The San Francisco Short Film Festival will be held from Sept. 17-26, with selected films also screening in person this weekend at San Francisco’s Roxie Theater.
The film makes clear the parallels between the invisible elves and the invisible hand of the marketplace that sent the Icelandic economy into a disastrous tailspin during the 2008 financial crisis.
The painting of dubious origin attracted the attention of a wily Swiss businessman, a Russian oligarch, the CIA, and the FBI before ending up in the possession of Saudi Crown Prince Mohammed bin Salman.
‘Bring Your Own Brigade’ burns hot for its first 15 minutes before settling into a simmering broadside. Also reviewed: ‘Nine Days’ and ‘No Ordinary Man.’
Plus: ‘Mandibles,’ Quentin Dupieux’s latest contribution to the cinema of the absurd.
‘Te Llevo Conmigo’ (I Carry You with Me) is a flashback-strewn drama currently screening at Landmark’s Shattuck Cinemas.
Ritwik Ghatak’s 1962 film ‘Meghe Dhaka Tara’ is streaming via the Pacific Film Archive. Also reviewed: ‘A Crime on the Bayou,’ documenting the 1966 trial of Gary Duncan.
‘Sweetheart’ is a very satisfying comedy-drama. Also at the festival: ‘North By Current,’ a doc about a religious family’s struggles to come to terms with sex, sexuality and death.
The film festival starts today at the Roxie Theater. It runs through June 17 in person and through June 20 online.
Director Kathleen Collins, an African American poet, civil rights activist and professor, only made one feature-length film, ‘Losing Ground,’ before her untimely death at the age of 46 in 1988.
Salome Chasnoff’s ‘Code of the Freaks’ details how Tinsel Town generally forces disabled characters into one of three categories.
‘Tell Them We Were Here’ gives an overview of the Bay Area’s contemporary art scene. ‘Riders of Justice’ is a violent film, but not an immoral one.
‘About Endlessness’ is narrated by a nameless, omniscient goddess detailing some of the things she’s observed; in ‘The Fever,’ an unseen jungle creature stalks victims.
‘The Virtuoso’ is well-mounted and suspenseful despite Anthony Hopkins’ botched American accent; Glenn Close, Mila Kunis shine in ‘Four Good Days’
The often harsh realities of pandemic life balanced with a bracing shot of old-fashioned California ‘can-do’ optimism result in a prize-worthy movie. Screen it before Sunday.
A well-deserved and clear-eyed tribute to a one-of-a-kind punk rock pioneer, a journey back to the ‘video nasty’ era and an impressive debut feature with a nod to Aki Kaurismäki.