Try explaining a Damon Packard film to someone who hasn't seen one and you will fail. The best you can achieve is a description: "It's a sequel to Logan's Run, kind of, but with a lot of 1984, clips from Dateline NBC's To Catch a Predator, and roller skaters jamming to 'Never Knew Love like This Before.'<0x2009>"
Seriously, can you even imagine what that's like? Read more »
Arcangel's Super Mario Clouds (2002) uncovers the beauty of Nintendo clouds. Go to our Pixel Vision blog this week (www.sfbg.com/blogs/pixel_vision) for an interview with Jacob Ciocci of Arcangel's sometime collaborators Paper Rad and an interview with Arcangel that discusses his recent video and performance projects, such as The Bruce Springsteen Born to Run Glockenspiel Addendum.
There's a wonderful moment during the performance of "Bye Bye Blackbird" that opens the 1964 Chet Baker set preserved on a recent Jazz Icons DVD (Chet Baker Live in '64 and '79 [Reelin in the Years]). In the midst of the squarish piano player's solo, the star trumpeter shuffles into the medium close-up frame, shucking a cigarette from his accompanist's pack. Chiseled even when sporting a stuffy sweater, Baker takes a long drag and glides back to his place on the stage. Read more »
The critic Philippa Hawker once offered an amazingly accurate and concise definition of the actor Jean-Pierre Léaud's unique performing style: "He is himself, he is his character Antoine Doinel, he is New Wave incarnate, he is the past-in-the-present, the past remembered and re-evaluated."
As Antoine Doinel in The 400 Blows (1959), perhaps the best movie François Truffaut ever made, Léaud brought to life a character so engaging and so complex that it's hard to believe a person so young he was 15 at the time Read more »
Since 1996 the Goethe-Institut's annual Berlin and Beyond Film Festival has been bringing German-language cinema from Germany, Austria, and Switzerland to the Europhiles of San Francisco. As 2008 marks the festival's 13th year which signals a transition toward maturity in many cultures it's perhaps appropriate that several offerings come from directors who have already brought their first or second films here. Read more »
The Bay Area boasts some of the most forward-thinking film programmers in the country, but even here there's often no getting around the circuitous, arbitrary workings of foreign film distribution. No matter how big a hit in its festival travels, the foreign film must dutifully wait untold months until it is dressed up by Sony Pictures Classics or released to no fanfare by a small distributor like Film Movement. Read more »
Andreas Geiger turns his camera on his hometown of Donzdorf, Germany, a tidy little village containing half-timber houses, oompah bandloving old-timers, and the hugely successful metal label Nuclear Blast. Clocking in at just under an hour, Heavy Metal in the Country does peek into the Nuclear Blast HQ where middle-aged moms carefully tape-gun mail-order packages stuffed with Eddie statues, Cannibal Corpse LPs, and T-shirts glorifying corpsepainted Norwegians Dimmu Borgir but this isn't a doc about the label. Read more »
It's a premiere night at the new Sundance Kabuki Cinemas, and publicists, requisite reporters, and lobby loiterers are looking for Robert Redford. After driving into the city from a stay in Carmel, he's here at least until he disappears down a hall or around a corner. Read more »
The Kodak Theatre is no country for old women or for young women, based on the most archetypal American movies of this awards season. A few months after a Coen brothers' bro-down brought the silencer heard 'round the world and the bowl cut seen 'round the world, Paul Thomas Anderson returns with There Will Be Blood, an even more male-dominated, United Statesishis story. Read more »