I’m getting ready to cover the San Francisco International Film Festival, which opens this coming Wednesday, April 5 and running through April 19. I expect to publish my festival preview on Sunday. In the mean time:
The little British drama The Sense of an Ending, with Jim Broadbent, Harriet Walter and Charlotte Rampling, is my current top choice.
Bev Powley is very good in the agreeable comedy Carrie Pilby.
If you’re looking for an unchallenging comedy, then The Last Word, with the force of nature named Shirley MacLaine, is for you.
Kristen Stewart is excellent in Personal Shopper, a murky mess of a movie; don’t bother.
By all means, avoid the epically bad epic The Ottoman Lieutenant, so bad that it provokes unintended audience giggles and guffaws.
My DVD/Stream pick of the past two weeks has been the emotionally devastating Manchester by the Sea, which won Oscars for Casey Affleck (Best Actor) and by Kenneth Lonergan (Best Original Screenplay). Manchester by the Sea is available on DVD from Netflix and Redbox and to stream from Amazon, iTunes, Vudu, YouTube and Google Play.
On April 2 on Turner Classic Movies: The Blue Gardeniapresents a 1953 view of date rape, with lecherous Raymond Burr getting Anne Baxter likkered up into a blackout drunk with Polynesian Pearl Divers. There’s a very nice twist on the whodunit: when she wakes up, she doesn’t remember killing him, but he sure is dead. There’s even a cameo performance by Nat King Cole. Also on April 2, TCM brings us The 400 Blows, François Truffaut’s 1959 explosion into leadership of the French New Wave. The main character is modeled after Truffaut’s own teenage years. It’s a great film, and the final freeze-frame is iconic.
Burt Reynolds and Hal Needham in THE BANDIT. Photo courtesy of the San Francisco Film Society.
Writer-director Jesse Moss describes The Bandit as “a buddy movie about a buddy movie”, and he’s right. The buddies are mega-star Burt Reynoldsand his stuntman/friend/roommate Hal Needham, who directed the enormously successful Smokey and the Bandit franchise.
Needham, one of only two stuntmen with an Oscar, is arguably cinema’s greatest stunt performer and stunt coordinator. Reynolds did many of his own stunts, and we we see some hard, hard falls in The Bandit. But Burt did nothing to nothing to match Needham, whose FIRST career stunt was jumping off an airplane wing to tackle a rider off his horse. We see many instances where Needham became a LITERAL car crash test dummy.
One of The Bandit’s highlights is the Needham stunt that broke his back – jumping a car off a dock and onto a barge – and slamming into the barge a little short.
There’s rich source material here from Burt’s garage (Reynolds calls it “King Tut’s Tomb for documentarinans”), which stored tapes back to 1956.
For added color, Needham and Reynolds were epic partiers, who embraced and exemplified the Mad Men era. Needham was a vivid character and lived a helluva life. I strongly recommend Terry Gross’ Fresh Air interview with Needham.
Hal’s widow told Bay Area filmmaker Jesse Moss that Needham hated documentaries because they were boring, so Moss aimed to make a documentary that Hal would enjoy. Indeed, The Bandit opens with the sly Reynolds, in maroon leisure suit with flared pant legs, mocking his own image outrageously. And, it’s a hoot throughout.
(Moss’ first movie was at San Francisco’s Castro Theater in 1979, when his dad took him a double feature of Erroll Morris’ Gates of Heaven and Hardware Wars, a documentarian born!)
I saw The Bandit at its premiere at the San Francisco International Film Festival (SFFILM). It played on TV channel CMT, and now can be streamed on Amazon, Vudu, YouTube and Google Play.
UNDER THE SUN. Photo courtesy of the San Francisco Film Society.
There are plenty of high-profile movies at the San Francisco International Film Festival (SFIFF) this weekend, including the sci-fi satire High-Rise with Tom Hiddleston, Jason Bateman’s ofbeat family comedy The Family Fang, the John le Carré adaptation Our Kind of Traitorand an award to Aardman Animations with its co-founder Peter Lord.
But some other gems are screening under the radar. As always at SFIFF, the documentary program includes some nuggets. Here are my picks:
NUTS! – a persistently hilarious (and finally poignant) documentary about the rise and fall of a medical and radio empire – all built on goat testicle “implantation” surgery in gullible humans. Friday, April 29 and Saturday, April 30
Dead Slow Ahead – a visually stunning and an often hypnotic film, shot on a massive freighter on its voyage across vast ocean expanses with its all-Filipino crew. Friday, April 29.
Under the Sun – a searing insight into totalitarian North Korean society, all from government-approved footage that tells a different story than the wackadoodle dictatorship intended.Saturday, April 30.
NUTS!. Photo courtesy of San Francisco Film Society.
David Oyelowo and Dianne Wiest in FIVE NIGHTS IN MAINE. Photo courtesy of San Francisco Film Society
An Atlanta man (David Oyeowlo) suddenly loses his wife to an auto accident and is completely shattered by the depth and the jarring abruptness of his loss. Pushed by his sister out of his paralysis, he drives up to Maine to visit his wife’s mother (Dianne Wiest). She is a person who is generally harsh, judgemental and irritating at all times, but is more so now that her own health is failing. His experience becomes the antithesis of the comfort and support that one would expect. As she probes and spars with him, the two are each driven to their own catharsis. The end of Five Nights in Maine also comes abruptly, leaving us to reflect on the lessons learned by the leading characters and how their grief is resolved.
Five Nights in Maine uses a handheld camera and LOTS of close=ups. This was a conscious choice by first-time writer-director Maris Curran, who sought a “closing in” effect because “grief is claustrophobic”.
Dianne Wiest’s performance is an awards-worthy tour de force. Flashing fiery looks and shooting piercing remarks from an invariably rigid posture, she commands our attention every moment that she is on-screen. As we would expect, Oyewolo is outstanding, especially in the early scenes where he collapses into shock. Rosie Perez, not as sassy, but every bit as appealing as usual, is rock solid in the supporting role as the mother’s nurse. As the sister, Tenoyah Parris (Chi-Raq, Dear White People, Mad Men) gives yet another flawless performance.
I saw Five Nights in Maine at the 59th San Francisco International Film Festival (SFIFF), where Director Maris Curran, producer Carly Hugo and actor David Oyelowo appeared at the screening. Curran said she was motivated to write a story about as her own marriage was falling apart; when the ground was pulled out from under her, she created a protagonist in that situation.
Aiming for a sensual look to an emotional film, Curran was able to snare Tunisian cinematographer Sofian El Fani, fresh from his exquisite work in from Blue Is the Warmest Color, for his first American film. Budgeted for a 19-day shoot,the crew finished in only 18.
Oyewolo, happily married for 18 years, found exploring the territory of losing his wife to be very uncomfortable. for him. Five Nights in Maine was shot right after Selma, so his exhaustion from Selma helped him find this “hollowed-out” character. Oyewolo sees Five Nights in Maine as a fish out of water story – not just geographically but emotionally (a man not used to or prepared for grief). Oyewolo prefers women directors “wants to be part of stories that are emotionally challenging”.
Fortunately, Curran leavens this dark-themed story with bits of sharp humor. It’s an emotionally affecting and authentic movie. The U.S. theatrical release of Five Nights in Maine is expected in late summer or early fall 2016.
Athina Rachel Tsangari, director of CHEVALIER. Photo courtesy of San Francisco Film Society
This year’s San Francisco International Film Festival (SFIFF) includes movies from 50 women directors. Some are high-profile (by indie standards):
Academy Award-winning documentarian Barbara Kopple (Harlan County U.S.A.) brings Miss Sharon Jones!. Sure to be a festival crowd-pleaser, this doc chronicles the salty Dap Kings frontwoman and her fight against cancer.
Oscar-nominated Chris Hegedus (The War Room), with her directing partner D.A. Pennebaker, has the animal welfare doc Unlocking the Cage; and
Elyse Steinberg’s Weinerwas the top documentary hit at the most recent Sundance.
Among the foreign choices, the Must See is one of the funniest movies at the fest, the Greek comedy Chevalier from director Athina Rachel Tsangari. Obviously a keen observer of male behavior, Tsangari delivers a sly and pointed exploration of male competitiveness, with the moments of drollness and absurdity that we expect in the best of contemporary Greek cinema. This is Tsangari’s second visit to SFIFF – in 2011, she brought her hilariously offbeat Attenberg.
Other strong choices from women directors include:
NUTS! from director Penny Lane – a persistently hilarious (and finally poignant) documentary about the rise and fall of a medical and radio empire – all built on goat testicle “implantation” surgery in gullible humans.
Suite Armorcaine, the character-driven drama from French director Pascale Breton;
Five Nights in Maine, a showcase for David Oyelowo, Dianne Wiest and Rosie Perez from writer-director Maris Curran.
Here’s the complete list of women directors with entries at the 2016 San Francisco International Film Festival:
As I Open My Eyes, Leyla Bouzid, Tunisia/France/Belgium Audrie & Daisy, Bonni Cohen, Jon Shenk, USA Ayiti Mon Amour, Guetty Felin, Haiti/USA Between Us: Experimental Shorts (Rock, Clay, Sand, Straw, Wood, Something Between Us, Starfish Aorta, Winter Trees) Cameraperson, Kirsten Johnson, USA Check It, Dana Flor, Toby Oppenheimer, USA Chevalier, Athina Rachel Tsangari, Greece The Fits, Anna Rose Holmer, USA Five Nights in Maine, Maris Curran, USA Granny’s Dancing on the Table, Hanna Sköld, Sweden/Denmark haveababy, Amanda Micheli, USA The Innocents, Anne Fontaine, France/Poland Irving M. Levin Directing Award: An Afternoon with Mira Nair: Monsoon Wedding Maggie’s Plan, Rebecca Miller, USA Miss Sharon Jones!, Barbara Kopple, USA Mountain, Yaelle Kayam, Israel/Denmark National Bird, Sonia Kennebeck, USA No Home Movie, Chantal Akerman, Belgium/France NUTS!, Penny Lane, USA Operator, Logan Kibens, USA Our Kind of Traitor, Susanna White, UK The Return, Kelly Duane de la Vega, Katie Galloway, USA Shorts 1 (In Attla’s Tracks, Seide) Shorts 2 (Partners, The Send-Off) Shorts 3: Animation (Edmond, Glove) Shorts 4: New Visions (My Aleppo, False Start, Sept. – Oct. 2015, Cizre) Shorts 5: Family Films (Bunny New Girl, The Casebook of Nips & Porkington, Mother, Welcome to My Life) Shorts 6: Youth Works (Child for Sale, From My Head To Hers, I Don’t Belong Here Run, Run Away) Sonita, Rokhsareh Ghaem Maghami, Germany/Switzerland/Iran Suite Armoricaine, Pascale Breton, France Thirst, Svetla Tsotsorkova, Bulgaria Under the Gun, Stephanie Soechtig, USA Unlocking the Cage, Chris Hegedus, D.A. Pennebaker, USA The Watermelon Woman, Cheryl Dunye, USA Weiner, Josh Kriegman, Elyse Steinberg, USA Wild, Nicolette Krebitz, German
CHEVALIER. Photo courtesy of Strand Releasing and San Francisco Film Society
There are plenty of high-profile movies at the San Francisco International Film Festival (SFIFF) this weekend, including the surefire audience-pleaser Miss Sharon Jones! and an appearance by Monsoon Wedding’s Mira Nair. But some other gems are screening under the radar. Here are my picks:
The brilliant Greek comedy Chevalier is this weekend’s Must See and a contender for the festival’s funniest film. Obviously a keen observer of male behavior, from director Athina Rachel Tsangari delivers a sly and pointed exploration of male competitiveness, with the moments of drollness and absurdity that we expect in the best of contemporary Greek cinema. Chevalier screens at 8 PM on Saturday night at the Alamo Drafthouse New Mission ,and director Tsangari is expected to attend.
Dead Slow Ahead– a visually stunning and an often hypnotic film, shot on a massive freighter on its voyage across vast ocean expanses with its all-Filipino crew. Dead Slow Ahead plays the Alamo Drafthouse New Mission.on Saturday night at 9 PM.
Leaf Blower – a gentle Mexican slice-of-life comedy, with three young guys drifting though rudderless adolescence, doing what teenage males do – busting each others balls, wasting time, and achieving new heights of social awkwardness and sexual frustration. Leaf Blower screens on Sunday night at 9:45 at the Alamo Drafthouse New Mission and director Alejandro Iglesias Mendizábal is expected to attend.
Weiner – This hit from the Sundance and New Directors film festivals is an inside look at Anthony Weiner’s cringeworthy, self-immolating campaign for New York City Mayor;
Miss Sharon Jones! – Sure to be a festival crowd-pleaser, this doc chronicles the salty Dap Kings frontwoman and her fight against cancer. From Academy Award-winning documentarian Barbara Kopple (Harlan County U.S.A.);
Unlocking the Cage– an animal welfare doc from storied filmmakers Chris Hegedus (The War Room) and D.A. Pennebaker (Monterey Pop and The War Room); and
The Bandit, in the coveted slot as the festivals’ Closing Night film, documents the real life bromance between Burt Reynolds and iconic stuntman Hal Needham that led to Needham’s Smokey and the Bandit movies.
But some of the best docs in the fest are less well-known nuggets:
NUTS! – a persistently hilarious (and finally poignant) documentary about the rise and fall of a medical and radio empire – all built on goat testicle “implantation” surgery in gullible humans.
Dead Slow Ahead– a visually stunning and an often hypnotic film, shot on a massive freighter on its voyage across vast ocean expanses with its all-Filipino crew.
Under the Sun – a searing insight into totalitarian North Korean society, all from government-approved footage that tells a different story than the wackadoodle dictatorship intended.
NUTS! Photo courtesy of San Francisco Film Society
NUTS! is the persistently hilarious (and finally poignant) documentary about the rise and fall of a medical and radio empire – all built on goat testicle “implantation” surgery in gullible humans. Yes, a huckster named J.R. Brinkley really did surgically place goat testicles inside human scrota – and, more astonishingly, this actually became a craze in the 1920s. Now that’s enough of a forehead slapper, but there’s more, much more and that’s what makes NUTS! so fun. Its first screening at the San Francisco International Film Festival (SFIFF) is on April 29.
Brinkley’s story is one that leads to celebrity mega wealth and a colossal miscalculation. Improbably, Brinkley’s wild ride touched Huey Long,William Jennings Bryan, Rudolph Valentino, Buster Keaton, June Carter Cash and Wolfman Jack. There’s a radio empire, a Gubernatorial election and a dramatic, climactic trial.
Director Penny Lane tells the story with animation (different animators for each chapter, but you can’t tell) seamlessly braided together with historical still photos, movies and a final heartbreaking recording. NUTS! tells a story that is too bizarre to be true – but really happened. It makes for a most entertaining movie.
LEAF BLOWER. Photo courtesy of the San Francisco Film Society.
Leaf Blower is an amiable Mexican slice-of-life comedy. Three young guys are drifting rudderless though their adolescences, doing what teenage males do – wasting time, busting each others balls and achieving new heights of social awkwardness and sexual frustration. Its first screening at the San Francisco International Film Festival (SFIFF) is on April 24, and director Alejandro Iglesias Mendizábal is expected to attend.
In his promising first feature, director and co-writer Iglesias Mendizábal has created an entirely character-driven portrait of male teen friendship and restlessness. After all, the only real plot is whether they will find the keys that one of them dropped into a pile of leaves. But we want to keep watching these guys to see what happens to them, and it’s all pretty funny.
Ruben (Alejandro Guerrero) is too cool for school. He’s sure that he’s the only one in charge of his life – he just doesn’t know where he wants to go. So he masks his indecision and avoidance by brooding.
Lucas (Fabrizio Santini) is nervous and a little hyper, but his bossy girlfriend totally paralyzes him with dread. He’s always a day late and a peso short, the kind of guy who is stuck wearing his dirty soccer uniform to a funeral.
Emilio (Francisco Rueda) is constrained by his status as the fat kid (and I was a fat kid, so I relate). Self-isolated, he yearns to be more social, but then counterproductively comforts himself with more and more calories.
All three are sexually awakened but inept. Only Lucas has a girlfriend, and she causes him to sigh painfully every time his cellphone rings. Ruben and Emilio are so intimidated by females that they’re too scared to even borrow a rake from one.
Come to think about it, Leaf Blower is not a pure coming of age movie because its characters don’t seem to grow or change as a result of their experiences. It’s more of a “being-of-age” movie because they just are who they are. Perceptive and observational, Leaf Blower is pretty far away from the American Pie kind of teen comedy.
A scene from Mauro Herce’s DEAD SLOW AHEAD, playing at the 59th San Francisco International Film Festival, April 21 – May 5 2016.
Dead Slow Ahead is a visually stunning and an often hypnotic film, shot on the massive freighter Fair Lady on its voyage across vast ocean expanses with its all-Filipino crew. Its first screening at the San Francisco International Film Festival (SFIFF) is on April 23.
Are we in for a sea adventure? Not exactly. Our guide is first-time Director Mauro Herce. His camera observes and so do we. He doesn’t explain what we are seeing – we have to connect the dots. We see the darkened bridge, the cavernous hold and unfamiliar ship machinery. The film opens with the beeps and tones of controls on the bridge; then we mostly hear the rhythmic lapping of the waves and the random groans of the ship. The effect is mesmerizing.
There are dramatic seascapes and some seriously impressive cloud weather. The few mariners handle the machinery and attend the bulk cargo. Given the expanse of open ocean and the vastness of the huge ship, everyday tasks seem heroic.
Where does the Fair Lady go? There are some coastlines, but usually we’re beyond the sight of land. The end credits thank workers in a series of Mediterranean ports plus Odessa, Port Said, Aqaba and New Orleans. But the where is not the point of Dead Slow Ahead.
Dead Slow Ahead won a special jury prize at the Locarno International Film Festival. It’s an impressive debut for Herce – one of those films that gradually envelopes the viewer.
