute accompanied by his recent Telluride/Toronto triumph Up in the Air, starring George Clooney. Miguel Arteta (Chuck & Buck) directs his first feature in seven years, Youth in Revolt, with Michael Cera as a dull teen with a seriously rebellious alter ego. I'm not sure which of these two films has the more intriguing cast – Mitchell Lichtenstein's Happy Tears with Parker Posey, Demi Moore, Rip Torn and Ellen Barkin, or Rebecca Miller's The Private Lives of Pippa Lee with Keanu Reeves, Alan Arkin, Robin Wright Penn and Maria Bello. Admirers of Larry Blamire's affectionate 1950s sci-fi spoofs The Lost Skelton of Cadavra and its sequel The Lost Skelton Returns Again, surely won't want to miss his parody of 1930's "old dark house" movies, Dark and Stormy Night.
Amongst the two dozen non-fiction features in the festival's Valley of the Docs section, perhaps none will draw more attention than Rick Goldsmith and Judy Ehrlich's The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers. Ellsberg himself is scheduled to attend both MVFF screenings. Traditionally the fest brings us several fascinating music documentaries and this year they've come up with Meredith Monk – Inner Voice and Soundtrack For a Revolution, which explores the music that accompanied the American Civil Rights Movement. The Blind Boys of Alabama are expected to perform live at the October 10 screening of the latter film. And finally, the Bay Area's own counter-cultural cheerleader and ice cream flavor gets the bio-doc treatment in Michelle Esrick's Saint Misbehavin': The Wavy Gravy Movie.
While the rest of the world was discovering tony Australian arthouse fare like Peter Weir's The Last Wave and Bruce Beresford's Breaker Morant, a radically alternate cinema was being ground out for the Aussie masses. These other films reveled in nationalistic bad manners, sex, nudity, motorcycle gangs, nature gone berserk, kung-fu and car crashes. Essentially unknown to every Yank except Quentin Tarantino, this forgotten netherworld of 1970s/1980s OZploitation films is now the subject of Mark Hartley's rollicking new documentary Not Quite Hollywood.
At the dawn of the 1970s there wasn't even an Australian film industry to speak of. Then a sudden relaxation of censorship laws and an influx of government production money unleashed a 15-year flood of genre cheapies. Hartley partitions his overview of this delirious era into three chapters, starting with "Ockers, Knockers, Pubes and Tubes." These were satiric sex comedies featuring male and female frontal nudity flavored with a uniquely Australian crassness. Unsurprisingly, several of them starred the fictional Barry Humphries personages of Dame Edna Everage and Barry McKenzie. In the "Comatose Killers and Outback Chillers" segment we meet up with all manner of parapsychological and supernatural mayhem, from the catatonic telekinesis of Patrick to the 25-foot crocodile of Dark Age. Finally, "High Octane Disasters and Kung Fu Masters" includes the best known of these films outside Australia –the dystopian Mad Max series (and its not so well known "Mad Max-on-bicycles" cousin, BMX Bandits, starring a 15-year-old Nicole Kidman).
In keeping with the tenor of these films, Hartley's doc gallops by at a breakneck pace – to occasionally mind-numbing effect. Eye-popping graphics and more clips than you could hope for alternate with nearly 100 talking heads. Most of these are directors, producers, actors, film critics and stuntmen unfamiliar to U.S. audiences. There are a few recognizable faces though, and boy do they have some crazy tales to tell. Dennis Hopper recalls being so boozed and coked-up during the shoot of Mad Dog Morgan, he was pronounced legally dead. And ex-James Bond George Lazenby conveniently forgets punching out the director of The Man From Hong Kongafter his blazing stunt jacket refused to come off.
The main interviewee and de facto tour guide of Not Quite Hollywood, however, is Quentin Tarantino – lots and lots of Quentin Tarantino. So much so that it might be a deal-breaker for full-on QT Haters. But with his extensive knowledge, outrageous pronouncements ("Aussies shoot cars with this fetishistic lens that just makes you want to jerk off") and rabid enthusiasm, his ample screen time is deserved. In fact, were it not for Tarantino, this film would probably never have been made. In a recent indieWIRE interview, Hartley revealed that the exhaustive Tarantino material was filmed before anything else and then used to pitch investors.
In that same indieWIRE piece, the director states that "If anyone leaves the theater keen to add a couple more titles to their Netflix queue – then I've done my job." Mission accomplished, I'd say. My own mailbox anxiously awaits the arrival 1986's Dead End Drive-In, in which society's miscreants are herded into a drive-in theater-turned-concentration camp and forced to eat junk food and watch B-movies. If that premise sounds more utopian than dystopian, you're gonna love this documentary. Not Quite Hollywood opens Friday, August 14 at Landmark's Lumiere Theater in San Francisco and Shattuck Cinemas in Berkeley.
Here's the official trailer:
And here's an extensive YouTube playlist of Ozpolitation trailers:
The 29th San Francisco Jewish Film Festival (SFJFF) begins this Thursday, July 23 and continues through August 10 at various Bay Area venues. You'll find me at the Castro Theater much of this coming weekend, catching some of the festival's most highly-anticipated titles like Defamation, The Yes Men Fix the World and Acné. Meanwhile, here are capsule write-ups of eight films I previewed on screener, roughly in order of most favorite to least.
Zion and His Brother Director Eran Merav makes an assured feature film debut with this gritty, affecting family drama set in working-class Haifa. 14-year-old Zion both worships and despises his older brother Meir, a hot-headed miscreant who makes life miserable for their divorced mother and her older boyfriend. When tragedy erupts over mistaken identity and a stolen pair of shoes, Zion is forced to reevaluate his allegiances and life direction. The performances are first-rate, particularly the never-less-than-amazing Ronit Elkabetz (The Band's Visit, Late Marriage, Or) as the mother, and a remarkably intense Ofer Hayan, making his screen debut as the older brother. I'm still pondering the film's abrupt ending.
Yoo-Hoo, Mrs. Goldberg Chances are you've never heard of broadcasting pioneer Gertrude Berg, a writing-acting-producing powerhouse who was once the highest paid woman in America. That's an embarrassment Aviva Kempner handily sets right in this breezy, informative documentary. Debuting on radio one month after the 1929 crash, her family sit-com The Goldbergs gave comfort to Americans throughout the Great Depression and WWII, with her character Molly Goldberg yoo-hoo-ing to neighbors from across her Bronx apartment airshaft window. The program brought Jewish family life into millions of homes, and was second in popularity only to Amos and Andy. In 1949 the show made the switch to TV, which resulted in Berg winning the first ever Emmy Award for acting (she'd also win a Tony Award in 1959 for A Majority of One). Kempner's film does a winning job of profiling Berg, from her youth in the family's Catskills resort hotel, to her fierce defense of blacklisted actor and union activist Philip Loeb, the actor who played her husband Jake Goldberg. At the July 28 screening at the Castro, Kempner will receive this year's SFJFF Freedom of Expression Award. And if you want to see more of The Goldbergs, there's a separate festival program comprised of four back-to-back episodes of the TV show.
The Wedding Song (Closing Night Film) A Jewish girl and Muslim girl, best friends and both of marriageable age, are the protagonists in Karin Albou's powerful new film set in 1942 Nazi-occupied Tunis. Nour desperately wants to wed her finance Khaled, but until he finds employment they must settle for clandestine rooftop trysts arranged by her Jewish friend Myriam. Myriam, on the other hand, is being forced by her increasingly desperate mother (played by the director) into an arranged marriage with the arrogant, wealthy Jewish doctor Raoul (a reliably terrific Simon Abkarian). Meanwhile, the radio blasts anti-Semitic propaganda, Khaled gets a job helping Nazis round up Tunisian Jews and Raoul is sent to a labor camp – all of which tests the girls' loyalties and courage. With one brief exception, Albou sets her film exclusively within the claustrophobic confines of the Tunis medina, effectively mirroring her characters' constricted circumstances. She also takes pain to ensure that her male characters are not one-dimensional monsters – except for the Nazis of course. Finally, I was delighted to hear, of all things, Nina Hagen's Naturträne being used as a musical leitmotif throughout.
A History of Israeli Cinema At 210 minutes long, this documentary won't appeal to anyone with a mere casual interest in its subject matter. But if you've spent the past 10 years watching Israeli cinema develop into one of the most vital in the world (my own starting point was Amos Gitai's 1999 Kadosh), this doc will provide you with an essential, evolutionary roadmap. From early Zionist works to the "New Sensitivity Cinema" of the 60's to the art films of today, director Raphaël Nadjari skillfully demonstrates how the nation's psyche has been continually reflected in its cinema. Broken into two parts (1933-1977 and 1978-2007), the film never strays from its staid film-clips-and-talking-heads format – and that's OK. My only complaint is that the ample clips are not identified by year of release, making it somewhat difficult to envision a timeline.
I Am Von Höfler Hungarian documentarian Péter Forgács is a SFJFF regular, which culminated in his receiving last year's Freedom of Expression Award. In his singular style, he tells stories of 20th century European Jews using only narration, sound effects, photos, letters, home movies and ephemera. His remarkable subject this time out is one Tibor Von Höfler – heir to a Pécs leather tanning dynasty who was also a motorcycle enthusiast, erotic photographer, womanizer and pianist – and whose long life bore witness to the Great Depression, WWII (he was half-Jewish on his mother's side) and the rise and fall of communism. Forgács' engrossing new film pieces together a seamless biography, giving the viewer a vivid sense of time and place, customs and mores. It has been hypothesized that an 18th century relative of Von Höfler's served as the inspiration for Goethe's The Sorrows of Young Werther. In the film's only misstep, Forgács inserts clips from a dated, hippie-ish 1976 short called Werther and His Life, directed by his Balázs Béla Film Studio cohort, Janos Xantus. These clips pop-up throughout, adding incongruity and bloat to the 160-minute running time.
Lost Islands This was Israel's biggest box office hit of 2008 and it's easy to see why. It's a big, rambunctious family dramedy set in the early '80s with a catchy pop soundtrack. The first half is almost cartoonish in its depiction of family squabbles and teen antics, the latter perpetuated by a pair of unlikely twin brothers who lust after the same classmate. The film takes on emotional weight, however, after a tragic accident causes dreams to be deferred, and the First Lebanon War threatens to destabilize the family and a nation. This is no art film, but it is broad, populist filmmaking at its most enjoyable – with terrific performances, offbeat humor and a genuine love for its characters.
A Matter of Size (Centerpiece Film) Four overweight Israeli men find self acceptance in sumo wrestling. That's the unique premise of this agreeable, but strictly formulaic comedy which is unsurprisingly on track for a Hollywood remake. Due to his weight, hulking Herzl has lost his job and been 86-ed from his dieting club. Inspired by a televised sumo match at a Japanese restaurant (where he now works as a dishwasher, and whose owner is conveniently a former sumo trainer), he convinces his friends to take wrap themselves in a mawashi and start rasslin'. In the conflicted process, life lessons are learned and romance blooms for all involved. If you've enjoyed plucky British arthouse comedies of recent years (think The Full Monty, Calendar Girls, Waking Ned Devine), you'll probably like this. If not, you probably won't.
Hello Goodbye Last and least comes this strained, unconvincing farce about a non-observant Parisian gynecologist (Gerard Depardieu) and his convert wife (Fanny Ardant) starting life anew in Israel. With the deck stacked against them from the get-go (his job vanishes, their condo remains unbuilt and their shipping container falls into the Mediterranean), the film bludgeons drama and yuks out of Israeli bureaucracy, his circumcision and her infatuation with a studly, pot-smoking young Rabbi (a wasted Lior Ashkenazi). A jarringly erratic and inappropriate pop music soundtrack (Peter Bjorn and John's Young Folks plays against a praying scene at the Wailing Wall) compliments the narrative like a berserk iPod shuffle. In contrast, the SF Chronicle's Mick LaSalle found the film to be "funny," "perceptive" and "illuminating." Perhaps you will, too.
Sure to be a highlight is Saturday's Castro revival of legendary producer/star Guru Dutt's 1960 Bollywood classic Full Moon (Chaudhvin Ka Chand). Set amongst the Muslim aristocracy of early 20th century Lucknow, this lushly photographed film follows a love triangle beset with comic misunderstanding, mistaken identity and ultimate tragedy. Any disappointment I had over the film's digital, rather the 35mm presentation, has been tempered with the announcement that Dutt's son Aran will be on hand to introduce the screening. That night, 3rd i's Saturday at the Castro concludes with recent Bollywood hit My Heart Goes Hooray! (Kil Bole Hadippa!). Although this girls-just-wanna-play-cricket pic 
doesn't star Shahrukh Khan, I'm not exactly dreading 148 minutes of watching Shahid Kapoor (Rani Mukherjee in Drag King mode might be a different story). And anyone with a taste for the wildly different won't want to miss Friday's late-night Roxie screening of Quick Gun Murugun. This ambitious masala mish-mash pits a gaily-garbed vegetarian caballero against a criminal carnivore – while spoofing vintage Bollywood, Spaghetti Westerns and a hundred other things. Expect a lot of cartoonish violence, special FX and in-jokes infinitum (plus a color-palate influenced by Wisit Sasanatieng's Tears of the Black Tiger).
Indian indie chronicles the evolving friendship between three Mumbai 20-somethings – Geeta, a graphic design company exec who still lives at home, Jaider, her coddled poet boyfriend, and Madan, a drug deliveryman and photographer who comes between them. In the dark, uneven British anti-family comedy Mad, Sad & Bad, three damaged adult siblings stumble through the weeks leading up to the death of their widowed, alcoholic mother. A 17-year-old Kashmiri boy's struggle to escape his fate is at the center of Bay Area director Tariq Tapa's neo-realist feature debut Zero Bridge. The film was just recently nominated for a Gotham Award for Best Film Not Playing at a Theater Near You. The directors for all three of these films are expected to attend.
3rd i can be counted on to present some terrific documentaries, and this year is no exception. While I haven't previewed it, closing night film Yes Madam, Sir appears to be one not to miss. The film is about Kiran Bedi, India's first elite policewoman, and Variety's Richard Kuipers calls it "an enthralling chronicle of her brilliant, tempestuous career" in a full-on rave review. Both Kiran Bedi and the film's director, Megan Doneman, are scheduled to attend. Of the three docs I've seen, I most strongly recommend Opening Night film Supermen of Malegaon, a charming story of cinema-obsessed textile mill workers making their own inspired version of Superman. Anyone who was blown away by Manufactured Landscapes' unearthly images of Bangladesh's "ship-breaking" industry will want 
check out Ironeaters, a sobering, multi-angled look at a back-breaking business that feeds an estimated three million Bangladeshis. The contradictory disconnect between "Kama Sutra India" and "no public kissing India" is the fascinating subject of Kaushik Mukherjee's brave documentary Love in India. Other docs in the fest include Warrior Boys (South Asian gangs in Vancouver), Searching for Sandeep (Australian lesbian finds romance on-line) and Children of the Pyre (kids living off Varanasi's cremation industry).
hsien) are choosing to work abroad? Or are the films too culturally specific to travel well? Or have recent Taiwan films simply not been very good? Fortunately, the SF Film Society attempts to fill in some gaps with Taiwan Film Days, a three-day showcase of seven recent (2007-2009) films screening this weekend at Landmark's Opera Plaza Cinema. Based on reviews I've read, the clear winner appears to be the opening night film Cape No. 7, a spirited epic about a cache of WWII unrequited love letters and the formation of an unlikely rock band. The film obviously struck a chord, as it became Taiwan's all-time box office champ and the country's Oscar submission for last year. Speaking of Oscars, we'll also get to see Taiwan's submission for this year, No Puedo Vivir Sin Ti (the only film in the series not being screened in 35mm). Other films include Beyond the Arctic, God Man Dog, Somewhere I have Never Traveled, What on Earth Have I Done Wrong and Yang Yang.
and 15 venues in 2008), with lackluster programming and careless exhibition practices. The hope was that something better might take its place, which appears to be exactly what's happened. Last week a new organization comprised of former Latino Film Festival volunteers and contractors calling themselves Cine+Más, announced details of a new San Francisco Latino Film Festival. The fest kicks off this Thursday night with a Clay Theater screening of Spoken Word, the first film in seven years from director Victor Nuñez (Ruby in Paradise, Ulee's Gold). That'll be followed by three days of screenings at the Mission Cultural Center. I don't dare look at the line-up, given prior commitments 
to 3rd i and Taiwan Film Days. But the following week the festival takes command of two screens at Landmark's Lumiere Theater for 20 shows over two days (Friday, Nov. 13 and Saturday, Nov. 14). The line-up looks promising and includes two films I'm dying to see – Berlin Silver Bear winner Gigante from Uruguay, and an acclaimed Mexican film that's traveled the fest circuit over the past year, I'm Going to Explode. Other highlights include two films we saw on the SF Film Society's Kabuki Screen earlier this year, The Pope's Toilet and Lake Tahoe, as well as a repeat of Nuñez' Spoken Word. I hope people get out and support these folks in this new endeavor!
sold-out screening of Peter Bratt's La Mission (the film which opened this year's SF International Film Festival) and Jim Thorpe, The World's Greatest Athlete, which just had its West coast premiere at Mill Valley. The Pacific Film Archive hosts a four-film New Spanish Cinema series this weekend. The film I regret missing most is Camino, a study of religious extremism and its effect upon 11-year-old girl with cancer. The film recently won six Goya Awards (Spain's Oscar), including nods for Best Film, Director, Screenplay and Actress.
local premiere of Wes Anderson's Fantastic Mr. Fox; and Italian Cinema Now (Nov. 15 to 22) honoring director Marco Risi and boasting the local premier of Marco Bellocchio's acclaimed new film, Vincere. Lee Neighborhood Theater's 3rd Annual Chinese American Film Festival (Nov. 12 to 19) returns to the 4-Star Theater with eight films, including John Woo's Red Cliff II. Then on Sunday, Nov. 15 I'll be spending the afternoon and evening in the company of a favorite American actor, as the SFMOMA and Castro Theater co-present Erased James Franco. This four-part event concludes with video artist Carter's new work starring Franco, preceded by the two films which influenced it, Todd Haynes Safe and John Frankenheimer's Seconds. Plus as a special treat, SFMOMA will screen several episodes of the TV show Freaks and Geeks, handpicked and introduced by Franco.
