FILM It's so seldom a film of major scale and budget is made without at least some standard commercial aspirations — however misguided — that the rare exceptions seem as curious, improbable, and wonderful as unicorns. (And about as useless, any bottom-line-oriented producer might say.) We're not talking Heaven's Gate (1980), Ishtar (1987), or Battlefield EarthRead more »
So many new movies this week to choose from, film fans! Better just cancel all your plans, and also any notions you had about eating and sleeping. Read on for our takes on the latest in teen dystopia, the new Anita Hill doc, the latest Muppets caper, and part one of Lars von Trier's sex-addiction saga. AND MORE!
Last night heralded the opening of the Center for Asian American Media's CAAMFest; it runs through March 23 at the Castro Theatre, 429 Castro, SF; Great Star Theater, 636 Jackson, SF; New Parkway Theater, 474 24th St, Oakl; New People Cinema, 1746 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Sundance Kabuki Cinemas, 1881 Post, SF. For tickets (most shows $12) and complete schedule, visit www.caamedia.org. For commentary, see "The Art of Martial Arts," "Telling Tales, " and "Women With Movie Cameras."
FILM Two of the most deep-rooted national-character-defining American tropes are a) that we are a profoundly self-reliant people, and b) the Horatio Alger myth that anyone can go from "rags to riches" if they have a good heart and a tireless work ethic.Read more »
Hilla Medalia and Shosh Shlam's Web Junkie (Israel-China-US) is an eye-opening investigation into China's declared number-one threat against youth: internet addiction. The doc observes as kids are sent (often against their will) to video-game rehab — and the takeaway is that many generation-gapped parents are even more clueless about emotions than their sons.
Twenty years ago, a few filmmakers — including Dan Mirvish, Peter Baxter, and Paul Rachman — rented out a room in a Prospector Square hotel, creating the first Slamdance Film Festival.
Their motivation: "the other film festival in Park City" had perhaps lost some of its independent spirit. Over the years this "little festival that could" has continued to showcase emerging filmmakers. Some of those upstarts have achieved A-list status since their Slamdance debuts: Christopher Nolan (more on him below) and Marc Forster, for example.
Running into Chris Eyre was easily one of the most exciting moments of this year's festival. Following his 1998 Audience Award-winning debut, Smoke Signals, Eyre premiered Skins at Sundance 2002, just a few months after 9/11 — and it still ranks as one of the most memorable cinematic experiences I've ever had.
The current second-generation movement of Native/Indigenous filmmakers took the spotlight at the Sundance Film Festival's celebration of the 20th anniversary of its annual Native Forum.
The event gathered some of the most important figures from around the world to not only screen their most recent films but to share artistic works that inspired them to become filmmakers themselves. Sundance favorite Taika Waitita — a self-proclaimed "Academy Award-losing filmmaker" for his 2005 short Two Cars, One Night, he's best-known for his wonderfully quirky 2007 film Eagle vs. Shark — read a sequence from Andrei Tarkovsky's Stalker (1979), while his vampire comedy What We Do in the Shadows(co-directed with Flight of the Conchords' Jermaine Clement) enraptured Midnight Movie audiences at the 2014 festival.