Life with Movies and Maxxxxx

3rd-I Presents: QUICK GUN MURUGUN

2009-10-30T20:22:00.000-07:00

As I have a certain penchant for the campy and psychedelic, I have been approached by the Seventh Annual 3rd I San Francisco International South Asian Film Festival to co-present QUICK GUN MURUGUN (dir. Shashanka Ghosh, India, 2009, 97 mins.). Though I am indeed flattered, I have to say, that this film pushes even MY boundaries! Within the first two minutes, our hero is killed and goes to 'heaven' to be reincarnated. Or perhaps he is just sent back to fulfill his destiny as a vegetarian cowboy and defeat the evil Rice Plate Reddy and his chain of McDosa restaurants. I'm not totally assured, as our hero leaps through time and realities in his quest for vegetarian domination!

And he does it wearing green silk!

There are, of course, songs to the spirit of his lover, who appears to be captured in a locket he wears, yet is able to join mystically at the most opportune moments. These 'moments' go beyond Ken Russell self indulgence, past music video surrealism and, basically, tread into what I can only imagine to be LSD inspired lunacy!

Now, there is a great deal of cultural and religious iconography that I don't have the background or education to follow, quite frankly. So, it was just a matter of sitting back and letting the day-glo sequences burst into song and ride along! It is in Tamil and English and the flipping between languages only adds to the surreal and alien experience. And to be quite frank, since it is screening at 1130 PM at the Roxie, I would head on in to the theater, "adjusted" for the cinematic trip to commence!

Enjoy and "Mind it!" Friday, November 6, 11:20pm, at the Roxie Theatre, 3117 16th Street, San Francisco! Advanced sale tickets HERE!

Maxxxxx says
re "Sweet, sweet eye juice!"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

Rachel Rosen RETURNS to San Francisco!!

2009-08-10T11:34:00.000-07:00

FOR IMMEDIATE RELEASE      AUGUST 10, 2009
Media Contacts:   Hilary Hart      415.561.5022    hilary@sffs.org
Bill Proctor    415.561.5024        bproctor@sffs.org
SAN FRANCISCO FILM SOCIETY NAMES
RACHEL ROSEN AS NEW DIRECTOR OF PROGRAMMING

Former Film Society Mainstay Returns to Help Lead Vastly Expanded and Enriched Organization As it Enters New Era of Growth

San Francisco, CA -- The San Francisco Film Society announces the appointment of Rachel Rosen as director of programming, effective August 10, 2009.

Photo by Jesse Grant / WireImage

"We're thrilled to welcome Rachel back to a leadership role in the organization after her extraordinarily successful tenure in Los Angeles," said Graham Leggat, SFFS executive director. "Her intelligence, flair for innovation and keen eye for exciting new work are just what we need as we enter our next phase."
Rosen returns to SFFS after an eight-year stint as director of programming of Film Independent (FIND) and the Los Angeles Film Festival. During this time she expanded the Festival to include an eclectic slate of films reflecting the diversity of film art and of the city of Los Angeles. Attendance during her term at the Festival grew exponentially, from 35,000 to over 80,000. Her impact was enthusiastically endorsed by Scott Foundas in LA Weekly, who wrote that LAFF is "our most intelligent and ambitiously programmed-indeed our most
essential-annual film event."

"Rachel's discerning eye, dazzling knowledge of film and support of independent filmmakers have been essential to the Festival's success during her years at Film Independent," said Film Independent's Executive Director Dawn Hudson. "I so appreciate Rachel's extraordinary talents and her unstinting commitment to the organization, and we wish her the best as she enters this new phase in her career."

Rosen steps in to fill the post recently vacated by Linda Blackaby, who joined the Film Society's programming department in November 2001, and left her position as director of programming on August 7, after eight years of commendable service. "One of the most respected film programmers on the international scene, Linda has played a primary role in the expansion and success of the Film Society in recent years," said Leggat. "She leaves behind many friends and admirers. We wish her all the best in her future endeavors."

Rosen dramatically increased the number and scope of international films presented at LAFF and instituted a special international sidebar that examined independent films from Argentina and China, as well as rare and lesser-known international animation, the work of Nigerian filmmaker Tunde Kelani and documentaries from Mexico's Ambulante Film Festival, among other highlights. She also brought to the Festival special programs with a live component including screenings with simultaneous commentary from cast and crew (Valley Girl, Hollywood Shuffle), silent films with live music from contemporary musicians such as Sparklehorse, J-Rocc, the RZA and the Nortec Collective, as well as a Buffy Big-Screen Interactive Extravaganza and a Swear-Along Scarface. During her tenure, LAFF featured the premieres of such films as Deliver Us from Evil, Loot, Mayor of the Sunset Strip and Rock School. Additional acquisitions from the Festival included August Evening, The Cool School and Young@Heart.

"I think what Graham and the Film Society team have accomplished in the past few years with both the San Francisco International Film Festival and year-round programming is incredibly exciting," said Rosen, "and I'm grateful to have a chance to be a part of it. I'm thrilled to be returning to an organization and a city that love great cinema."

Before joining FIND Rosen was associate director of programming at the San Francisco Film Society where she had been a film and video programmer since 1994. Rosen began her career in New York where she worked as a publicist in the film industry for five years. In 1988, she enrolled in Stanford University's prestigious documentary film program in the department of communication. While completing her thesis film, Rosen worked for the New York Film Festival as directors liaison and for SFFS in addition to working in various capacities on student and professional film productions.

In 1993, Rosen moved back to New York for a year to accept a position as programming and publicity associate at Film Forum, New York City's influential art house. Her short documentary on tornado chasers, Serious Weather, was shown at the San Francisco and Vancouver International Film Festivals and the British Short Film Festival. Rosen was born and raised in Washington, D.C. She received her Bachelor of Arts degree in comparative literature from Brown University.

During her tenure, Blackaby oversaw SFFS festivals and other public exhibitions, maintaining a high level of curatorial quality as SFFS dramatically expanded its calendar to include year-round offerings. She also provided a bridge of programmatic excellence and assisted with administrative stability during major changes in leadership. The 2009 San Francisco International Film Festival, her most recent program, received critical and audience acclaim and enjoyed record attendance. Previously, Blackaby programmed the Hamptons International Film Festival on Long Island and was founding director of the Philadelphia Festival of World Cinema. She came to the Bay Area in 1997 to advise the San Francisco International Asian American Film Festival. She is currently chair of the Princess Grace Foundation
film panel in New York City.

"Getting to know and working with the San Francisco film community has been very meaningful to me," said Blackaby. "There is so much talent and expertise here, and such passion for good cinema, that it has been particularly gratifying to have contributed to the growth of the Festival and SFFS."

"I have been considering a short sabbatical for some time," she continued. "After eight years at the San Francisco Film Society I look forward to taking a little time to travel, read and take on new challenges. I wish all of my colleagues at SFFS the best."

San Francisco Film Society is a nonprofit arts organization dedicated to celebrating film and the moving image in all its glorious forms. SFFS year-round programs and events are concentrated in four core areas: Celebrating Internationalism, Inspiring Bay Area Youth, Showcasing Bay Area Film Culture and Exploring New Digital Media. The Film Society shows the best of world cinema year-round on its SFFS Screen at the Sundance Kabuki Cinemas; presents the longest-running film festival in the Americas, the SF International (April 22-May 6, 2010); publishes a daily online magazine, SF360.org, featuring broad-ranging news and features on Bay Area film and media; annually reaches more than 8,000 students ages 6-18 with its acclaimed media literacy programs; and provides crucial support to the Bay Area filmmaking community through SFFS Filmmaker Services including FilmHouse Residencies, Fiscal Sponsorship, the SFFS/Kenneth Rainin Foundation Filmmaking Grants, the Herbert Family Filmmaking Grants, the Hearst Screening Grant, the Djerassi/SFFS Screenwriting Fellowship, SFFS Film Arts Forums and professional-level filmmaker classes.

Maxxxxx says
re Rachel Rosen: "Hello!"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

San Francisco Silent Film Festival, 2009 - Recapping the GREAT ones!

2009-07-16T12:00:00.000-07:00

The 14th Annual Silent Film Festival
July 10-12, 2009, at the Historic Castro Theater.
Of the seemingly DOZENS of film festivals that are home in the Bay Area, every summer, the San Francisco Silent Film Festival takes three short days to produce one of the finest events of the year. No, there are not any large gift bags at opening night, nor an overwhelming buffet or party, but it does produce a program listing that is worthy of being compared to any publication you might receive at the opera, and they bring in some of the worlds top film accompanying artists, historians and restoration authorities, to showcase the film in an environment as close to possible to its premiere. In some of the most extreme cases, even the original film scores have been restored and scored by the performers, or the score is improvised, as it was for the short subjects. In several cases the scores are a modern interpretation that remains remarkably true to the visual and dramatic style of the film screened. An exceptional minority of the audience even take the effort to dress for the period through out the weekend. The visiting authors and historians are available in the mezzanine lobby after the screenings for signings and in depth Q&As that may not have been answered during their unusually thorough introductions to the films. One top of all that, the fest is probably one of the best values in the area for only $140 for an all access pass, featuring the 12 performances. Just to hear the musicians themselves for a weekend, is worth twice that!

Anyway, moving on to a selection of those mind blowing moments when the live, the image and the ghosts all congregated for a magical few hours.

THE WIND (dir. Victor Sjostrom, USA, 1928, 110 mins.) Ironically, THE WIND would appear to have been so many decades ahead of its time in style and story, that this visual and sonic freudian nightmare was a financial flop when released after the sound recorded variety act of THE JAZZ SINGER, which premiered earlier in the year. Lillian Gish's performance of impending dread, which turns to outright terror, is well measured and paced, as well as being transparent to technique. It is a marvel to observe, considering the physical circumstances of performing into jet propelled sand storms, which she had stated was her most physically demanding role. Director Sjostrom's pacing of the unraveling of her mind, as she is faced with the aspect of living in the isolated, dry plains of Texas, with her (overly affectionate) brother, her hardened and jealous sister-in-law, their children and a pair of lonely male settlers. There is also the periodic reappearance of a traveling salesman, who provokes each level of her disintegration.

Leonard Maltin presented the film with some historical background as to the financial impact it had on Warner Brothers and the place that Lillian Gish held at the time in the profession. However, due to the financial failure of the film, it would be Gish's last film with Warners and she would return to the stage for the majority of her career, as would director Sjostrom. Maltin also introduced the fabulous Dennis James, aka My Wurlitzer Daddy! Ever since hearing him accompany FOUR HORSEMEN OF THE APOCALYPSE a dozen years ago, I have deified the man! He is a MONSTER on the instrument! He was aided by a pair of wind machines, one performed by Mark Goldstein who provided additional sound effects. The score built and whirled and perfectly reflected the psychic nightmare that Gish's character fell into. It was as effective an experience as some of the best psychological horror that Alfred Hitchcock or Stephen King has ever produced.

Previous to THE WIND, my second remarkable experience was with UNDERWORLD (dir. Josef von Sternberg, US, 1927, 90 mins.) Written by Robert N. Lee, based on a story by Ben Hecht, the film was introduced by Eddie Muller, the "godfather of film noir" here in San Francisco, if not the country. Though his introduction debated the status of UNDERWORLD as being the first film noir, he did give credit and several anecdotes about Ben Hecht's writing style and influence. The film was photographed by Bert Glennon, who provided a series of close ups that were breathtaking at times. The chemistry that may or may not have existed between Clive Brook and Evelyn Brent, was given undeniable HEAT through Glennon's closeups between the two of them. Clive Brook KNEW what look to give straight into the camera to just ignite it. Brent teased the camera with her looks of danger and sensuality. This passion was rarely allowed to be caught within the same frame, which was a fascinating choice, yet reflects Josef von Sternberg's propensity to capture "stars" and not ensembles, as it would climax with his work with Dietrich. The film itself is a gangland romantic triangle that is never consummated by any of the parties, as there is no room for love in the midst of crime, as is the pattern of film noir. Their lives are too harsh to love while "at work" and it isn't until after the resolution that there is a hint that a couple my actually fall in love, but only by a sacrifice by the third wheel.

The film was accompanied by pianist and flautist Stephen Horne, whose score would go into the world of jazz fusion as the film reached its climax. It was an exceptionally rich score coming from a piano and not the organ. As the violence and passion continued to deepen, so did Horne's score until it was nearly an impressionistic storm of music. It was a fabulous afternoon, and I'll never forget that one heart stopping close up of Clive Brook, when Evelyn Brent asks him if he loves women...

Next on my favorites of the weekend would have to be SO'S YOUR OLD MAN (dir. Gregory La Cava, US, 1926, 80 mins.), a star vehicle for the irascible W.C. Fields. Guess what? He plays the town oddball inventor who would rather drink a jug of cleaning fluid than whiskey. How he works into the plot some ultra-classic bits involving a visiting princess, a golf course and a pony is best left to a screening, but it had me laughing out loud! Even the intertitles were perfectly edited in for comic effect. It was the lightest and most enjoyable of the entries I saw during the weekend. The piano accompaniment was provided by Philip Carli, however, not even live music could upstage Mr. Fields, and certainly NOT Terry Zwigoff who introduced the film with his trademark deadpan, if not, distance.

Maxxxxx says
re SF Silent Film Festival: "......"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

San Francisco Silent Film Festival, 2009 - Recapping the Good Moments!

2009-07-16T10:51:00.000-07:00

The 14th Annual Silent Film Festival
July 10-12, 2009, at the Historic Castro Theater.
As I stated elsewhere, this is one of the finest festival events that I attend in the Bay Area. Though there were moments that were nearly out-of-body experiences, there were a number of truly exceptional moments, too.

Opening night began with THE GAUCHO (dir. F. Richard Jones, US, 1927, 120 mins.), a star vehicle for Douglas Fairbanks and Lupe Velez. The film was introduced by Jerry Vance and Tony Manietta, who provided some nifty technical background as well as much appreciated gossip! Apparently the casting of Mary Pickford in the small role of The Madonna had something to do with retribution for some on-set attraction between her then husband Fairbanks and Velez. Her scene itself was of some extra interest as it was filmed in two-strip technicolor with added effects to create a halo. They screened recently discovered tests of that scene as what is included in the present print is black and white.

Anyway, the film itself could be seen as a typical tango-and-horse-tricks feel good flick, with the ever so dashing Douglas Fairbanks, chewing away at the scenery, whenever possible, even if it is the simple lighting of a cigarette. Lupe Velez does a decent job of keeping up, as did the accompanying Mont Alto Motion Picture Orchestra, but it is Fairbanks' film, through and through.

Lupe Velez would be given a greater chance to impress in the closing night film, LADY OF THE PAVEMENTS (dir. D.W. Griffith, US, 1929, 120 mins.). Here, Ms. Velez plays a cabaret singer and prostitute, who is hired to take down a visiting Prussian Count (William Boyd), by posing as a "lady" to whom he will fall in love. The hiring is done by a Countess, who is EVILLY and deliciously portrayed by Jetta Goudal. The film owes what success it has to the interplay between our leading ladies. According to the introduction by Russell Merritt, there is about as much written about the off screen feud between Velez and Goudal as there is about the technical demands that the emergence of sound made on director Griffith. D.W. Griffith introduced five songs within the film, that were recorded to be played in synch during the screenings. At this screening, the film was accompanied by Donald Sosin on piano and sung by Joanna Seaton. Griffith's attempt to introduce the human voice felt a bit wedged in and reluctant. However, the final song was effective.

At the opposite end of the accessibility scale, though I enjoyed it quite a bit, was THE FALL OF THE HOUSE OF USHER (La chute de la maison Usher) (dir. Jean Epstein, France, 1928). Acting Artistic Director, Anita Monga, introduced the feature, along with an American made short version of the same subject, with just the right amount of surreal haziness. (The short was a last minute substitution for the scheduled print of THE BARBER'S QUEER CUSTOMER.) The film was fabulously accompanied by Stephen Horne, who took the the neo-expressionistic visuals on screen and added his impressionistic, if not improvised talents to it, and lead the audience into the dream that Poe had written. I loved the experience, yet place it here amongst the "GREATS of the fest" as it was almost too gauzy, too much of a dream, that I had a trouble holding on to the path of the film and just had to struggle let it take me on its surreal path. (Luis Bunuel worked on the film, too, though he was fired after making remarks on set.) It was also scheduled after the W.C. Fields piece, so it was a bit jarring to experience.

The other film that could be considered avant-garde was AELITA, QUEEN OF MARS (dir. Jakov Protazanov, USSR, 1924, 125 mins.), which was appropriately introduced by the programmer of MIDNIGHT FOR MANIACS, Jesse Hawthorne Ficks and accompanied by the Wurlizter god, Dennis James, who also played the Theremin, and Mark Goldstein on Buchla Lightning. In the spirit of full disclosure, I couldn't finish it. As visually arresting as the Mars sequences were, designed by Alexandra Exter, the earthbound sequences were bogged down with proletariat plot that went beyond propoganda, and so dominated the first half of the film (i.e. what I saw), that I just saw no need to stay. I heard that the Mars sequences did dominate further towards the end, however, there is no question that the artistic significance was Exter's deisgn work and not necessarily the filmmaking.

Maxxxxx says
re Silent Film Festivals: "....."

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

Frameline 33 (SF LGBT Film Festival, 2009) - Closing Night Awards

2009-06-29T08:06:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Day 11 (Closing Night)

2009-06-27T07:56:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Day 10

2009-06-27T07:35:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Day 9

2009-06-26T04:25:00.000-07:00

Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

The Short Subject Program for the day, a collection of international short narrative firlms, was previewed and posted earlier:WORLDLY AFFAIRS.

THE BABY FORMULA (dir. Alison Reid, Canada, 2008, 81 Mins.) What a lovely, little romp this was! In mockumentary style, Alison Reid documents the simultaneous pregnancies of a pair of lesbians, who were able to conceive with each other's ova, without sperm, as this scientific breakthrough spreads through their disbelieving families. It is actually the relationship between the two pregnant partners that is the heart of the story though. The performances from Angela Vint and Megan Fahlenbock are nearly spectacular in their freshness, sincerity and realism. (Well, since they were both actually pregnant during the filming, perhaps attaining realism was easier than imagined?!) Their relationship with each other could have held my interest for hours without the funhouse of the families interjecting. In fact, the families are overplayed by comparison, which may have been the point of introducing a 'family circus' element, but I found it a bit distracting. Even with that, the editing is near comic genius at points and director Alison Reid has conceived a brilliant domestic comedy, that she perceives (during the Q&A) could have a life of its own as a series. I totally agree!

CANYON CINEMA'S QUEER UNDERGROUND was curated and presented by Canyon Cinema's Executive Director, Dominic Angerame, as a collection of avant-garde, experimental and underground short subjects with LGBT content. (All films are sourced to the Canyon Cinema Website.)

The program began appropriately enough with an invocation, as it were. SHAMAN PSALM (dir. James Broughton, USA, 1981, 7 min.) is simply a poem being recited underneath images of a male, nudist gathering. "The love shaman calls for a sexual revolution of the body politic urging mankind into a new love age." This was followed even more appropriately by a Kenneth Anger piece from his MAGICK LANTERN CYCLE, FIREWORKS (dir. Kenneth Anger, USA, 1947, 15 min.). It is simply a dream, or a nightmare, of homoerotic passion with a group of sailors and fireplaces.

The program continued with one of my two new directorial discoveries at this festival. CONFESSIONS (Dir. Curt McDowell, USA, 1971, 16 min.) Made while Curt McDowell was a graduate student at San Francisco Art Institute, it is simply a confession to his mother and father, "listing (in exhausting detail) his sins of the flesh." What is so compelling is his innocent, if not humorous take on his life at that point. He has a charming presence that makes the personal, if not nearly surreal expression of his desires even more accessible.

GENTLY DOWN THE STREAM (dir. Su Fredrich, USA, 1981, 14 min.) This was one of the more inaccessible pieces. It is silent and features a great deal of filmic poetry, most of which was written on the actual frames. Though I followed it as the stream of consciousness that it was, it is always a bit difficult to follow someone else's dream, quite so literally.

I, AN ACTRESS (dir. George Kuchar, USA, 1977, 10 min.) George Kuchar is my second directorial find at this year's fest! I LOVED THIS egomaniacal take on directing an actress. As actress and director wrestle over a screen test, Kuchar (as the director) continually pushes and crosses the boundaries of his own expression, and literally attacking the actress's space and talent. He is amazing to watch and work. His ability to write such complicated verbiage and then deconstruct it visually has me stunned!

VALENTINE FOR NELSON (dir. Jim Hubbard, USA, 1990, 5 min.) It is what it says and is a decent companion piece to the much more explicit lesbian "love letter", which followed. HOLDING (dir. Connie Beeson, USA, 1971, 13 min.) "Two young women in love communicate through fantasy and touching in a rhythmic buildup, merging time concepts. Flashes of the past blend with the present and future in a collage of themselves, the hills, the sea and their sexuality."

DEVIL'S DAIRYMAID (dir. Kym S. Farmen, USA, 2008, 8 min.) In what had to be perhaps the most intensely paced and edited short, Kym S. Farmen tale of a dairymaid "lured into a dark forest by mischievous and ominous spirits" took on magical and maniacal velocity, for such a simple action, setting and plot. In an odd way, I really got into the churning, churning, churning...

Maxxxxx says
re THE BABY FORMULA and I, AN ACTRESS: "I love you too!"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

Frameline 33 (SF LGBT Film Festival, 2009) - Day 8

2009-06-26T04:09:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Day 7

2009-06-25T10:06:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Day 6

2009-06-24T17:00:00.000-07:00

Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

PATRIK, AGE 1.5 (dir. Ella Lemhagen, Sweden, 100 Mins.) This was a "Centerpiece screening" which I feared would be 'cute'. I LOATHE 'cute'! But, it is only in the production design in which the pair of gay men live, surrounded by IKEA constructed suburb, where the are seeking to adopt a child. It is not a spoiler to state that the decimal for the 1.5 year old is misplaced to read 15 year old, as that is the conflict and reason for the piece. The trio is forced to deal with each other and their existence as a family, surrounded in a white picket fence world. The characters at the core of the film are what saved it from my loathing. The performances are real and artistically set against the artificial background, which is hindering, if not oppressing their development as a family unit. It does have a distributor and should be on DVD release by the end of the year, if not sooner. I was able to screen this in a preview a couple of weeks ago, which allowed me time to attend a double feature at the Victoria.

THE GOOD AMERICAN (dir. Jochen Hick, Germany, 2009, 90 Mins.) Unlike the preceding evening's GREEK PETE, this film is sincerely honest, with flaws and ambivalent heroes. It is not so much a biography, but a portrait at a critical time in the life of Tom Weise, ex-gay escort, founder of Rentboy.com and an illegal immigrant for the past 11 years in the U.S., as he dissolves his American ties to return to Berlin, for what may be the last time, with his American partner. Weise displays a definite charisma of a survivor, for having surived AIDS, Hepatitis C, prosutition and the nearly illegal business he ran for nearly a decade, even while producing the infamous annual Hustlaballs around the country. The video includes interviews with his co-workers and his co-owner, who he creates something of a conflict with. (Perhaps easier to dissolve the partnership by, as he may not be able to return?) His partner is also profiled as he makes the transition from NYC to Berlin, and his comments regarding Germans are very funny! The heart of the "good american" arises as he discusses his 'legal' responsibilities while being illegally a resident: [paraphrased] "I love it here, though I do not pay taxes for an illegal war, I have offered over $50,000 to the social programs that need the money more." There are a slew of pornstars and escorts interviewed about Weise, and in fact, Derrick Hansen was present to introduce the film's sponsor, The St. James Infirmary, which he did while displaying multiple times as much charm as the aforementioned "Greek Pete". Also, a letter from Weise was read in which he stated his intention to be present, but was denied an entry Visa only two weeks ago, due to the U.S.'s continuing restriction on HIV+ visitation and immigration. [One note: the video was shown in a skewed aspect ratio, perhaps due to the PAL-NTSC conversion.] Anyway, enough about the hooker flicks!

THUNDERCRACK! (dir. Curt McDowell, USA, 1975, 152 Mins.) Oh. My. GAWD!! I now feel ashamed that I am in my late 40's and have only now discoverd this brilliantly concieved, produced, performed piece of Underground Cinema! I approached it with trepidation due to the 2 hour and 35 minute running time, which is a LOT of underground. However, the time FLEW BY! I find it hard to describe. Perhaps calling it a pornographic Edward Albee play if it were directed by David Lynch, would suffice? I would not want to give any kind of spoiler away, except for a small sample of dialogue. My favorite being, "...a malignancy of glandular grotesqueness that struck at the very root of his manhood...", which appears in the midst of one of many classically structured monologues given the lead actress, Marion Eaton, who handles her role of an oversexed Tennessee Williams heroine, with aplomb (and a cucumber!). (SPOILER: Click here for the entire monologue!) Director Curt McDowell's sister, Melinda (who also appears in the film), was present to officially announce the distribution rights for a "Special 35th Anniversary" DVD of the film to be released later in the year from Synapse! This will be the first time the film has been available! (There is a European cut from Denmark, which is only 90 minutes.) The sound design needs some restoration and rebalancing, but I found I could cut out a great deal of treble interference by wearing my MP3 player earbuds, and I CAN NOT WAIT to own this remarkable, hysterical, oh and quite pornographic, classic masterpiece of underground cinema to be in my home to shock my friends and neighbors! Also, "survivors" of the epic were given "THUNDERSTRUCK!" buttons and a lucky member of the audience, "local drag sensation Kegel Kater walked away with a hand silk-screened print of the original film poster," but risked being mugged by moi after the screening, but was saved by MUNI. Screenwriter George Kuchar was also present, but left before the screening started.

Maxxxxx says
re both films: "Wooooooooo!!!"

You can contact Maxxxxx or myself here: JayCBird@AOL.COM

Thundercrack! SPOILER: A Monologue for Gert

2009-06-24T16:53:00.000-07:00

[Starting immediately after maniacal laughter]

Gert: He who does not exist. I told a lie, a little white lie! You see, he does exist, behind this door, but not out here in the world of sanity. God has no mercy. You see what he's done to my son. Gerald had gone to Borneo to collect some erotic artifacts, that was all. A harmless excursion into the steaming tropics in the name of art. But he was smitten with a violent, swelling, tropical disorder - a malignancy of glandular grotesqueness that struck at the very root of his manhood. You see him now at the pinnacle of his disorder, repulsive to both man and woman alike. And what is more important, repulsive to himself. So self-revolting his mind became unbalanced, knowing that the one thing that made his life worth living was being crushed by the weight of his own testicles. For his safety, and mine, and for the safety of Beulah and Pinky, I had to lock him up behind this door. The weight of that malignancy on our fragile bodies would crush the very life out of us. You two will be fine. You'll survive. You'll give Gerald a taste of the sweetness he wanted his whole life. You'll survive. And I pity you.

[Maniacal laughter swells.]

Frameline 33 (SF LGBT Film Festival, 2009) - Day 5

2009-06-22T23:35:00.000-07:00

Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

MAKING THE BOYS (dir. Crayton Robey, USA, 2009, 90 Mins.) Though it is simple to describe as a documentary about the creation of the play THE BOYS OF THE BAND, director Crayton Robey has done an extraordinary amount of research to place it, as well as its author Mart Crowley, in historical perspective. In fact, he has the seeds of a multi-part documentary here: a biography of Mart Crowley; the culture at the time of the creation, development and production of the play; the play itself; the cultural reaction to it; finally, the film and reaction to that as well. Though it's running time is only 90 minutes, it does feel a bit longer, as Robey attempts to cover so much ground. However, it would appear to be necessary, as his prologue includes a series of man-on-the-street surveys with Gay Pride participants who surprisingly have never even heard of THE BOYS IN THE BAND, much less seen it or even value it's significance for gay visibility. It is an entertaining and exceptionally educational documentary, even as it screened here as a "work in progress." During the following Q&A, which was sort of a mess, I have to admit that even I contributed to the semi-chaos, when I asked how long he had been filming since he included the deceased Edward Albee. Uh, Albee is still alive... Ah well... (Oh, the answer was approximately two years.) There was also an extensive 'discussion' from the audience from Bay Area Reporter film critic David Lamble about the availability of William Friedkin to discuss the film. I think he might be 'legally tied' to the DVD extras to comment in a separate documentary, though. (As K.C. Price was about to introduce the director and film, my friend Andy noted that he needs to work on his "ums" during his speaking. From that point on, that is all I heard! Damn you, Andy!!)

I attempted to follow the screening with the next program, El Niño Pez, from the director of XXY. However, I fell asleep during the first few minutes. I was out so deeply, that when I woke up, I had no clue what was happening and decided to pop back home for a REAL nap to get ready for the evening.

FIG TREES (dir. John Greyson, Canada, 2009, 104 Mins.) This is a work of ART. I absolutely LOVED it, though I understand why a few people walked out. It is self described as a "doc-op about AIDS, pills and Gertrude Stein" and that probably sounds as hideously pretentious as those who walked out may have felt it was. I was completely taken away and transported by its operatic ("doc-op" is short hand for documentary-opera, I believe) structure and the music (composed and adapted by David Wall) that ran nearly the entire of the film, which included a great deal of Stein and Virgil Thomson’s Four Saints in Three Acts. Director John Greyson treads treacherously into Peter Greenaway territory with his over abundant use of split screens and subtitles, which at one point become graphic art in themselves. It may seem a stretch at first, but think it bears repeated viewings to understand how he relates musical palindromes of classical, modern-classical and pop music to the ironic plight of AIDS patients, as they face pharmaceutical and governmental structures that seem intent on keeping them from obtaining treatment. The cinematography by Ali Kazimi, Jesse Rosensweet of Bill Layton's production designis beautiful and seamless between the two of them. I assume one was responsible for the operatic sequences and the other for the interviews. Ah, the interviews. The documentary portion include interviews of a number of activists, most extensively with Zackie Achmet (who is the central figure of the operatic sequences), Tim McCaskell and Gugu Dlamini, among others. The concentration of the documentary is really upon Africa, however it does relate to McCaskell's work in Canada. There was a moment towards the last quarter of the film that I began to become emotionally and physically moved by the weight of all the preceding painful beauty of the piece and actually started to become choked up! Though Greyson's work can be a hit (LILIES), miss (PROTEUS) or mixed (ZERO PATIENCE), this has pulled the best techniques and qualities he possesses to create, what was for me, an extraordinary experience!

Maxxxxx says
re both films: "Dooby dooby dooo-oooo!"

Frameline 33 (SF LGBT Film Festival, 2009) - Day 4

2009-06-22T08:46:00.000-07:00

San Francisco Opera - PORGY AND BESS (restored)

2009-06-21T22:49:00.000-07:00

PORGY AND BESS (By George and Ira Gershwin and Dubose and Dorothy Heyward, Conductor: John DeMain, Production/Director: Francesca Zambello, Washington National Opera production) In the midst of a film festival, I took a breather to spend a (long) afternoon at San Francisco Opera's (restored) PORGY AND BESS. Now, I only mention "long" and "restored" as I was expecting Executive Director David Glockley to have transferred the lauded Houston Grand Opera production up here. Instead, this was the Washington National Opera production, which restores the score from the 150 minute "Broadway version" to a 195 minute version (that is still short 45 minutes from the first score, which apparently received only a few, early stagings). Personally, I am OK with the shorter version, as the additional material does not seem to be all that overtly exceptional, except for a trio near the finale that I do not remember as being part of the earlier versions I have seen. Anyway...

Eric Owens does a robust job as Porgy, who in this production is given a simple crutch and not the traditional "goat wagon" to work from. Laquita Mitchell is able to compensate for some unfortunate costuming as Bess. She is dressed as either Carmen or Mother Mary, depending on the portion of the performance we're in, and it is just too obvious. She is able to sing past it, and we are given a great deal of character without the indications given by her dress. Also standing out in the supporting cast are Karen Slack and Alteouise deVaughn, who join Owens for a simply fabulous trio near the end of the opera. Sportin' Life is sung, acted and danced by Chauncy Packer. Now, Sportin' Life is a really odd role within the piece. Firstly, it is as if they wrote all the Tin Pan Alley numbers for him, and his songs really do not fit within the fabric of the opera, in my humble and non-operatically educated opinion. However, that might be the point, as he is this external force that acts as the Devil to Bess' Faust, in what is one of a few sub-conflicts. In fact, in this expanded version, Bess is faced with no less than three men and lives from which to chose. Needless to say, tragedies ensue. Her third nemesis is Crown, sung here by Lester Lynch, who regretfully does not have a "big number" by which to be overly memorable. However, he does take part in a really skillfully and surprisingly physical fight between him, Porgy and Bess. The chorus is simply excellent, particularly during the two prayers in the second act, which I always forget about, and am always blown away by!

The setting by Peter J. Davison and lit by Mark McCullough are really fascinating and really BIG! We are set in a factory, more than a port, but it works. The staging and movement are unusually choreographic and handled with requisite vigor and efficiency by the chorus. In the end, though, I would have to say that I now no longer need to see another PORGY AND BESS, unless it is the more operatic excerpts.

Maxxxxx says
re PORGY AND BESS: "Dooobie dooo-oooo-oooo!"

Frameline 33 (SF LGBT Film Festival, 2009) - Day 3

2009-06-21T08:45:00.000-07:00

Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

Day Three at Frameline 33 began with the traditional matinee screening of FUN IN BOYS SHORTS and FUN IN GIRLS SHORTS, which I was able to pre-screen, as well as two more short subject programs which screened today: CALLING ALL NERDS AND ART FREAKS and GET HAPPY, all of which I have previously posted comments about.

I began my 'live viewing' day with THE BUTCH FACTOR (dir. Christopher Hines, USA, 2009, 88 Mins.). Executive Director, K.C. Price introduced the film, with ever increasing comfort with the audience. No, he has not yet adopted the flirtatious quality that previous Festival Director Michael Lumpkin exuded, but he is warming up to us. Anyway, the documentary attempts to discuss masculinity as expressed by gay males. Though there are a couple fascinating interviews, most notably from Vincent Calverese, who works in the SF Sheriff's Department and has been a highly visible member of the "film event community" as he has been the escort-bodyguard of many a special guest. His commentary describing the reactions and role of being a gay corrections officer was fascinating, particularly in comparison the the majority of the rest of the interviews. As much as one would appreciate the eye-candy, there really wasn't much to be learned from gay softball-rugby-rodeo-football players, etc. It was as if just saying "I'm a gay rugby player" was proof of something? Ironically, the film ends up being about as shallow as the topic that the participants are denying it is. If masculinity is to be defined by actions and appearance, which with only a couple exceptions in the film seemed to be it's thesis, then I do not know how you can discuss that, without even broaching the topic of the sexual positions involved in when truly "expressing" one's sexuality. In other words, and to be a bit crass, it's all good and well to say, "Hey, I'm a big, butch gay guy!", but how do you handle that in the passive role, sexually. Anyway, that has been a topic in the past, which is why this documentary is probably best enjoyed as a jock-film. Director Christopher Hines was present, however, I was not able to stay for the Q&A, as I had to charge off, down the street, to make it for the next feature.

LITTLE JOE (dir. Nicole Haeusser, USA, 2009, 87 Mins.) As much as I so highly anticipated this documentary about "the iconic" Joe Dallesandro, by the end of the film, I was questioned the film's inclusion in an LGBT festival (as if working with Andy Warhol is all it take to have "gay creds"?), and I actually became a bit tired of listening to Mr. Dallesandro. The film takes its format from THE KID STAYS IN THE PICTURE, which was the 'monologue' by and about Robert Evans. In LITTLE JOE, Dallesandro is the sole voice, interspersed with clips of his work, and he has done an incredible AMOUNT of work, mostly in Europe. I think it would have befitted the subject to have a second or third opinion chime in, and during the Q&A, the question did come up, and he said that THAT film could be made after he's dead. (He did receive a less than overly enthusiastic standing ovation when he approached the stage for the Q&A.) Oh, and this was one of those Q&A's that I dread. It began as a "reporter from the Bay Area Reporter", whose name I didn't recognize nor remember, rushed the stage to ask Dallesandro's opinion on gay marriage. Yawn. This was followed by a series of "fan comments", which weren't really questions, but compliments. I was sorely disappointed by the event, only to be extremely, pleasantly surprised and moved by the next film.

DARE (dir. Adam Salky, USA, 2009, 90 Mins.) This is the expanded, feature version of the short of the same name, which screened at Frameline in 2005, and I apparently wasn't overly impressed with. However, Adam Salky and screenwriter David Brind, have done a truly exceptional job of fleshing out the situation and characters into a surprisingly moving portrait of three teenagers, exploring their physical and emotional selves. Emmy Rossum and Ashley Springer are the best friends who begin to compete for the affections of Zack Gilford. I know, the plot sounds a bit trite, but Zack Gilford's performance as the "big man on campus" who doesn't want to be physically "used" anymore as a stud, but loved for being himself, was simply amazingly so deeply felt, that by the climax, I was actually moved. (This really surprised myself, as I don't have much sympathy for the "painfully beautiful".) Not to mention the truly exceptional scene leading up to it, was nearly as provocative as Bertolucci's THE DREAMERS. And the surprises didn't stop there! During the Q&A, Ms. Rossum proved to be the saltiest of the four speakers (Salky, Brind and Gilford were there, also). When I asked how she would compare her past experiences in multi-million dollar budgeted films (PHANTOM OF THE OPERA, THE POSEIDON ADVENTURE, etc.) to an indie, the three men interrupted with adoration and she replied with, "Yes, wearing push up bras and riding motorcycles fucking rocks, but so does a great script!" This program was a great evening!

I then hauled back down the street for GREEK PETE (dir. Andrew Haigh, UK, 2008, 70 Mins.). The director, Andrew Haigh, describes the film as a "narrative documentary", which is what could be more accessibly described as "scripted reality." The subjects of the film are documented and at times re-enact episodes from a year in the life of London callboy, "londonboyPete". Now, the concept is sort of fascinating, but Haigh's subject isn't all that intriguing. Even with the extensive editing, there is still a camera awareness from the 'cast' which belies the format. I simply did not find "Pete" or his friends that endearing or likable enough to engage myself in this "documentation" of their lives. Also, for a 'narrative documentary', there is a lack of character arc or plot, however, that may have been part of the point...?

Maxxxxx says
re DARE: "I love you, too!"

Frameline 33 (SF LGBT Film Festival, 2009) - Day 2

2009-06-20T01:17:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Opening Night!

2009-06-19T02:06:00.000-07:00

Frameline 33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

Ah to be back, LIVE! at Frameline 33: San Francisco International LGBT Film Festival!! Opening night began at the Castro Theatre with the traditional review of past years' festival trailers, leading up to the present one. I have not spoken of this year's trailer in any of the festival preview postings leading up to tonight, as I thought I should give it another chance. That perhaps it would grow on me after a few viewings. It has not. Though it is nowhere near the enigmatic disaster that was the trailer for Frameline 26 (which continues to be annually hissed at during this "parade of trailers"), it did necessitate some explanation for its significance from the past and present President of the Board of Directors during their welcoming speech. (It seems that the projector used in the trailer is the actual projector used in the FIRST Frameline Festival, 33 years ago.) What the pair lacked in polish, they did make up in sincerity, and there was a noticeable absence of a "donation pitch" which seemed to dominate the "opening ceremonies" of the last couple of festivals I attended. (I was in Atlanta for the 2007 and 2008 Festivals.)

Eventually, Festival Director, Jennifer Morris and, freshman Executive Director, K.C. Price (he replaces Michael Lumpkin, who stepped down last year), were introduced. Mr. Price was pretty prepared and polished during the preview and press conference last month. Perhaps it was the exhaustion or a bit of opening night jitters, but tonight he seemed to fall back on a certain corporate blandness, which only made Ms. Morris appear more impish and charming than she already is. Oddly, I can't really remember a thing either of them said, other than the list of acknowledgments to this year's sponsors, members and volunteers, before introducing Richard Laxton, the director of tonight's opening feature, as well as a brief shout out to performance artist, Penny Arcade, who was in the audience and whose character figures prominently in the film.

AN ENGLISHMAN IN NEW YORK (dir. Richard Laxton, USA, 2009, 74 mins.) This is not necessarily a sequel to the 1975 film THE NAKED CIVIL SERVANT (which will screen the next afternoon), though John Hurt does reprise his role as Quentin Crisp and this takes place during the last ten or fifteen years of his life. Hurt could possibly be the only prominent actor who could play the role. (In fact, I asked the question during the Q&A and the answer was that the director would not have stayed with the project without Hurt.) Hurt plays him with even broader strokes than I remember from NAKED CIVIL SERVANT. And though I am sure it is an accurate, if not artistic portrayal of the man, it does seem to throw off the chemistry of most of the rest of the cast. Laxton seemed to reach for a balance between the theatrics of Crisp and the realities of the people in his life. However, the script portrays the supporting characters as archetypes, more than real people. Cynthia Nixon comes closest to humanizing her portrayal of Penny Arcade, who is quite theatrical to begin with. However, Denis O'Hare and Jonathan Tucker (Crisp's editor, Phillip Steele and artist Patrick Angus, respectively) are left to play the "eyes of the audience" and the "soulful youth", as opposed to the actual persons. The dialogue for the character Steele is particularly stilted and nearly a series of questions to which Crisp is always at the ready with a quip. In fact, a friend (JimmyD, who worked with Steele in NYC) remarked that Crisp was written as the 'gay Yoda'. He speaks nearly exclusively in platitudes, which may have been the case in real life. However, it leaves the rest of the cast dry as far as being able to have a "real" conversation in the scene. I just don't know if it meant to be as tiresome as it seemed, even if spending that much time with Crisp could have been that in real life.

The Q&A following the film was dominated by Penny Arcade, who was not on stage, but asking a question, or actually making a few long remarks about the characters' accuracy from the audience. There was also a long, if not miscommunicated discussion between an audience member and the director about non-specific transgender roles, or some such thing. Afterwards, I wandered down to ask how involved the estate was, if at all, to which Laxton answered that most of Crisp's dialogue is in public domain, but there were some permissions that needed to be obtained from the surviving family.

I am not a big fan of Frameline's opening night parties (unlike the Closing Night Parties, which I LOVE!), so I stayed for the 10PM feature, which was briefly introduced by K.C. Price, who mistakenly promised us a Q&A afterwards.

THE COUNTRY TEACHER (Venkovský ucitel) (dir. Bohdan Sláma, Czech Republic, 2008, 113 mins.) It is sort of a late hour to be screening such a deliberately paced and languid film in Czech with subtitles. However, I never dozed once, due to the simply spectacular and technically marvelous cinematography! Director Bohdan Slama has created a film with some outrageously long takes, in which the camera seems to be completely free of any physical boundaries or mounts. (How in the hell did the camera get from the middle of the lake, up inside the cherry tree?!) The visuals float through the Czech countryside where a teacher has run away to avoid his feelings of pain from his last relationship. There he stays with a farm family, made up of a mother and son (of a fairly indiscriminate age). It isn't really a spoiler to state the plot drags on a bit as the triangle is all too obvious. That said, the climatic scene (NO SPOILER HERE) comes out of freaking NOWHERE and you could not have paid me enough as an actor to have been involved in it! I'll just say it is a mind blowing moment, which I guess is the point. Anyway, the film has a definite Eastern European pace and visual style, i.e. Bela Tarr, which I personally find fascinating and hypnotic, regardless of the relatively inanity of the plot itself. Oddly enough, as annoyed as I was with the screenplay, ("You're not into her, he's not into you, just leave them already!"), I was so visually captivated that I could not wait for the promised Q&A, which did not happen. But then again, it was after midnight when the film finished...

Maxxxxx says
re both films: "Shut up!"

The Global Film Initiative - CALL FOR APPLICATIONS

2009-06-15T12:09:00.000-07:00

The Global Film Initiative
CALL FOR APPLICATIONS

Summer 2009 Feature-film Production Grants

San Francisco, CA - June 15, 2009 - In its continuing effort to promote original filmmaking by individuals from around the world, the Global Film Initiative is now accepting applications for the Summer 2009 cycle of its feature-film production grants program. Applications will be accepted from April 30, 2009 to July 15, 2009, and decisions will be announced in September 2009.

Global Film Initiative production grants are awarded twice a year, in winter and summer, to filmmakers whose work exhibits artistic excellence, authentic self-representation and accomplished storytelling. The granting program furthers the Initiative's mission of contributing to the development of local film industries while offering audiences a variety of cultural perspectives on daily life around the world. Monies received through the Initiative's granting program are used to support completion of film production, and to subsidize post-production costs, such as laboratory and sound mixing fees and access to modern editing systems.

This year, the Global Film Initiative will award production grants of up to $10,000 each to select applicants during its summer granting cycle. These funds are made available following the Initiative's evaluation of an applicant's completed screenplay and early film-footage, and may include a pre-sale option for exclusive U.S. distribution of an applicant's film by the Initiative. Individuals may submit more than one film for consideration per granting cycle but please note that only applications from qualifying countries or regions will be considered and that production grants are not available for documentary or short films.*

The Global Film Initiative strongly believes in supporting narrative storytelling traditions from around the world and invites all qualified applicants to submit their work for granting consideration. For Applications & Guidelines, please visit: www.globalfilm.org/granting.htm.

Application deadline: July 15, 2009

*The Global Film Initiative accepts grant applications from countries in the following regions: Latin America, the Caribbean, Africa, the Middle East, Asia (excluding Hong Kong, Iran, Japan, Singapore, South Korea and Taiwan), and Oceania (excluding Australia and New Zealand).

The Global Film Initiative

The Global Film Initiative is a U.S.-based not-for-profit organization specializing in the support of independent film from Africa, Asia, Latin America and the Middle East. Founded in 2002 to promote cross-cultural understanding through the language of cinema, the Initiative awards numerous grants to deserving filmmakers from around the world each year, and supports a touring film series entitled Global Lens. For more information about the Global Lens film series and Global Film Initiative programs, please visit: http://www.globalfilm.org.

Frameline 33 (SF LGBT Film Festival, 2009) - Short Subjects Overview

2009-06-10T00:38:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Back To Life

2009-06-09T23:32:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Dyke Delights

2009-06-09T07:53:00.000-07:00

Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

The films in this program of short subjects are comedies about, by, for lesbians. (Duh!! "Dyke Delights"!?) It screens once: Saturday, June 27, 3:30 PM, at the Castro Theatre. The program is listed in order as presented via screener and subject to change and includes:

LES LAPINES (The Girl Bunnies) (dir. Francoise Doherty, Canada, 2008, 4 min.) A brief and a bit roughly executed animation of two female bunnies in love and the "different" family they form. Though the animation may be crude by PIXAR standards, it is still a strangely hypnotic, if not psychedelic, experience... oh yessss... bunnieeeees...

TOOLS 4 FOOLS (dir. Kate A. Brandt, USA, 2009, 8 min.) Comedienne, Julie Goldman drives the piece with some great energy and fabulous pacing as an infomercial salesperson of everyone's 1AM nightmares! She's selling something you might need at 1AM, too. hee hee hee...

LEW LO FROM THE BLOCK (dir. Brynn Gelbard, USA, 2009, 4 min.) Coming from the creators of last year's hoot LEZBRO DON'T CHA KNOW, is a music video worthy of Dr. Demento!! Simply: it's a "musical parody about how a Jewish American Princess from Long Island turned into a big ol’ faux queen in SF." I loved it!

TROPHY (dir. Karla DiBenedetto, USA, 2008, 11 min.) The program takes a bit of a dip with this slight script involving daughter and soon-to-be-stepmom. The cast is more than capable, but they are a bit stranded by a predictable script. However, the production is professionally executed.

THE 6 MONTH RULE (Linda Andersson, USA, 2008, 12 min.) A second entry from Linda Andersson, whose WHEN THE TIME'S RIGHT screened earlier. Here, she has gathered another capable cast as a group of friends gathered for one of those parties where one too many past relationships come colliding. In other words, it's a cocktail party farce, and it works fairly well, though timing can always be tighter in these kind of things.

A DAY AT THE BEACH (dir. Veronique Courtois, USA, 2008, 3 min.) In this traditionally animated little flick "Brad and Sally" share a special vacation on a beach! I am ALWAYS a fan of independent animation of this type! Courtois shows pace and good technique. She can stretch herself in script and not be quite as literal, but still, that's just a quibble and I HOPE she is working on something for next year, too!

QUEERER THAN THOU (Dir. Ramses Rodstein, USA, 2008, 8 min.) "The labels of sex and who wears them best..." Yes, well, though it has a clever idea, and the subtitled labels are fun, PAUSING for them kills the pace. No, no no! The climactic test of who is the queerest lacks energy for what it must be. In the end, I am afraid that it comes off pretty lame. I'm sorry guys...

NUMEROLOGY (dir. Paula Durette, USA, 2009, 3 min.) I do not know how to begin to describe this DELIGHTFUL short animation that "unveils the mysteries of lesbians through the occult arts"! The fact that I find it so visually specific as to defy sufficient literal description just thrills me to no end! THAT is what great animation can be all about. Brava, Ms. Durette!

SISTA CHRONICLES (dirs. LC Bruce, EJ Wood, USA, 2008, 17 min.) Well, where else would you see ANOTHER dildo retrieval comedy?! Unfortunately, this one is dreadfully paced. It actually begins with the foursome (who appear quite mismatched, even beyond SEX AND THE CITY-esque stereotypes) are playing... dominoes?! Then a series of flashbacks and flash forwards become excuses for extended skits, featuring characters we don't really know. One top of that, the sound design is poor enough to make it difficult to understand. As it progresses, I began to think that some of the characters were played against type, in a "Young Ones" way. Unfortunately, it attempts that kind of farce, too, but the cast simply doesn't have the timing and the editing doesn't have the pacing to support that kind of outrageousness. Then there is the climax which is just sort of ... wrong, but in a funny way, had the rest of the production been up to par. It is simply too slow and too long, even at seventeen minutes.

BUTTERY TOP (dirs. Catherine Crouch, Kelly Hayes, USA, 2009, 4 min.) This is a clever little big involving the baggage we all bring into a dating situation. A quick, wittily executed, single joke, performed against the Blue Danube, and over a loaf of bread.

BERATED WOMAN (dir. Anya Meksin, USA , 2008 , 15 min.) You know, this is really a twisted little story, if you think about it too much. And you should! A Jewish woman discovers her latent lesbianism in her attraction to a classically Aryan "urban supermom". The pacing is great, particularly when the two women have their master shots, which Patrice Keitt and Tori Davis handle wonderfully. The motivation for the climax seems a bit forced, but that's a quibble by the end. The photography is in clever shadows and reflections, and Meksin's pacing of the "bookend scenes" is particularly subtle and effective, and she allows herself a bittersweet tale, without becoming maudlin or farcical.

Maxxxxx says
re NUMEROLOGY: "Sweet sweet eye juice!"

Frameline 33 (SF LGBT Film Festival, 2009) - Worldly Affairs

2009-06-08T22:04:00.000-07:00

Frameline 33 (SF LGBT Film Festival, 2009) - Transtastic

2009-06-08T21:44:00.000-07:00

Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

The films in this program of short subjects are about, by, for transexual men and women. It screens once: Thursday, June 25, 7:00 PM at the Victoria Theatre. The program is listed in order as presented via screener and subject to change and includes:

MICHELLE'S FIRST WEDDING IN A DRESS (dir. Ann von Hageman, USA, 2008, 5 min.) A sweet, short video of Michelle, who is getting married in San Francisco to her lesbian girlfriend. Apparently, she was married before, but she wasn't wearing the dress, then! Clever little bit of titling and concept, that...

BIG DEAL (dir. Hilary Goldberg, USA, 2008, 4 min.) Oh, I hate it when I get irksome! It attempts to recreate the shooting of Andy Warhol by writer Valerie Solanas, so what that has to do with being "transtastic" is beyond me, to begin with. This hip-hop video attempts to be an Andy Warhol homage, and it drove me nuts. Granted, the music by Katastrophe is not really to my taste, but I found it bearable. However, the video was shot on Super 8, which is probably the total low-tech, antithesis of how the music was produced. It just grated on me in style and execution.

BEING LISA (dirs. Gene Hosington , Becca Louisell, USA, 2007, 10 min.) This piece feels a bit thrown together. The script is underdeveloped and the performances are not all they could be. (A chicken or the egg quandry?) The production goes straight for the awkward moments, and it is a bit high on the melodrama. Using slow motion to punctuate a moment is risky under great circumstances, but considering the general slow pace of the acting here, it is not a good choice. The situation and relationships involved in a business dinner that turns romantic is complicated enough, but to toss in the transgender issue, and then adding on the influence of surrounding friends is just way too much for this ten minutes to handle!

LIFE (dir. Aarin Burch, USA, 2008, 4 min.) and TELL ME THE... (dir. Bobby Poirier, USA, 2008, 4 min.) These are quite simply, a pair of music videos for "Billboard charting transman," Joshua Klipp, and featuring the queer modern dance company, Sarah Bush Dance Project, and "catwalk pageant winner, Asia Vitale." I liked the songs, and visually, they're pretty standard, though.

BLINK (dir. Silas Howard, USA, 2009, 11 min.) Director Silas Howard, who was a member of the great ensemble of DON'T MESS WITH TEXAS has cast an equally talented ensemble, featuring Ben Foster (playing sort of a skin head brother), in this bleak and depressing story. I wasn't sure where the "transtastic" part was, as it appeared to be more lesbian oriented, since neither party expressed tranny tendencies, except for the visual of polishing a gun and beer bottle. Yes, a gun and a beer bottle, Dr. Freud. There is also an awkward kiss in the hall. The photography is dark and murky too, and... what's up with the sea cucumbers?

KADEN LATER (dir. Harriet Storm, USA, 2008, 9 min.) Animated sequences featuring an interview about the physiological transition from female-to-male, and the ambiguity of leaving behind the female, are interwoven with live action footage of his daily life. There is also a nice little bit that speaks to marriage equality. Frankly, I don't really remember much of this, now that I am reviewing my notes... Ah well...

TRANSPROOFED (dir. Andrea James, USA, 2009, 14 min.) Calpernia Adams (Transamerican Love Story) races to hide hints that she is transsexual before her unaware date arrives at her over-the-top apartment. Her best friend is played by Andrea James, who was a consultant on Transamerica. Calbpernia and Andrea show a great deal of cheistry and some comic flair. Ironically, it is Joel Lambert who is the weakest link in this small ensemble, though he has the most experience. The script is a bit overplayed for farce, but with a little brushing up, it could become a fun little feature.

AMONG COLORS AND RAZORS (Entre Cores e Navalhas) (dirs. Catarina Accioly, Ibere Carvalmo, Brazil, 2007, 15 min.) This is actually a joyful little bit about a male and female (yes, one does need to get specific about these gender things here) who meet everyday on a bus. He approaches his boyfriend about his transition, which the new girlfriend (sort of) embraces and the boyfriend does not. Sort of understandably, I guess. Anyway, I had a fun time watching it!

TRANZPLOITATION (dir. Rachel Matlow, Canada, 2008, 8 mins.) [Unavailable for preview] Frameline: "The story follows Kaleb as he fights discrimination, exploits his new trans-man identity (hello cheaper haircuts) and makes the personal decision to get the surgery he needs (Botox of course). Don’t miss the cameo by Amy Ray of Indigo Girls fame."

Maxxxxx says
re MICHELLE'S FIRST WEDDING IN A DRESS: "I love you!"

Frameline 33 (SF LGBT Film Festival, 2009) - Bi Request

2009-06-08T21:17:00.000-07:00

Frameline33: San Francisco International LGBT Film Festival, the world’s premiere showcase for lesbian, gay, bisexual and transgender cinema, runs June 18-28, 2009, with screenings in San Francisco at the historic Castro Theatre, Roxie Theater and the Victoria Theatre, and in Berkeley at Rialto Cinemas Elmwood. Tickets are available via the website 24 hours a day, via fax, or in person at the Frameline Festival Box Office Counter.

The films in this program of narrative short subjects are about, by, for bisexual men and women. It screens once: Wednesday, June 24, 7:00 PM at the Roxie Film Center. The program is listed in order as presented via screener and subject to change and includes:

BUS STOP (dir. Ruba Hatem, UK, 2008, 14 min.) A triangle that nearly crosses into farce as he and she are unwittingly having an affair with the same woman, due to their daily meetings at a bus stop. The situation would suggest a bigger payoff at the end, however, given the assumed budget and time constraints, Ruba Hatem has created an overall pleasant, if not bittersweet story. Perhaps she will develop it into something feature length?

ALLISON, MY LOVE (dir. Richard Paro, USA, 2008, 2 min.) Ah, self absorption knows no sexually oriented bounds! It is an extremely short, but effective presentation of a joke that could only be on film. Could it be expanded upon? Probably not, but it's good for a quick laugh.

RECESS (dir. Davyde Wachell, Canada, 2008, 14 min.) Oooo...! Bad, bad girls at a Catholic school! The short provides high production values and cinematography. The cast seems a bit physically mismatched, which is sort of odd for me to explain. Perhaps since the trio crosses Hollywood stereotypes, seeing these three distinctly different "types" interact so closely is unusual. Also, I got a bit confused with the dynamics between the three girls. Then there is the issue of one of them being a "cutter". In the end, I was just confused. However, given all that, there is quite the filthy-mouthed fight in the midst of it all, which was strikingly unusual. That was something I was reminded of during a check-in with the Frameline publicity office, which was screening it at the time. Otherwise, I sort of forgot about it...

BEST FRIENDS (dir. Andi Meiers, Germany, 2008, 5 min.) There really isn't much else to say about this than what the Frameline program does: "Based on old super 8 material, this movie about being 15, living in a small town and being best friends." I am actually not exactly sure why it is included here.

HOLY WATER (dir. Tatiana Lamela-Rabell, Puerto Rico, 2009, 12 min.) I can not remember the last time I saw a film produced specifically from Puerto Rico, so I don't want to be dismissive, but... This is pretty much a soap opera, involving virginity, Catholicism, the wrong guy and the right girl. Apparently. It needs to be really fleshed out to avoid the melodrama.

FLOTSAM (dir. Michael Curtis Johnson, USA, 2008 , 23 min.) This is an exceptionally, deliberately paced drama centering around a female Naval officer and her search for an AWOL officer, which leads to her own introspection. It is pretty bleak and, though there is an attempt at humor with the extremely WASP parents of the missing officer, their characterizations are pushed to such extremes in the midst of all the bleakness, it just isn't funny. However, the film does have the production values one might expect from the well equipped American Film Institute, of which this is a Masters Thesis Project.

THIRTEEN OR SO MINUTES (dir. William Branden Blinn, USA, 2008, 14 min.) [This is also included in the FUN IN BOYS SHORTS program.] A pair of straight boys seem to have just had a night of... "exploring"? It's all sort of sweaty and more than a bit nice to look at, but... they're talking like girls after sex. And the cinematography is just "off", as faces fall out of frame. There is a LOT of dialogue, which leads me to believe it is an adaption of a one act play. No real movement or action, but face to face talking... It could have explored some much more enticing, if not intimate possibilities.

MAKE A MATE (dir. Jennifer Jordan Day, USA, 2009, 4 min.) One of the few and rare animated submissions, this stop motion with wire dolls and miniature pieces may lack in smoothness, but it makes up for the process of working with such small items! It's a cute little film with a slightly androgynous bent. Though I can only imagine the concentration and effort it must take to create a piece like this, I hope that Jennifer Jordan Day considers continuing and expanding her technique.

SHAFTED (dirs. Allegra Hirschman, April Hirschman, USA, 2009, 10 min.) [This is also included in the FUN IN GIRLS SHORTS program.] It's a quirky little comedy involving the property rights of sex toys after a lesbian break up. The femme lesbian Lindsay finds that her ex has taken all of her sex toys and she seeks restitution when she learns "that it is commonly accepted that femmes get "the shaft" when it comes to post-breakup sexual property." The pacing is a bit off and there is a very odd bit about dildo recycling (I think? - I almost wanted to stop and rewind on that one!). So, criminal activity becomes involved, which lends itself to some fun butch-femme dynamics, in that sort of homage to CELL BLOCK H way! Oh, and the end titles and song (uncredited) are a hoot!

Maxxxxx says
re ALLISON MY LOVE: "What's your name?"