I’ve been living in Berkeley since 1967, then as an entering freshman at the University of California. I attended Cal through the Oakland Induction Center protests, People’s Park, was tear gassed on my way to class, and was among the first graduating class of CNR (Conservation of Natural Resources). In 1976, I opened The Focal Point on Ashby, and have enjoyed living in this wonderfully diverse, and at times, “quite nuts” city. I wouldn’t want to live anywhere else.
"I don't know why it took all this time to find out a ladder was fine," said a Cal/OSHER staffer. "They could have gone to Home Depot that same day and gotten one."
At the end of last year, I made a modest but achievable resolution: In 2016, I’d write about a few less documentaries (and a few more fictional features) than I’d written about in 2015. And so far, I think I’ve done pretty well: By my count, only four of the 33 films discussed this year in Big Screen Berkeley have been docs. Mission accomplished!
I don’t much care for country music – particularly what’s passed for it since ‘The Nashville Sound’ developed during the anti-rock ‘n’ roll backlash of the 1950s. Slick and overproduced (and now barely distinguishable from mainstream pop rock), country has long since lost its ability to reflect the hopes and fears of the dirt-poor white working-class that gave it life.
Three hours, eight minutes and thirty-one seconds: that’s the amount of time you’ll devote to In Jackson Heights (opening at Rialto Cinemas Elmwood on Friday, Dec. 18, the new feature from documentarian Frederick Wiseman. Is it a worthwhile investment, or is it one of the legendary director’s occasional snoozers?
By Lisa Tsering
Long time readers are familiar with my biopic rant by now. Regardless of the occasional exception (I’m still looking at you, Hannah Arendt), Seal’s First Law of Cinema states emphatically that biopics turn the lives of the most remarkable people into the most unremarkable films.
'East Side Sushi' is both a food film set in Oakland, and a story about a woman forging her own path against traditional attitudes and expectations.
Hubert Sauper, apparently, is a man of many talents. First, he spent two years building his own ultra-light aircraft, which he then flew from France to Libya (hardly a pillar of stability, even prior to the overthrow of the Gaddafi government). Then he winged his way towards an even more dangerous destination – the nascent Republic of South Sudan.
For a brief period in late 2012, it was front page news from coast to coast: on ‘Black Friday’, the biggest shopping day of the year, a white man had fired ten shots at four African-American teenagers in a Florida parking lot. Before long, of course, the story was eclipsed by other tales of America’s festering racism problem – but for a little while it was unavoidable.
It’s time once again for the San Francisco International LGBTQ Film Festival, which – in addition to screenings in Berkeley – expands its East Bay presence into Oakland this year. The festival (produced, as in years past, by Frameline) comes to both Rialto Cinemas Elmwood and Landmark Theatres Piedmont, bringing with it a wide assortment of programming – including a number of films made by local artists.
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