The San Francisco International Film Festival opened the gates this year to an accredited citizen press corps of bloggers and vloggers, who — as it turns out — have committed themselves to ether in myriad ways in the opening days of the festival. SF360.org stopped in on a few of them this weekend.
Michael Guillen at The Evening Class scores an interview with the makers of “Who Killed the Electric Car?” Hell On Frisco Bay opens an insightful review of “Regular Lovers” with an observation: “As Karl Marx once said that religion is the opiate of the masses, Philippe Garrel might say that opium is the opiate of bourgeois revolutionary artists.” Bayflicks recommends “In Bed” and “The Life I Want.” Jay, the angry little man finds French film “Lili et le baobab” nice and “El Metodo” not so, which is a good thing. Ted Rheingold calls “Metal: A Headbanger’s Journey” “an immediate cult classic.” Steve Rhodes finds his way to the free electric car rides that are being offered to promote “Who Killed the Electric Car.” Enric gets up close to stiltwalkers and interviews SFIFF programmer Sean Uyehara and Yahoo! Research Berkeley Festival REMIX developer Ryan Shaw at the opening night party. Jason Schultz takes a swig of San Francisco Movie Night and offers thoughts on “Street Fight.” And SFist says cheers to the SKYY Vodka bottle that got away.
Guy Maddin talks about movies, writing, himself—and the allure of the Osmonds, re-published on the occasion of Fandor's Maddin blogathon.
When news of San Francisco Executive Director Graham Leggat’s passing hit the web, responses were heartfelt and immediate. SF360 collects a few of those thoughts.
Leggat’s eventful six-year tenure with the San Francisco Film Society changed an institution as well as the filmmaking landscape in the Bay Area and beyond.
Deborah Peagler's case in 'Crime After Crime' gets its time in court and on screen, with moving results.
Fassbinder's retro-chic, thought-provoking 'World on a Wire' finds the 'future' is now.
Film Society’s leader for more than five years resigns due to health issues.
Hong Sang-soo's latest leaves us with an awkward ambivalence that resonates long after the film is finished.
The director of South Korean film 'The Journals of Musan,' a prize winner at SFIFF54, speaks about bringing cinematic light to social darkness.