SFFILM

First look at the 2024 SFFILM

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Izaac Wang stars as “Chris” in writer/director Sean Wang’s DÌDI, a Focus Features release. Credit: Courtesy of Focus Features / Talking Fish Pictures LLC © 2024 All Rights Reserved.

This year’s San Francisco International Film Festival (SFFILM) opens April 24, and runs through April 28. The fest is in-person, at the Marina, the Premier Theater at One Letterman, t Vogie, the Walt Disney Family Museum, and Berkeley Art Museum and Pacific Film Archive (BAMPFA).

The menu at SFFILM includes films from 40 countries, including 12 world premieres, 8 North American premieres and 5 US premieres. Peruse the program and buy tickets at SFFILM.

Here are more special elements of this year’s SFFILM:

  • The opening night film is the the highly-buzzed-about coming age dramedy Didi. This will be only the third festival for Didi, which was a hit at both Sundance and SXSW, and which is scheduled to be released on July 26. It’s the first narrative feature from director Sean Wang, who was Oscar-nominated for his documentary short Nai Nai & Wai Po.
  • The closing night film is a hoot – Thelma, starring 93-year-old June Squibb (Oscar-nominated for Nebraska) in an action picture. Squibb plays a scammed senior who goes on a quest to recover her money from the scammers. I’ve seen it, and it’s a surefire audience-pleaser. Thelma also features indie favorite Parker Posey and the sweet final performance of Richard Roundtree (Shaft).
  • Tributes to Joan Chen and Chiwetel Ejiofor.
  • Movies starring Chen, Squibb, Roundtree, Posey, Isabelle Huppert, Colman Domingo, Ellen Burstyn, Ewan McGregor, Rhys Ifans, Lara Flynn Boyle, Lake Bell, Taylor Russell,  F. Murray Abraham, Judy Greer, Julianne Nicholson, Elias Koteas and Paul Raci,

As usual, I’ll be looking for under-the-radar gems and posting my recommendations just before the fest’s opening. My coverage will be linked on my SFFILM 2024 page.

BEING MARY TYLER MOORE: you might just make it after all

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Photo caption: BEING MARY TYLER MOORE. Courtesy of HBO.

The showbiz biodoc Being Mary Tyler Moore traces the career and life of an important trailblazer who captivated American TV audiences for decades. The ever-relatable Mary Tyler Moore pioneered the fictional single woman on TV, an important cultural moment.

While she was playing the archetypal single career woman, Moore was a wife and mother. She and husband Grant Tinker created some of the best TV ever – The Bob Newhart Show, WKRP in Cincinnati, Hill Street Blues, and St. Elsewhere – and pioneered the TV spinoff with Rhoda. It bears remembering that CBS’ Saturday evening 8-11 pm slate in the fall of 1973 was the best nightly TV lineup ever: All in the Family, M*A*S*H, The Mary Tyler Moore Show, The Bob Newhart Show and The Carol Burnett Show. 

Being Mary Tyler Moore traces the lesser known aspects of Moore’s life, including her childhood and retirement years. Of course, there’s a clip from the Mary Tyer Moore Show’s unforgettable Chuckles the Clown episode.

Incidentally, I highly recommend Joan Jett’s version of the MTM Show theme Love Is All Around, which you can find on YouTube.

Being Mary Tyler Moore is streaming on HBO, beginning May 26. I screened it for the SFFILM in April.

is in the Air.

Under the radar at SFFILM

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Photo caption: Francisco Reyes in Lorena Padilla’s MARTINEZ. Courtesy of SFFILM.

This year’s San Francisco International Film Festival (SFFILM) opens tomorrow. SFFILM presents a wide-ranging slate of films from 37 countries. Here are four under the radar recommendations. Each has a female director. Each of the three narratives is the first feature film by its director, two from Mexico and one from Turkey.

  • Martinez: In this sly portrait of a man isolated by his own routine, the titular character (Francisco Reyes of A Fantastic Woman) cannot suffer fools. That is a curse because no one can meet his standards, and he loathes every human interaction. His employer decides that forty years of Martinez is enough and decides to push him out the door. Then, a neighbor he has met only once dies, and Martinez unleashes some unexpected curiosity. The two co-workers who are his biggest irritants become more sympathetic as we – and Martinez – can see their vulnerabilities. Eventually, a life is changed. First-time director Lorena Padilla also co-wrote the docu-fable 499, a highly original contemplation of Mexico’s Original Sin of colonialism.
Merve Dizdar in Selcen Ergun’s SNOW AND THE BEAR. Courtesy of SFFILM.
  • Snow and the Bear: Asli (Merve Dizdar) is a young nurse assigned to a tiny village in the most remote mountains of northeast Turkey. She’s both compassionate and fearless, and a thoroughly modern woman plopped into a decidedly backward community. It’s brutally cold, isolated after every snowfall, and the menfolk spend the nights at noisy bonfires to ward off a human-hunting bear that they imagine lurks in the forest. The village’s blustery and selfish butcher reacts with hostility when Asli reinforces his pregnant wife’s need for bedrest. Asli finds the kindnesses proffered by the village’s animal-loving simpleton too creepy. The butcher disappears, setting up a slow-burn mystery. In her first feature, director Selcen Ergun brings us exteriors that will chill a California audience and moody, barely lit interiors – all visually captivating.
Daniela Marín Navarro in Valentina Maurel’s I HAVE ELECTRIC DREAMS. Courtesy of SFFILM.
  • I Have Electric Dreams: In this coming-of-age narrative brimming with authenticity, the spirited 16-year-old Eva (Daniela Marín Navarro) and her longsuffering mom are on each other’s very last nerve. Eva decides to go live with her father, who is decidedly not Parent of the Year material. For the first time, she gets an up-close-and-personal look at his inner demons, and an increasingly harsh immersion in human behavior. Daniela Marín Navarro’s performance in her first screen credit is incendiary, and she’s been piling up festival awards for best actress.
Penny Lane in her CONFESSIONS OF A GOOD SAMARITAN. Courtesy of SFFILM.
  • Confessions of a Good Samaritan: Documentarian Penny Lane is known for her choice of offbeat subjects (Nuts!, Hail Satan?) and her unexpected takes on the familiar (Our Nixon, Listening to Kenny G). Here, she turns her camera upon herself as she decides to donate one of her kidneys to a person that she doesn’t know and will never meet. An in-depth exploration of both kidney transplants and altruism ensues – all from the very personal perspective of a person about to go under the knife herself. Lane is a delightful subject, and she courageously shares her most intimate feelings, making Confessions of a Good Samaritan ever more engrossing.

All my SFFILM coverage, including eventual full reviews, will be linked on my SFFILM 2023 page.

First look at the 2023 SFFILM

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Photo caption: Steph Curry in Peter Nick’s STEPHEN CURRY, UNDERRATED. Courtesy of SFFILM.

This year’s San Francisco International Film Festival (SFFILM) opens this coming Tuesday, April 13, and runs through April 23. The fest is in-person, centered at the CGV San Francisco (the former AMC multiplex on Van Ness). Other venues include the Grand Lake Theatre in Oakland, the Dolby Cinema @ 1275 Market, the Castro Theatre, the Premier Theater, The Walt Disney Family Museum, and Berkeley Art Museum and Pacific Film Archive (BAMPFA).

The menu at SFFILM includes films from 37 countries from over 5,000 submissions and invitations. Peruse the program and buy tickets at SFFILM.

Here are more special elements of this year’s SFFILM:

  • The festival opens with the hometown premiere of the documentary Stephen Curry: Underrated.
  • Closing night features a major sneak of the anticipated Prime Video series I’m A Virgo from Boots Riley (Sorry to Bother You).
  • Again, SFFILM has highlighted a cross section of movies and events as Family-friendly, something that more film festivals should do. Introduce the kids to good cinema! The highlight is a free community screening of Are You There God? It’s Me, Margaret. starring Academy Award winner Kathy Bates, and Academy Award nominee Rachel McAdams

As usual, I’ll be looking for under-the-radar gems and posting my recommendations just before the fest’s opening. My coverage will be linked on my SFFILM 2023 page.

SUPERCOOL: a teen comedy familiar, until it isn’t

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A scene from Teppo Airaksinen’s film SUPERCOOL, which played at SFFILM. Photo courtesy of SFFILM.

Supercool has the familiar arc of a teen comedy – until it doesn’t. We get the high school cafeteria lunch period, the adolescent social awkwardness, the bullies and the parents-away teen house party. And then there are some unexpected sparkles.

Our protagonists, Neil (Jake Short) and Gilbert (Miles J. Harvey) have a commonplace obsession for teen boys: they aspire to get SOME sexual experience with another person. And Neil worships a girl whom he is afraid to even talk to,

There’s a funny scene (glimpsed in the trailer below) where the guys fantasize a situation where girls would be attracted to them, unaware that Neil’s parents are hearing every word.

The guys also have two misadventures that put them in hilariously uncomfortable sexual situations.

Neil has a helluva imagination and creates graphic novels that picture how he hopes to eventually woo his beloved. Fortunately, he is sweet on a girl who turns out to have an awesome sense of humor.

I must note that Supercool does contain the best-ever movie use of the (only?) Haddaway song What Is Love.

I screened Supercool for its world premiere at SFFILM in April 2021. Supercool can now be streamed from Amazon, Vudu, YouTube and redbox.

HIT THE ROAD: a funny family masks their tough choice

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Photo caption: Pantea Panahiha and Amin Simiar in HIT THE ROAD. Courtesy of Kino Lorber.

In Hit the Road, we join an Iranian family’s road trip. It’s a relatively uneventful journey through barren countryside, but it’s unforgettable because of the characters and the reason for their trip. Their motivation is more loaded than it first appears.

The 20-year old Big Brother (Amin Simiar) is driving the little four-door hatchback sedan, with Mom (Pantea Panahiha) in the front seat. Dad (Hasan Majuni) is sprawling in the middle of the back seat, his leg in a massive cast. The six-year-old Little Brother (Rayan Sarlak) is bouncing around the back. An old dog (literally on his last legs) is in the way-back.

The first thing we notice us that the little kid is very precocious and a tornado of energy, a naturally caffeinated rascal. He has no volume modulation dial, and this kid is going full blast all the time. Fortunately, he is really smart and mostly funny, and his parents have built up a tolerance, so they don’t bind and gag him (which, admittedly, briefly crossed my mind).

The second thing we notice is the banter between the mom, dad and little kid. They are sarcastic, always teasing, and hilariously deadpan. Everyone is constantly tossing off playful threats. Everyone, that is, except for Big Brother, who sits behind the wheel in stoic silence, steeped in melancholy.

That’s because he knows the real reason for the trip, which the parents have not truthfully disclosed to the kid brother. That reason is never made entirely explicit, but there’s a telling clue over halfway through.

[MILD SPOILER: Suffice it to say, sometimes parents must lose their child to save him.]

Hasan Majuni and Amin Simiar in HIT THE ROAD. Courtesy of Kino Lorber.

The acting is top-rate. Hasan Majuni is perfect as the dad, a guy you can imagine holding forth in front of the TV and bellowing, “Hey, bring me a kabob”. He is jovial and commanding, even when hobbling along on his cast. But when the dad is unwatched by anyone else, his thoughts are of what is ahead for his family – his look intensifies as it takes on loss, determination, grief and resignation.

Pantea Panahiha is just as excellent as the mom, caustically funny, but with strong emotions sometimes leaking out. She’s just trying to make sure the little kid doesn’t notice.

The Wife liked Hit the Road even more than I did. I found this especially significant since I generally enjoy both international cinema and challenging films more than she does. She particularly admired and was drawn in by the acting, especially by Majuni and Panahiha.

Rayan Sarlak in HIT THE ROAD. Courtesy of Kino Lorber.

Hit the Road is the first feature for writer-director Panah Panahi. Panahi clearly has a gift for making the most from a low budget, a tiny cast and a bleak landscape.

Hit the Road premiered at Cannes’ Directors Fortnight and then took to the festival circuit, including SFFILM 2022. It is now in theaters.

MONTANA STORY: a family secret simmers, then explodes

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Photo caption: Haley Lu Richardson (left) and Owen Teague (right) in
MONTANA STORY. Courtesy of Bleecker Street.

A family secret simmers in Montana Story until it demands to be exploded. With exceptional performances by Owen Teague and Haley Lu Richardson, this is one of the best movies of 2022 so far.

22-year-old Cal (Owen Teague), a budding civil engineer, has returned to the Montana ranch of his childhood, where his comatose father is dying. Cal is saddled with arranging his father’s home health care and winding down his bankrupt affairs – grim, draining and thankless tasks. We eventually learn that the father, now helpless and unknowing, was domineering and cruel, a cynical mouthpiece for corporate polluters who masqueraded as a gentleman rancher.

Suddenly, Cal’s 25-year-old half sister Erin (Haley Lu Richardson) erupts onto the scene. Erin is a force of nature, bossy and clearly very, very angry. Erin unhelpfully begins second guessing Cal’s decisions, and unraveling one, without contributing to solving any of the issues.

Cal hasn’t even known where Erin has been for the past seven years, since she bolted from the ranch. Why is Cal deferring to Erin’s unreasonable behavior? Why is she so furious? The answers lie in a family secret that has not been resolved.

Haley Lu Richardson shines as Erin, whose unfiltered intensity, for better or for worse, commands every scene.

Owen Teague in MONTANA STORY. Courtesy of Bleecker Street.

Richardson has the showiest role, but Owen Teague’s quiet performance is exquisite. This is a melodrama, and the performance as Cal could easily have been overwrought. Instead, he perfectly captures this dutiful and seemingly passive man, with a hidden, festering guilt. Teague has been amassing screen credits since age 13 and appeared in Bloodline; in Montana Story, he wrote and performed his character’s own musical theme.

Montana Story was written and directed by Scott McGeehee and David Siegel, the filmmakers who created What Maisie Knew and the superb Lake Tahoe thriller The Deep End with Tilda Swinton and Goran Visnjic.

McGeehee and Siegel’s cinematographer Giles Nuttgens shot both those films (along with Hell and High Water). Montana Story was shot around Livingston and Bozeman, and Nuttgens made the most of the Big Sky vistas to highlight the characters’ emotional isolation.

Montana Story played the SFFILM 2022, and opens in theaters this weekend.

STRAWBERRY MANSION: a trippy and sweet fable

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A scene from Kentucker Audley’s and Albert Birney’s film STRAWBERRY MANSION. Courtesy of SFFILM

To celebrate the 2022 SFFILM, underway, now, here’s a gem from last year’s SFFILM. The very trippy and ultimately sweet fable Strawberry Mansion is set in a future where people’s dreams are taxed. Preble (Kentucker Audley), a workaday tax auditor, is assigned to audit the dreams of an elderly artist, Bella (Penny Fuller). Preble is soon plunged into an Alice in Wonderland experience with her dreams, and his dreams, and a romance to boot.

Preble puts on a gizmo to watch the dreams pf others (and comes across an even cooler gizmo that filters dreams). He even encounters Bella’s younger self (Grace Glowicki).

Strawberry Mansion is also a sharp and funny critique of insidious commercialism. A fictional brand of fried chicken keeps showing up in the story. Hilariously, Preble becomes entangled in an endless loop of upselling at a fast food drive-thru. And Preble is constantly prodded to consume by his own diabolical dream buddy (Linas Phillips). A sinister marketing plot is revealed.

A scene from Kentucker Audley’s and Albert Birney’s film STRAWBERRY MANSION. Courtesy of SFFILM

Kentucker Audley is very good as Preble, who starts out the movie mildly annoyed and evolves into various degrees of bewilderment. Audley is one of those actors who keeps showing up in something interesting (and offbeat) like Amy Seimetz’s She Dies Tomorrow and Sun Don’t Shine, or in smaller parts in especially fine films like Her Smell and Ain’t Them Bodies Saints.

As Bella, Penny Fuller radiates a contentment that ranges from ditzy to sage. Reed Birney is especially good as Bella’s sinister son.

Audley co-wrote and co-directed Strawberry Mansion with Albert Birney. They make the most of the surreal settings within dreams, and use different color palettes for each dream; the palette for Preble’s real-life bachelor apartment is pretty surreal, too.

I screened Strawberry Mansion for the 2021 SFFILM. It’s now available to stream from Amazon, AppleTV, Vudu and YouTube and can be purchased on Blu-ray after May 17.

Top picks at SFFILM 2022

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Liu Haoran in Zhang Yi’s FIRE ON THE PLAIN. Courtesy of SFFILM.

This year’s San Francisco International Film Festival (SFFILM) has just opened and runs through May 1. The menu at SFFILM includes 130 films from 56 countries, with 16 world premieres and 10 North American or US premieres. Once again, a majority of the films were directed by female and non-binary filmmakers, and a majority of the movie in this years program have BIPOC directors. Here are my three top picks – all from international cinema.

My favorite SFFILM film so far is the character-driven neo-noir Fire on the Plain, the first film for director and co-writer Zhang Yi (Ji Zhang on IMDb). Zhang takes us to northeastern China in1997, into a gritty industrial city whose tagline could be disappointment. Most of the adults seemed paralyzed by economic hopelessness. A serial killer is knocking off taxi drivers, and everyone is on edge. Shu (Liu Haoran) hangs out with his rowdy friends; he’s headed nowhere, and he’s OK with that. Only the spirited Fei (Zhou Dongyu) has a plan to escape the gloom. It looks like the story is building toward Fei emigrating with Shu, but a surprising murder occurs. The story reconvenes in 2005, and Shu and Fei are each in totally unexpected circumstances. Visually and thematically dark, Fire on the Plain winds toward a fittingly noir ending.

Julio César Chávez and Oscar De La Hoya in Eva Longoria’s LA GUERRA CIVIL. Courtesy of SFFILM.

The think piece documentary La Guerra Civil is the feature directing debut for actress (and veteran TV director) Eva Longoria. It explores issues of identity through the rivalry between boxing champions Julio César Chávez and Oscar De La Hoya. Chávez came from an impoverished Mexican childhood to dominate boxing in the late 1980s and 1990s, breaking record after record; Chávez became especially revered by Mexicans and Mexican-Americans. Exploding from East LA into the 1992 Olympics, the handsome and media savvy Oscar De La Hoya had a similar rags-to-champion profile. One might expect Mexican-Americans to embrace De La Hoya, even as he climbed toward a face-off with Chávez . But it was much more complicated than that, and De La Hoya feels the need to verbalize that he’s “Mexican enough”.

Juliet Binoche and Vincent Lindon in Claire Denis’ BOTH SIDES OF THE BLADES (FIRE). Courtesy of SFFILM.

One of the biggest films at SFFILM is anything but a first film – Both Sides of the Blade (also known as Fire) comes from French auteur Claire Denis (35 Shots of Rum, Let the Sunshine In). Sara (the ever rapturous Juliette Binoche) has built a ten-year relationship with Jean (Vincent Lindon) that has survived his prison sentence. Sara had previously been with François (Grégoire Colin), but left him because she valued Jean’s reliability, loyalty and decency. When François shows up again in their lives, Sara is drawn to him again. With Denis, Binoche and Lindon layering in all the complexities of these characters, this is not your average romantic triangle.

Here’s the trailer for Fire on the Plain.

First look at SFFILM 2022

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Photo caption: SFFILM returns in-person to the Castro Theatre and other venues. Photo by Pamela Gentile. Courtesy of SFFILM.

This year’s San Francisco International Film Festival (SFFILM) opens April 21, and runs through May 1. The fest is IN-PERSON, which is a big deal after cancelling in 2020 and going virtual in 2021. Screening all the films at San Francisco’s Castro, Roxie, Vogue and Victoria theaters, and Berkeley’s BAMPFA, SFFILM is doubling down on its live events. Mask and proof of COVID vaccination will be required for attendees.

As always, it’s a Can’t Miss for Bay Area movie fans. The menu at SFFILM includes 130 films from 56 countries, with 16 world premieres and 10 North American or US premieres. Once again, a majority of the films were directed by female and non-binary filmmakers, and a majority of the movie in this years program have BIPOC directors.

Here are more special elements of this year’s SFFILM:

  • SFFILM honors Michelle Yeoh (the martial arts star of Crouching Tiger, Hidden Dragon, the Bond Girl in Tomorrow Never Dies, and the steely mom in Crazy Rich Asians). On April 29, Yeoh will appear for an on-stage interview by Sandra Oh. On April 25, SFFILM will present a 35mm print of Crouching Tiger, Hidden Dragon on the big screen at the Castro.
  • After last year’s fine selection of Mexican films (Son of Monarchs, Nudo Mixteco, Fauna, Dance of the 41), SFFILM offers a promising expanded Latinx program, with films from Ecuador, Argentina, Chile, Uruguay, Bolivia, Brazil, and of course, Mexico.
  • The most topical film is probably Klondike, where a mortar attack wipes out the front of a couple’s Ukrainian farmhouse. The film is set in the 2016 conflict that has since erupted into a full-scale war with the Russian invasion.
  • Again, SFFILM has highlighted a cross section of movies and events as Family-friendly, something that more film festivals should do. Introduce the kids to good cinema! Artist William Joyce will present his the Oscar®-winning The Fantastic Flying Books of Morris Lessmore and his latest creation, Mr. Spam Gets a New Hat – and will finish with a live drawing activity, welcoming audience members to draw along.

As usual, I’ll be looking for under-the-radar gems and posting my recommendations just before the fest.

The 2022 SFFILM opens April 21. Here’s the information on the program and tickets and passes. Throughout SFFILM, you can follow me on Twitter for the very latest coverage, my coverage on my 2022 SFFILM page.

Michelle Yeoh, appearing live at SFFILM. Photo (c) by William Laisne Getty Images. Courtesy of SFFILM.