Max Goldberg

Rites of passage

Three consecutive Sundays of Nathaniel Dorsky's resplendent films at the Pacific Film Archive

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Light meter

Top picks from San Francisco Cinematheque's third 'Crossroads' festival

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art@sfbg.com

FILM San Francisco Cinematheque artistic director Steve Polta balances familiar names with lesser known for the third annual "Crossroads" festival at the Victoria Theater, though Ken Jacobs' Occupy-strength Seeking the Monkey King (2011) promises to unseat the image of a mellowing old master.Read more »

How dark was my alley

Flick-packed Film Noir fest "I Wake up Dreaming" returns to the Roxie

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arts@sfbg.com

FILM The word that comes to mind when thinking of Elliot Lavine's semiannual film noir programs at the Roxie is inexhaustible. With 30 films packed into 14 days, "I Wake up Dreaming" wisely takes a pass on questions of noir's quintessence in favor of open-ended research into the mutations and paroxysms of mid-century malaise.Read more »

Into new territory

SFIFF: Sailing off the map with Patience, Found Memories, It's the Earth Not the Moon, more at San Francisco International Film Festival

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Eternal return

Three evenings of Gregory Markopoulos' visionary early films at the Pacific Film Archive

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Zero for conduct

YEAR IN FILM: Contemplating the filmmaker as teacher

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arts@sfbg.com

YEAR IN FILM American cinema lost several of its troubadours this past year: genuine independents like Robert Breer, Owen Land, Adolfas Mekas, Richard Leacock, Jordan Belson, and George Kuchar. Critical appraisal of these sui generis filmmakers tends to rest upon masterpieces and technique, but several were also influential as teachers.Read more »

Let's get lost

Skateboarding doc Dragonslayer coasts to a pretty picture of wasted youth

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FILM Dragonslayer tags along with Josh "Skreech" Sandoval, a Fullerton, Calif. skater celebrated for shredding pools and living a vagabond's life. First-time director Tristan Patterson fronts with the kind of side-winding portraiture that prizes sensory impressions instead of back-story, but whittle away Dragonslayer's loose ends and you end up with an unremarkable lost generation romance, a Bonnie and Clyde with lower stakes. Read more »

GOLDIES 2011: Paul Clipson

A keen appreciation for the interrelation between fine-grained detail and expansive volumes

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GOLDIES Whether we're talking about his verging live projections or crystalline short films, Paul Clipson makes things happen onscreen. His exploratory form of lyricism is composed for Super 8 film. That for is critical, since Clipson shoots with a well-practiced intuition for what shows up as gold in Super 8 (an increasingly rare form of presentiment). While taking great advantage of the small-gauge camera's pencil-like responsiveness to movement, Clipson works from a keen appreciation for the interrelation between fine-grained detail and expansive volumes. Read more »

Frame missing

The unorthodox visions of "Not Necessarily Noir"

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arts@sfbg.com

FILM Of all Elliot Lavine's noir programs for the Roxie, "Not Necessarily Noir" is both the toughest sell and the most creative from a curatorial perspective. There are two programs in this abbreviated "Not Necessarily Noir" run that should have built-in audiences — a slam dunk Joan Crawford double bill of Johnny Guitar (1954) and Female on the Beach (1955), and a full course of Ed Wood — but the terrifically nervous movies at the start of the series do the most to stake out its intuitive terrain.Read more »

French twists

French Cinema Now scores with standout works by reliable auteurs

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