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  • "An Afternoon with Aasif Mandvi"

    Aasif Mandvi, writer and star of the San Francisco International Asian American Film Festival’s opening night film, Today’s Special, charmed the audience during an interview with Festival Director Chi-Hui Yang.

CALENDAR

Topic: digital distribution

Border lines: Kenji Yamamoto and Nancy Kelly view the screen in making the as-yet-untitled documentary following Chicago's Albany Park Theater Project, a theater company that creates original plays based on the life experiences of the actors, mostly immigrant teenagers.

In Production

Kelly, Yamamoto Wrap Art Trilogy

Transformation, of any kind, is one of the most ephemeral, elusive things to capture on film. Indeed, one advisor to veteran Marin filmmaker Nancy Kelly told her that it was too subtle for the camera to record, and she’d never be able to do it. Difficult, OK, but impossible? “Well, that certainly got Nancy going.” chuckles Kenji Yamamoto, Kelly’s partner and a respected editor. At long last in the homestretch of the final piece of their trilogy on the power of art, the duo’s enjoying the last laugh.

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Spies like us: "Rosencrantz and Guildenstern Are Undead" plays SF Indiefest, which opens Feb. 4. (Photo courtesy SF Indiefest)

Experience

SF Indiefest at Twelve

It may be a strange time for independent film, with scaled back "indie" divisions of Hollywood studios and filmmakers self-distributing online, but SF Indiefest, now in its 12th year, is holding steady as a great aggregator and champion of the unsung, underdog, and un-buzzable. Like a wizened video store clerk, this year’s fest offers up an "if you like x, you should check out y" for just about every ‘x’ you could throw out there. Whether you’re jonesin’ for something experimental, a gritty domestic drama, or Shakespearean vampires (more on them later), Indiefest has your fix.

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The road to 2010: Critics and industry look back on the year and decade and look forward to the new year's releases, in particular, Michael Haneke's "The White Ribbon," which screens locally in January. (Copyright Films du Losange, courtesy of Sony Pictures Classics)

Report

Thoughts on the aughts: best/worst trends of the year and decade

A decade as odd as this one, with George Bush and Barack Obama as its bookends, deserves to be examined. While the U.S. moved from rebuilding decimated skyscrapers to the rebuilding of an entire economy, film moved from the multiplex to the mailbox to the cell phone. But did the pictures really get small? We tried to find out by surveying Bay Area film-industry professionals as well as everyday fans on the trends that moved them. We found love for animation and hate for the ascendancy of the first-person narrator-star in documentary films. We saw pleas for more collaboration and less ego. We encountered disdain for CGI and hope for independent exhibitors and filmmakers. The comments below were selected from many we received; needless to say, we couldn’t publish everything. If you feel we missed anything in particular, we encourage you to issue a few opinions of your own in the "comments" box at story’s end.

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The 6th Screen

Coming around to "convergence"

There is something in the very thought of AV cables that fills most people with dread, and a small few others with child-like joy. A few beers into Thanksgiving I looked over to see my cousin Tom pointing excitedly around his home entertainment system, and when he stepped aside I saw a Dell computer shoved in there on its side. Tom does not work in technology—he’s a specialized registered nurse. And he’s not alone, as more and more people make the connection that TVs and projectors are, in their most basic form, just really big computer monitors. While set top box, Bluray and TV manufacturers are now offering a closed set of web enabled applications in an attempt to make themselves the gateway drug to getting internet on your TV, many others out there are doing it Tom’s way. That is, by just buying a couple of cables. The industry calls it convergence . But why do so many people have trouble with it?

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First-person

Indie Toolkit writers rewind/fast-forward on the year/decade in film

The decade in screenwriting: Looking back over the past several years—to 2006, for example, when four of the American Film Institute’s top 10 films of the year were comedies, as opposed to just one each in 2008 and 2009—a number of prominent 2009 films took on serious topical subjects, from war to racism to financial insolvency. An ever-expanding number of sci-fi, fantasy, and horror vehicles offered near fatal adrenaline rushes and perhaps a needed relief from everyday troubles. But an especially notable trend in the stories told on film in the past year was toward the dark, lonely, inside story.

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Call 9/11: A decade that began with tragedy ends in a hail of George Clooney? (Cover photo, cropped from "Loose Change 9/11")

Experience

After Sept. 11, 2001, a decade found its way

On September 13, 2001, I stood in a small park in downtown Toronto, shocked but confident, and spoke to Canadian television: From now on, movies would not be the same, Hollywood and indie films would change completely. Everything would be different. It had to be, didn’t it?

Well, no, as it turned out.

I was wrong.

[Editor’s note: SF360.org is devoting this and the following week to coverage of the year and decade in film.]

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DIY sci-fi: Brant Smith (DJ Bad Vegan) is shooting his latest "In-World War" at a variety of Bay Area and international locations. (Photo courtesy filmmaker)

In Production

Bay Area narrative filmmakers are thriving in doc capital in '09

When I received the proposal last January to write a weekly “In Production” column for SF360.org, I had no concerns about finding sufficient material—that is, local works in various stages of progress. As you well know, the Bay Area is the only place in the country outside of the industry town of Los Angeles and the megalopolis of New York that could sustain a weekly column on independent filmmaking. The challenge I expected was (un)covering a halfway respectable number of narrative features to balance the famously overwhelming output of documentary makers. But as the year unfolded, the trickle of fiction films built to, well, not a flood but a very healthy stream—in the middle of a depressing recession. While I’m not quite ready to anoint the Bay Area as Indiewood North (or West), I have found that something’s certainly going on.

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