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.
This week BAMPFA is offering us a very rare opportunity to appreciate the work of Belorussian filmmaker Sergei Loznitsa, whose work always performs well at festivals.
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.
'We are the Flesh' is a disturbing and challenging film laced with sexually explicit scenes. But it's good.
Nicholas Ray's 1949 'Knock on Any Door,' screening at BAMPFA, refuses to play by the rulebook and is a better film for it.
The release of Pablo Larraín’s 'Neruda' comes at a time when accusations of treason are flying freely around the United States, lending the film a certain relevance.
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.