'Bird on a Wire,' a concert film about Leonard Cohen, took 40 years to reach the big screen. And don't miss 'My Love Affair with the Brain' on TV.
Josh Kornbluth talks about his art, his inspirations and why he likes to present himself as a screwup. The Berkeley comic and filmmaker is at the Elmwood Rialto tonight, Monday.
Based around his monologue of the same name, Kornbluth's new film blends performance footage with recreations of our hero’s efforts to make good with both the Franchise Tax Board and his future wife.
Formerly known as the San Francisco International Asian American Film Festival, CAAMFest offers a smorgasbord of choice for cinéastes.
'Kedi' suggests that cohorts of marauding cats rule the streets of Istanbul: lean and wild, they're the ultimate bohemians, living and loving as they see fit with no apologies.
John Seal takes a look at the documentary shorts that are up for Oscars, and checks out 'Korla,' a documentary about Korla Pandit made by Berkeleyan John Wood.
This year’s Academy Award-nominated short subjects, both animated and live action, can now be seen in Berkeley.
Trump's immigration edict means Asghar Farhadi can't enter the U.S., but it may help "The Salesman" win an Oscar.
2016 has, thankfully, almost run its course, which means that it’s time for film critics coast-to-coast to compile their end-of-the-year lists. Unlike others, however, I can’t profess to know what the year’s ‘best films’ were, because I haven’t seen enough of the contenders. With time to take in only 500 or so films a year — many being older films I’m catching up on (or revisiting, such as The Battle of Algiers) — it would be an insult to my readers’ intelligence to suggest I really know what’s best.
Over the last few decades the term ‘film noir’ has been increasingly misused. Where once it represented a distinct type of story – one in which the central character finds him or herself trapped in a predicament not entirely of their own making – it’s since been applied to routine police procedurals, gothic thrillers, and any film (especially those filmed in black and white!) with a suspenseful and tricksy plot.
Wildlife documentaries used to be fun and educational diversions: while watching cute animals frolic in the wilderness, you also got to learn about the magical ‘circle of life’ that made all that frolicking possible. Well, unless it was a Werner Herzog wildlife documentary — then you got to see the food chain in action, up to and including human beings. But I digress.
Last week’s feature The Love Witch was the sort of fluffy distraction we could use right now, but alas – all I can offer you this week is an ice cold cinematic shower entitled National Bird (opening at San Francisco’s Roxie Theatre on Friday, Nov. 18th; no East Bay playdates are currently scheduled). A timely and depressing reminder of the powers soon to be vested in the man some call Cheeto Jesus and others call names that aren’t quite so nice, it’s one of the best documentaries of 2016.
In a recent Guardian interview, director Quentin Tarantino claimed he’d be retiring after completing two more films, his legacy as ‘one of the greatest filmmakers of all time’ likely assured. About the kindest thing one can say about this Trumpian piece of self-regard is that Mr. Tarantino, whose career has largely consisted of the wholesale theft of dialogue, scenarios, and music from other films (as well as depressingly liberal use of the ‘n’ word), is sadly deluded.
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