Cheryl Eddy

Dim the lights: sad news for local film fans

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It’s been a sad few weeks for the local film community. First came the news that film critic Rossiter Drake — who wrote for the SF Examiner and 7×7 among other publications, and was a fellow member of the San Francisco Film Critics Circle — passed away in his Alameda home. He was only 34. SFFCC peer Omar Moore wrote a moving tribute to Drake, touching on not just his love of movies (and Boston sports teams), but also what a good-hearted person he was. Check out Drake’s top ten films of 2011, topped by War Horse, here.

Today, even more tragic news, with the announcement that the newly-appointed San Francisco Film Society Executive Director Bingham Ray died following a stroke he suffered while attending the Sundance Film Festival in Park City, Utah. (Read his impressive bio as part of SFFS’ official press release here.) Only on the job since November, Ray came to San Francisco after the previous Executive Director, Graham Leggat, died after a battle with cancer in August.

As the 55th San Francisco International Film Festival approaches (opening night is April 19), SFFS year-round programming continues at the SF Film Society Cinema in Japantown, and Hollywood ramps up its annual Oscar frenzy, the show goes on — but short a pair of passionate film fans, who turned their love of movies into their respective careers, and will be missed.

Rep Clock

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Schedules are for Wed/18-Tues/24 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ALA COSTA CENTER 1300 Rose, Berk; missreplacosta.eventbrite.com. $15. Miss Representation (Siebel Newsom, 2011), Fri, 7. Benefits Ala Costa’s Adult Transition Program for young adults with developmental disabilities.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $17.50-20. “Opera and Ballet at the Balboa Theatre:” Don Giovanni, from La Scala, Wed, 7:30; Caligula, from the Paris Opera Ballet, Sat-Sun, 10am.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Lenny (Fosse, 1974), Wed, 2:50, 7, and American: The Bill Hicks Story (Harlock and Thomas, 2009), Wed, 4:55, 9:05. “SF Sketchfest:” “Night of the Shorts III: The Search for Schlock,” with Kevin Murphy and Bill Corbett, Thurs, 8. This event, $30; for tickets and more info, visit www.sfsketchfest.com. “Noir City X:” •Dark Passage (Daves, 1947), Fri, 7, and The House on Telegraph Hill (Wise, 1951), Fri, 9:30; •Okay, America (Garnett, 1932), Sat, 1, 4, and Afraid to Talk (Cahn, 1932), Sat, 2:40; •The Killers (Siegel, 1964), Sat, 7, with Angie Dickinson on-stage interview after the film, and Point Blank (Boorman, 1967), Sat, 9:45; •Laura (Preminger, 1944), Sun, 3, 5, 9, and Bedelia (Comfort, 1946), Sun, 7; •Gilda (Vidor, 1946), Mon, 7, and The Money Trap (Kennedy, 1965), Mon, 9:20; •Unfaithfully Yours (Sturges, 1948), Tues, 7, and The Good Humor Man (Bacon, 1950), Tues, 9:15. Advance tickets (double features, $10-15) and more info at www.noircity.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. “For Your Consideration: A Selection of Oscar Submissions from Around the World:” A Simple Life (Hui, 2011), Wed, 6:30; Patagonia (Evans, 2010), Wed, 9; Once Upon a Time in Anatolia (Ceylan, 2011), Thurs, 7:15. Hipsters (Todorovsky, 2009), Wed-Thurs, call for times.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Film, Cinema, and the Other Arts:” “Course Introduction: The Language of Cinema,” with lecture by Marilyn Fabe, Wed, 3:10. This event, $5.50-11.50. “Henri-Georges Clouzot: The Cinema of Disenchantment:” Manon (1949), Wed, 7; Miquette and Her Mother (1949), Fri, 9; The Wages of Fear (1953), Sat, 8:10. “Austere Perfectionism: The Films of Robert Bresson:” Au hasard Balthazar (1966), Thurs, 7; Mouchette (1967), Sat, 6:30. “Howard Hawks: The Measure of Man:” Fazil (1928), Fri, 7; A Girl in Every Port (1928), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. “It’s the Paul Meinberg! Show!”: Bachelor’s Daughters (Stone, 1946), Wed, 7. Battle for Brooklyn (Galinsky and Hawley, 2010), Thurs, 7, 9. Drive (Winding Refn, 2011), Wed-Thurs, 7. Everyday Sunshine: The Story of Fishbone (Anderson and Metzler, 2010), Wed-Thurs, 9.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. “Four Samurai Classics:” Harakiri (Kobayashi, 1962), Wed, 1:30, 6; Yojimbo (Kurosawa, 1961), Wed, 4:15, 9:15; Sanjuro (Kurosawa, 1962), Thurs, 2:45, 8:45; Seven Samurai (Kurosawa, 1954), Thurs, 5. Fullmetal Alchemist: The Sacred Star of Milos (Murata, 2011), Jan 20-26, 2, 4:30, 7, 9:15.

VICTORIA THEATER 2961 16th St, SF; www.start-somewhere.com. $10-20. Miss Representation (Siebel Newsom, 2011), Tues, 6. Benefits StartOut’s new Lesbian Entrepreneurship mentoring program.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. Red Desert (Antonioni, 1964), Thurs and Sat, 7:30; Sun, 2.

Rep Clock

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Schedules are for Wed/4-Tues/10 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. Bill Cunningham New York (Press, 2010), Wed, 3:30, 7. Jean-Michael Basquiat: The Radiant Child (Davis, 2010), Wed, 5:05, 8:40. Melancholia (Von Trier, 2011), Thurs, 2:30, 5:15, 8. Weekend (Godard, 1967), Fri-Sun, 7, 9:15 (also Sat-Sun, 2:30, 4:45).

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. “Short Films from the 2011 Sundance Film Festival,” Wed-Thurs, call for times.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. Theater closed through Jan 11.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Will the Real Terrorist Please Stand Up? (Landau, 2011), Wed, 6:30, 8. It Came from Detroit (Petrix, 2009), Thurs, 7:30, 9:30. Everyday Sunshine: The Story of Fishbone (Anderson and Metzler, 2010), Jan 6-12, 7:15, 9:15 (also Sat/7-Sun/8, 3:15, 5:15).

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. King of Devil’s Island (Holst, 2010), Jan 6-12, 2, 4:30, 7, 9:30.

Rep Clock

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Documentary Holy Rollers: The True Story of Card Counting Christians plays Fri/30-Sat/31 at the Roxie.

Schedules are for Wed/28-Tues/3 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •On the Town (Donen and Kelly, 1949), Wed, 1, 5, 9:05, and Singin’ in the Rain (Kelly and Donen, 1952), Wed. 2:55, 7. •The Umbrellas of Cherbourg (Demy, 1964), Thurs, 3:25, 7, and A Woman Is a Woman (Godard, 1961), Thurs, 5:10, 8:45. West Side Story (Robbins and Wise, 1961), Fri, 7; Sat-Mon, 2 (also Sun, 7). Presented “sing-along” style.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. The Gold Rush (Chaplin, 1925), Wed-Thurs, call for times. Restored 35mm print. My Reincarnation (Fox, 2011), Wed-Thurs, call for times. “Short Films from the 2011 Sundance Film Festival,” Dec 30-Jan 5, call for times.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. Theater closed through Jan 11.

PARAMOUNT 2025 Broadway, Oakl; 1-800-745-3000, www.ticketmaster.com. $5. The Wizard of Oz (Fleming, 1939), Fri, 8. Costumes paying homage to the film encouraged (suggestion: flying monkey!)

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. My Reincarnation (Fox, 2011), Wed-Thurs, 7, 8:45. Holy Rollers: The True Story of Card Counting Christians (Storkel, 2011), Fri-Sat, 7, 9 (also Sat, 3, 5). Silent Souls (Fedorchenko, 2010), Sun-Mon, 7, 8:30 (also Sun, 3:15, 5). 4th and Goal (Gilden Seavey, 2011), Tues, 7, 9.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. Bill Cunningham New York (Press, 2011), Sun, 4:30, 8:30; Mon, 2:30, 6:30. Buck (Meehl, 2011), Sun, 2:30, 6:30; Mon, 4:30, 8:30. Paul Goodman Changed My Life (Lee, 2011), Jan 3-5, 2:30, 4:30, 6:30, 8:30. Silent Souls (Fedorchenko, 2010), Wed-Mon, 3, 5, 7, 9 (no 9pm show on Sat/31).

Doom lens

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cheryl@sfbg.com

YEAR IN FILM As everyone and John Cusack knows, 2012 is it. And not in a “billboard-buying Alameda radio preacher Harold Camping’s bungled Rapture predictions” kind of way. This is an all-in situation. The Mesoamerican Long Count calendar, a complicated and ancient system most enthusiastically explained by conspiracy theorists, winds up its 13th 144,000 day cycle on December 21, 2012. TL; DR: we’re toast.

Though pesky, facts-knowing Latin American archaeology scholars have suggested that this doesn’t actually mean the end of the world is nigh, good luck dissuading zillions of bloggers, survivalists, religious fanatics, super-volcano watchers, and people who lie awake at night, biting their fingernails over the Large Hadron Collider. Imminent catastrophe awaits! Are you ready?

Enter Hollywood, which in its 100-plus year history has never had any qualms about exploiting society’s extant feelings of fear and dread. In 2009, 2012 prophesized global destruction (“Mankind’s earliest civilization warned us this day would come!”) as only a film with a lavish special effects budget could. Yet it offered last-act hope, a preferred tactic of master of disaster Roland Emmerich — who, having ice-aged, Godzilla’d, and alien-invaded the planet in a succession of go-boom films over the past 15 years, switched gears in 2011 with Shakespeare mystery Anonymous. (Last-ditch artistic atonement, perhaps?)

The apocalyptic films of 2011 took a different approach, opting to emphasize existential terror instead of fireballs, with no happy endings in sight. Lars von Trier’s Melancholia inspects the one percent by peering into the lives of two privileged sisters: depressed Justine (Kirsten Dunst) and anxious Claire (Charlotte Gainsbourg). The film’s first half unfolds at Justine’s lavish wedding reception — held at Claire’s horsy estate — which devolves into a mini-disaster movie of its own. The stretch limo carrying the newlyweds is too bulky to navigate the property’s narrow, curving driveway, until the bride slides behind the wheel and gets the tires pointed in the right direction. It’s Justine’s last moment of glee, as her marriage-jinxing erratic behavior soon gives way to crippling malaise.

As it turns out, a newly-discovered planet, conveniently named Melancholia, is heading toward earth. A collision course is not guaranteed, but it’s pretty obvious where things are heading, and this is not the kind of movie that sends Bruce Willis into space with drilling equipment to save the day. As Claire whips herself into a panic, clicking through fear mongering websites (Melancholia‘s only evidence of a world beyond the mansion’s well-manicured grounds), Justine accepts the impending apocalypse with cool detachment. “The earth is evil,” she tells her sister. “We don’t need to grieve for it.”

Though there’s no looming threat from outer space, the sky looks plenty ominous to Curtis (Michael Shannon), troubled protagonist of Jeff Nichols’ Take Shelter. Nightmares of the I-wake-up-screaming variety have become a regular thing, and though Curtis desperately needs the health insurance provided by his construction job — his daughter (Tova Stewart) is about to get an operation to restore her hearing — he’s become obsessed with upgrading the storm shelter in his backyard. Friends and neighbors, initially supportive, become angry and confused. A public meltdown is inevitable: “There is a STORM coming like nothing you have ever seen, and not A ONE OF YOU is prepared for it!” he bellows at a community dinner, spewing fire like a small-town Cassandra.

There’s more: Curtis’ mother is schizophrenic. Is history repeating, or are his visions actually prophetic? Is Nichols hinting at Biblical themes, or is he making a statement about mental illness, or the destruction of the American dream? The film’s provocative finale could be interpreted a variety of ways; though there’s no Melancholia-style conclusion, Take Shelter‘s message remains memorably unsettling.

But even if the world doesn’t actually take a buy-out in 2012, it’ll get there someday — as Terrence Malick’s dreamy Tree of Life, which is more or less the story of everything that has ever and will ever happen, points out. For film fans, the signs of a dying planet are all too clear. Just take a look at the top-grossing movies of 2011: all of them are either sequels or part of a series. Transformers: Dark of the Moon relieved ticket buyers of over $352 million, even though previous installment Transformers: Revenge of the Fallen (2009) was scientifically proven to have sucked the soul out of anyone who watched it. (True story.)

With the crap economy making even gigant-o-stars nostalgic for their $20 million paydays, the Hollywood-industrial complex concentrated on proven moneymakers, with a few notable exceptions (bless you, Bridesmaids). In 2011, all bets were off. No cult property was too sacred to remake, no “reboot” deemed unnecessary, no superhero with the word “green” in his name unworthy of an entire feature film, no use of 3D too gratuitous. Original ideas were placed on the endangered species list, unless you counted the very small handful of smarter films that somehow managed to break through (look hard; most of them came out in December). Though there’s always a chance that entertainment aimed at the masses will have a brain (2012’s The Dark Knight Rises looks promising), that’s all there is. A chance.

Worse yet: recent news that major film studios plan to stop releasing 35mm prints from their archives. Rep houses will be forced to show films either digitally or not at all. It’s a cost-cutting measure that will deny future generations the irreplaceable delight of watching a movie projected from film, as was intended by the artist who made it. (Somewhere, Stanley Kubrick is seething.) Why bother going to see an old movie at all, if you’re just gonna be watching the equivalent of blown-up DVD? Might as well stay home and watch the Kardashians shop for shoes that cost more than your rent.

Man, maybe I am ready for 2012 after all. At least there’s an alternative end-times scenario to look forward to: the adaptation of Max Brooks’ excellent novel World War Z, about a world rebuilding itself after a zombie holocaust. Its not-so-coincidental release date? December 21, 2012. You’ve been warned. 

www.thepetitionsite.com/1/fight-for-35mm/

 

Rep Clock

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Schedules are for Wed/21-Tues/27 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $17.50-20. “Opera and Ballet at the Balboa Theatre:” The Nutcracker, performed by the Royal Ballet and the orchestra of the Royal Opera House, Wed, 7:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Drive (Winding Refn, 2011), Wed, 3, 7, and The American (Corbijn, 2010), Wed, 4:50, 8:50. The Tree of Life (Malick, 2011), Thurs, 2, 5, 8. “Joyous, Jolly, Jingles: San Francisco Gay Men’s Chorus 22nd Annual Home for the Holidays,” Sat, 5, 7, 9. •Meet Me in St. Louis (Minnelli, 1944), Mon, 2:30, 7, and The Band Wagon (Minnelli, 1953), Mon, 4:40, 9:10. •Bye Bye Birdie (Sidney, 1963), Tues, 2:40, 7, and Pal Joey (Sidney, 1957), Tues, 4:45, 9:05.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. The Gold Rush (Chaplin, 1925), Dec 23-29, call for times. Restored 35mm print. My Reincarnation (Fox, 2011), Dec 23-29, call for times.

EXPLORATORIUM McBean Theater, 3601 Lyon, SF; www.exploratorium.edu. Free with admission ($10-15). “Holiday Animation Film Festiva,” Mon-Fri, noon, 2, 4.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. Theater closed through Jan 11.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Footprints (Peros, 2011), Wed-Thurs, 7, 8:45. Paul McCartney: The Love We Make (Maysles and Kaplan, 2011), Wed-Thurs, 7, 9. My Reincarnation (Fox, 2011), Dec 23-29, 7, 8:45 (also Sat/24-Sun/25, 3:15, 5).

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. Rare Exports: A Christmas Tale (Helander, 2010), Fri, 10:30. Silent Souls (Fedorchenko, 2010), Dec 23-31, 3, 5, 7, 9 (Sat/24, 2 and 4 only; no shows Sun/25).

Rep Clock

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Schedules are for Wed/14-Tues/20 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Other Cinema:” “New Experimental Works,” Sat, 8:30.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $17.50-20. “Opera and Ballet at the Balboa Theatre:” Tosca, performed by the Royal Opera House, Wed, 7:30; The Nutcracker, performed by the Royal Ballet and the orchestra of the Royal Opera House, Sat-Sun, 10am.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “Noir City Xmas:” Lady on a Train (David, 1945), Wed, 7:30; Christmas Holiday (Siodmak, 1944), Wed, 9:20. •The Soft Skin (Truffaut, 1964), Thurs, 2, 7, and Shoot the Piano Player (Truffaut, 1960), Thurs, 5:15, 9:15. The Birds (Hitchcock, 1963), Fri, 2, 4:30, 7, 9:30. “Heeeere’s Christmas!”: The Shining (Kubrick, 1980), presented as part of “The Torrance Family Christmas Revue,” hosted by Peaches Christ, Sat, 8. This event, $25-45; more info at www.peacheschrist.com. “Santa’s Cool Holiday Film Festival:” Santa Claus Conquers the Martians (Webster, 1964), plus vintage Christmas cartoons, and more, Sun, 1:30.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. The Artist (Hazanavicius, 2011), Wed-Thurs, call for times. Golf in the Kingdom (Streitfeld, 2010), Wed-Thurs, call for times. The Nutcracker, performed by the Royal Ballet and the orchestra of the Royal Opera House, Sun, 1:30; Tues, 7.

ELECTRIC WORKS 230 Eighth St, SF; www.sfelectricoworks.com. “Imagine That,” animation screening curated by Sarah Klein for kids and adults, Sat, 6.

EXPLORATORIUM McBean Theater, 3601 Lyon, SF; www.exploratorium.edu. Free with admission ($10-15). A Child’s Christmas in Wales (Lightner, 1963), Sat, 2.

HOUSE OF AIR 926 Mason, SF; www.houseofair.com. $8. One for the Road, Fri, 8.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. Theater closed through Jan 11.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. “Southern (Dis)Comfort: The American South in Cinema:” Wild River (Kazan, 1960), Wed, 6:15; Spring Night, Summer Night (Anderson, 1968), Wed, 8:30; The Beguiled (Siegel, 1971), Fri, 7; Shy People (Konchalovsky, 1987), Fri, 9:15. Golf in the Kingdom (Streitfeld, 2011), Wed-Thurs, call for times. Footprints (Peros, 2011), Dec 16-22, 7, 8:45 (also Sat/17-Sun/18, 3, 4:45). Paul McCartney: The Love We Make (Maysles and Kaplan, 2011), Dec 16-22, 7, 9 (also Sat/17-Sun/18, 3:15, 5).

SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Bay Area Community Cinema Series:” Taking Root: The Vision of Wangari Maathai (Merton and Dater), Wed, 5:45.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. The Bride Wore Black (Truffaut, 1968), Fri and Dec 18-22, 2, 4:30, 7, 9:30.

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. “Left Out of Radical Light: (A So-Called/Supposed Survey of) Alternative Film and Video in the San Francisco Bay Area, 1945-2000,” Fri, 8.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-10. “From Muppets to Metal: Music Movies:” Emmet Otter’s Jug-Band Christmas (Henson, 1977), Thurs, 7:30; Sun, 2; John Zorn: A Film in 15 Scenes (Klahr, Gobolux, Hills, and Izzo, 2011), Sat, 7:30.

The Balboa is here to stay — fundraiser tonight!

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With all the bad news in the world, the recent announcement that the Richmond District’s historic Balboa Theatre would be keeping its doors open — thanks to a partnership between the non-profit San Francisco Neighborhood Theater Foundation and the theater’s veteran operator, Gary Meyer — is cause for cinematic celebration. (Full release here.)

Under president Alfonso Felder, the SFNTF (which also owns the Vogue on Sacramento Street and oversees the “Film Night in the Park” series) will lease the Balboa through 2024 — taking the built-in-1926 landmark nearly to its 100th birthday. A fundraiser tonight offers the public a chance to step up and show support for this new partnership and help raise some dough for Balboa repairs and upgrades.

The event features a “Then and Now Presentation of San Francisco Theatres” (presumably, focusing more on the pre-multiplex days), plus an Oscar season preview (get a head start on your office pool!), and live and silent auctions, with items contributed by such local luminaries as the Film Noir Foundation‘s Eddie Muller. Some ticket levels include chances to “name” one of the brand-new seats in the auditorium and copies of Jack Tillmany’s Theatres of San Francisco, filled with historic photos of venues — some gone long ago, others shuttered only recently (remember the Coronet? Sigh). Fortunately, the Balboa looks set to thrive for years to come.

“Celebrating the Balboa Theatre: SFNTF Fundraiser”

Tues/13, 7-9 p.m., $35-$1000

Balboa Theatre

3630 Balboa, SF

www.sfntf.org

www.balboamovies.com

 

Cruel revolution

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cheryl@sfbg.com

LIT “As one survivor told me,” author Julia Scheeres writes in her introduction to A Thousand Lives: The Untold Story of Hope, Deception, and Survival at Jonestown (Free Press, 320 pp., $26), “nobody joins a cult.”

I remembered this refrain, possibly spoken by the same survivor, from Stanley Nelson’s 2006 Jonestown: The Life and Death of Peoples Temple. Recent works like Nelson’s film and Scheeres’ book suggest perceptions about Jonestown are shifting away from sensationalism. The broad strokes are well-known: a charismatic, maniacal preacher; a jungle settlement; over 900 people dead, including a Congressman; a vat of poisoned punch. But the story — explored in A Thousand Lives as a deeply disturbing human tragedy on a nearly unthinkable scale — neither starts nor ends there.

Scheeres, who keeps an office in the San Francisco Writers’ Grotto, pored through recently-released FBI files while researching A Thousand Lives. “The FBI released its files on three CDs, without a real index. So a letter that started on CD one, page 20, could end on CD three, page 350,” she remembers. “Organizing the material — 50,000 pages of documents — a lot of it was really boring shipping manifests. Crop reports. But then, oh, hey! Here’s a memo from the camp doctor discussing with [Jim] Jones how they’re gonna kill everyone.” Building from this material, the book focuses on five Peoples Temple members and views the experience of Jonestown through their eyes.

“[I chose my subjects] based on whether they were still alive, and I was able to interview them at length, or whether they had left a lot of primary source documents behind,” she says. “I also wanted to talk about the different demographics of the church, so you have old, young, black, white. A woman who has an MFA from San Francisco State, and a young black man with a GED from Oakland.”

Though A Thousand Lives does offer some background on Peoples Temple founder Jim Jones, “I wanted to know what it was like to be a rank-and-file member of the church,” Scheeres says. She uncovered powerful evidence that Jonestown was not a mass suicide, as the unfortunate phrase “drinking the Kool-Aid” suggests. Instead, she says, “it was a mass murder.”

As suggested by that sinister memo from the camp doctor, A Thousand Lives’ most startling revelation is that Jones had been fixated on killing his followers long before the events of November 18, 1978. According to Scheeres, he considered loading his congregation onto buses and plunging them off the Golden Gate Bridge, or onto a plane “and having someone shoot the pilot.” (Eerily, he even sent one of his followers to flight school in preparation.)

Soon, though, he was consumed by the idea of Jonestown: “a new society in the middle of the virgin jungle, a utopia that would be free of sexism, racism, elitism, and all other evil-isms,” Scheeres writes. The promises of Jonestown echoed Jones’ seemingly progressive message of equality, which is what attracted most Peoples Temple members to the church in the first place. It was also what had endeared Jones to San Francisco politicians, who were in awe of his ability to “mobilize thousands of people to vote,” according to Scheeres.

But in reality, “he had no desire to see his followers flourish in South America. He was already fantasizing about their deaths. Would his people die for him if he asked them to?” Turns out they had no choice. While she was writing A Thousand Lives, Scheeres took a trip to Guyana and visited what’s left of Jonestown.

“It’s remote, dense jungle,” she says. “Everything looks the same. It would be so easy to get lost. And as you’re walking through, you can hear things slithering in the leaves. Jim Jones told [his followers] that if they tried to escape, they’d be killed by ‘mercenaries’ — really, his sons that were [hiding and] shooting on the camp — or they would be killed by the jungle animals.”

Of course, when they left San Francisco, more or less willingly, Peoples Temple members — like Scheeres subject Hyacinth Thrash, an elderly African American woman who dreamed of a place where racism didn’t exist — expected to find a “utopia,” as they’d been promised.

“[Jones] was so suave and gentle in San Francisco, and would tell you what you wanted to hear, like the ultimate caring father figure. Then once he got down to Jonestown and had everyone trapped there, he just turned. You can hear him on those tapes just screaming, you know. ‘You old bitch, you’re gonna die!’,” Scheeres shudders. “The rank-and-file had no idea that he had this ideation of ‘revolutionary suicide’ until it was too late. They couldn’t escape. They were surrounded by guards holding crossbows, and behind them, a circle of guards with guns, and basically told, ‘If you don’t drink the poison, we’re going to shoot you.'”

Though she has no direct personal connection to Jonestown, Scheeres’ own background, detailed in her 2005 memoir Jesus Land, made her an unusually sympathetic outsider. “The interests aligned: race, religion, seclusion. When I was a teen, my brother and I were sent to this religious reform school in the Dominican Republic, where all of our communications with the outside world were censored, where all of these horrible things were happening that we couldn’t let anybody know about,” she says. “Obviously my situation wasn’t as bad [as Jonestown]. The head of the school wasn’t goading us toward revolutionary suicide. But the whole sense of powerlessness and feeling trapped and helpless — I could identify with that.”

Decades later, Jonestown continues to fascinate; dozens of books have been written by survivors, relatives of survivors, conspiracy theorists, cult experts, and scholars of macabre history. A Thousand Lives — meticulously researched, and written with clear-eyed, sensitive perspective — is a valuable resource for readers seeking truth, not misinformation, about the tragedy.

“Most people under 40 probably don’t remember Jonestown well, if at all. But most people have heard the phrase ‘drinking the Kool-Aid.’ I find that phrase very offensive, because they didn’t drink the Kool-Aid. First of all, it wasn’t Kool-Aid, it was Flavor Aid. Second of all, they were forced to drink the poison. ‘Drinking the Kool-Aid’ implies naïve, stupid, not thinking, kind of dumb, following the leader, and not questioning. And they were questioning. That’s what my book argues throughout,” the author says. “They argued with Jones: ‘We didn’t come down here to die. We came down here for a better life for ourselves and our kids.’ So I think ‘drinking the Kool-Aid’ needs to be excised from the cultural lexicon.”

What’s more, “I hope people will reconsider the conclusions of Jonestown after reading the book,” Scheeres says. “I think it’s a tremendously compelling tale; 918 people died that day, as a result of Jim Jones, and younger generations need to be cognizant of that. Again, he had his people trapped in Guyana, so by the time they were saying, ‘I want to go home’ — and that’s another heartbreaking thing, was finding all these notes from people to Jim Jones, saying ‘I want to go home. I want to go back to San Francisco. I hate it here. I’m miserable. My children are afraid and I don’t know how to tell them that death is a good thing’ — [it was too late]. Reading all of those notes, these voices have been silenced. Now, finally, I feel like I am the loudspeaker, or their medium for letting their voices be heard. It’s too late [to save them]. They’ve been dead for 33 years. But for the record — they did not want to die.”

www.juliascheeres.com

 

 

 

 

 

 

 

 

Rep Clock

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Schedules are for Wed/7-Tues/13 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $7. “Other Cinema:” Live A/V program with Michael Gendreau and Lisa Seitz and others, Sat, 8:30.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $17.50-20. “Opera and Ballet at the Balboa Theatre:” Sleeping Beauty, performed by the Bolshoi Ballet, Wed, 7:30. Tosca, performed by the Royal Opera House, Sat-Sun, 10am.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. The Wayshower (John-Roger and Garcia, 2012), Wed, 7:30. Free preview with director and cast in person; for entry, email thewayshowermovie@gmail.com with full name and number of tickets requested. “Long Now Foundation: Seminars About Long-Term Thinking: “Rick Prelinger presents Lost Landscapes of San Francisco 6,” Thurs, 7:30. This event, $10; advance tickets at lostlandscapes.eventbrite.com. “Midnites for Maniacs: Home for the Holidays:” •Home Alone (Columbus, 1990), Fri, 7:30; Weird Science (Hughes, 1985), Fri, 9:45; Career Opportunities (Gordon, 1991), Fri, 11:45. •Saturday Night Fever (Badham, 1977), Sat, 2:20, 7, and Logan’s Run (Anderson, 1976), Sat, 4:35, 9:15. •Throne of Blood (Kurosawa, 1957), Sun, 1:30, 6:15, and Macbeth (Polanski, 1971), Sun, 3:35, 8:20.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Eames: The Architect and the Painter (Cohn and Jersey, 2011), call for dates and times. The Artist (Hazanavicius, 2011), Dec 9-15, call for times. Golf in the Kingdom (Streitfeld, 2010), Dec 9-15, call for times. Sutro’s: The Palace at Land’s End (Wyrsch, 2011), Sun, 4:15. Filmmaker Tom Wyrsch in person.

JEWISH COMMUNITY CENTER OF THE EAST BAY 1414 Walnut, Berk; (510) 848-0237, www.brownpapertickets.com. $6-8. San Francisco Jewish Film Festival presents: The Matchmaker (Nesher, 2010), Thurs, 7:30.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Jeanne Moreau: Enduring Allure:” The Trial (Welles, 1962), Wed, 7; The Fire Within (Malle, 1964), Thurs, 7; Mademoiselle (Richardson, 1966), Sat, 6:30; The Bride Wore Black (Truffaut, 1968), Sat, 8:35; Chimes at Midnight (Welles, 1966), Sun, 3. “Southern (Dis)comfort: The American South in Cinema:” God’s Little Acre (Mann, 1958), Fri, 7; The Intruder (Corman, 1962), Fri, 9:10; Wise Blood (Huston, 1979), Sun, 5:15. Theater closed Dec 12-Jan 11.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. House of Boys (Schlim, 2010), Wed-Thurs, 7, 9:15. “Holidays with the Human Centipede!”: The Human Centipede (First Sequence) (Six, 2009), Fri, 7:30; The Human Centipede 2 (Six, 2011), Fri, 9:20. “2 Drunk 2 Die Hard:” Die Hard (McTiernan, 1988), Thurs, 7:30. “Southern (Dis)Comfort: The American South in Cinema:” Reflections in a Golden Eye (Huston, 1967), Sat, 2:45, 7; The Strange One (Garfein, 1957), Sat, 5, 9:15; Two Thousand Maniacs! (Lewis, 1964), Sun, 5:15, 9:15; God’s Little Acre (Mann, 1958), Sun, 2:45, 7; Moonrise (Borzage, 1948), Mon, 6:45; Swamp Water (Renoir, 1941), Mon, 8:30; Poor White Trash (Daniels, 1957), Tues, 6:15; Hurry Sundown (Preminger, 1967), Tues, 8.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $12-15. “An Evening with Don Hertzfeldt,” Thurs, 7, 9:15. “The Dardy Family Home Movies By Stephen Sondheim By Erin Markey,” Fri-Sat, 8; Sun, 6.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-10. Louder Than a Bomb (Jacobs and Siskel, 2010), Thurs and Sat, 7:30; Sun, 2. “From Muppets to Metal: Music Movies:” Saxon: Heavy Metal Thunder — The Movie (Coolhead Productions, 2010), Fri, 7, 9:30.

Rep Clock

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Schedules are for Wed/23-Tues/29 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Other Cinema:” The Price of Sex (Chakarova, 2011), Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “Woody Wednesdays:” •Stardust Memories (Allen, 1980), Wed, 3:15, 7, and Vicky Christina Barcelona (Allen, 2008), Wed, 5, 8:45. The Sound of Music (Wise, 1965), Nov 25-Dec 4, 7 (also Fri/25 and Sat-Sun, 1). Presented sing-along style; this event, $10-15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Melancholia (von Trier, 2011), Wed-Thurs, call for times. “The Films of John Korty:” The Autobiography of Miss Jane Pittman (1974), Sun, 1 (free admission); “A Variety of Shorts,” Sun, 7.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Southern (Dis)Comfort: The American South in Film:” The Beguiled (Siegel, 1971), Sat, 6; Hurry Sundown (Preminger, 1967), Sun, 3. “Jeanne Moreau: Enduring Allure:” La notte (Antonioni, 1961), Sat, 8:10; Diary of a Chambermaid (Buñuel, 1964), Sun, 6. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” Three Heroines (1938), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Dragonslayer (Patterson, 2011), Wed-Thurs, 8:15, 9:40. Public Speaking (Scorsese, 2010), Wed-Thurs, 6:30. The Woodmans (Willis, 2010), Wed-Thurs, 7, 9. “Loads of Curt McDowell,” Sat-Mon, call for times. “It’s the Paul Meinberg Show!”, Tues, 7. Sigur Rós: Inni (Morisset, 2011), Nov 25-Dec 1, 7, 8:30 (also Sat-Sun, 3, 5).

Rep Clock

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Schedules are for Wed/16-Tues/22 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $5-10. “Periwinkle Queer Cinema: Food!,” adults-only shorts program, Wed, 8. “Beautiful Moving Images,” shorts program, Thurs, 8. SF Cinematheque presents: “Once It Started It Could Not End: Cut-Ups and Collage by Sears, Cox, Kennedy, and Rosentrater,” Fri, 7:30. “Other Cinema:” works about place and the sensibility it informs by Angela Reginato, Greg Berger, and others, Sat, 8:30.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $17.50-20. “Opera and Ballet at the Balboa Theatre:” Adriana Lecouvreur, performed by the Royal Opera House, London, Wed, 7:30; Esmeralda, performed by the Bolshoi Ballet, Sat-Sun, 10am; Tues, 7:30.

CALIFORNIA COLLEGE OF THE ARTS Timken Lecture Hall, 1111 Eighth St, SF; www.cca.edu. Free. “Cinema Visionaries: An Evening with Barry Jenkins,” short film screening and discussion, Tues, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “Woody Wednesdays:” •Crimes and Misdemeanors (Allen, 1989), Wed, 3, 7, and Deconstructing Harry (Allen, 1997), Wed, 5, 9. “Greta Garbo Double Feature:” •Ninotchka (Lubitsch, 1939), Thurs, 2:45, 7, and Grand Hotel (Goulding, 1932), Thurs, 4:45, 9:05. Dark Country in 3D (Jane, 2009), Fri, 7:30. With director-star Thomas Jane in person. “Harry Potter Marathon:” Harry Potter and the Sorcerer’s Stone (Columbus, 2001), Sat, noon; Harry Potter and the Chamber of Secrets (Columbus, 2002), Sat, 2:50; Harry Potter and the Prisoner of Azkaban (Cuarón, 2004), Sat, 6; Harry Potter and the Goblet of Fire (Newell, 2005), Sat, 8:35; Harry Potter and the Order of the Phoenix (Yates, 2007), Sun, noon; Harry Potter and the Half-Blood Prince (Yates, 2009), Sun, 2:30; Harry Potter and the Deathly Hallows — Part 1 (Yates, 2010), Sun, 5:30; Part 2 (2011), Sun, 8:10. Thirty-minute break between Secrets and Prisoner on Sat and Prince and Hallows — Part 1 on Sun; $12 each day for all four films.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Le Havre (Kaurismäki, 2011), Wed-Thurs, call for times. The Help (Taylor, 2011), Thurs, 6:30. With filmmakers and stars Viola Davis and Octavia Spencer in person; tickets, $20. Melancholia (von Trier, 2011), Nov 18-24, call for times. M*A*S*H* (Altman, 1970), Sun, 2. With Elliot Gould in conversation with Norman Solomon. “The Films of John Korty:” Funnyman (Korty, 1967), Sun, 7. “A Century Ago: The Films of 1911,” hosted by Randy Haberkamp with piano accompaniment by Michael Mortilla, Mon, 7.

EMBARCADERO CENTER CINEMA One Embarcadero Center, SF; www.sffs.org. $12-20. “New Italian Cinema:” The Jewel (Molaioli, 2011), Wed, 6:30 and Fri, 1; This World Is for You (Falaschi, 2011), Wed, 9:15 and Sun, 3:30; The Father and the Foreigner (Tognazzi, 2010), Thurs, 6:30 and Sun, 12:30; Some Say No (Avellino, 2011), Thurs, 9:15 and Sat, 9:30; A Quiet Life (Cupellini, 2010), Fri, 6:30; 20 Cigarettes (Amadei, 2010), Fri, 9:30; One Life, Maybe Two (Aronadio, 2010), Sat, 4; The First Assignment (Cecere, 2010), Sat, 6:30; Habemus Papam (Moretti, 2011), Sun, 6:30, 9:15.

FOUR STAR 2200 Clement, SF; lntsf.com/chinese_american_film_festival_2011. $5. “Chinese American Film Festival,” new films from China and Hong Kong, Nov 16-22.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alternative Visions:” “Space is the Place: Recent Avant-Garde Shorts,” Wed, 7:30. “Behind the Scenes: The Art and Craft of Cinema: Phil Tippett, Special Effects Master:” Starship Troopers (Verhoeven, 1997), Thurs, 7; The Seventh Voyage of Sinbad (Jurad, 1958), Fri, 7. With Tippett in person. “Southern (Dis)Comfort: The American South in Film:” The Story of Temple Drake (Roberts, 1933), Fri, 9:10; Suddenly, Last Summer (Mankiewicz, 1960), Sat, 8:15. “Abbas Kiarostami: The Fragility of Life:” Through the Olive Trees (1994), Sat, 6; A Taste of Cherry (1997), Sun, 4:30. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” Three Songs of Lenin (1935/38), Sun, 2.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. N.A.S.A.: The Spirit of Apollo (Garon and Spiegel, 2011), Wed, 7:30, 9:30. X: The Unheard Music (Morgan, 1986), Thurs, 7, 9:30. Gainsbourg: A Heroic Life (Star, 2010), Wed-Thurs, 6:45. Gainsbourg: The Man Who Loved Women (Forneri, 2011), Wed-Thurs, 9:15. Dragonslayer (Patterson, 2011), Nov 18-24, call for times. The Woodmans (Willis, 2010), Nov 18-24, 7, 9 (also Sat-Sun, 3, 5).

SFFS | NEW PEOPLE CINEMA 1746 Post, SF. Pipe Dreams (Iwerks, 2011), Wed, 7. Benefit for the San Francisco Green Film Festival. Contact info for this event www.sfgreenfilmfest.org; tickets $15-25. California State of Mind: The Legacy of Pat Brown (Rice and Armstrong, 2011), Thurs, 2, 4:30, 7, 9:30. Contact info for this event www.sffs.org; tickets $10-11.

VICTORIA 2961 16th St, SF. Yogawoman (Clere, 2011), Thurs, 7. Contact info for this event yogawoman.eventbrite.com; tickets $15. “Fall 2011 San Francisco Underground Short Film Festival:” “Act One,” Sat, 7:30; “Act Two: After Dark,” Sat, 10:30. Contact info for this event www.peacheschrist.com; tickets $15-20.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. Love Streams (Cassavetes, 1984), Thurs, 7:30; Sun, 2.

The (theater)-sporting life: BATS Improv turns 25!

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It was 1986, the year of Top Gun, Dallas, “Hands Across America,” and “Papa Don’t Preach.” In San Francisco, a comedy troupe called Fratelli Bologna joined forces with Seattle Theatresports’ Rebecca Stockley, and the rest was history. Bay Area Theatresports, now known as BATS Improv, marks its 25th anniversary this year with a special show Sat/12 — a one-off celebration smack-dab in the company’s already-packed calendar of weekly shows. How does an arts organization stay so energetic after 25 years? Could a certain flair for improv have something to do with it? I spoke with BATS artistic director Kasey Klemm to get the scoop.

San Francisco Bay Guardian: What’s your history with the company?

Kasey Klemm: I started taking classes at BATS when I was 17, back in 1997. I’ve been with the organization ever since. I just became artistic director in April of this year. I’m just at the beginning of my three-year term.

SFBG: Is that an elected position?

KK: It’s an open job position, so anyone in the main stage company is allowed to apply for it. People put together their artistic vision for where they want to develop and see the company grow, and move toward, as well as some organizational stuff. How they kind of functionally see the company working with each other, and developing as artists as well, so that we’re not just staying stagnant and doing the same stuff, and we keep challenging each other. And also, a proposed six-month calendar.

SFBG: How do you think BATS has managed to stick around for 25 years?

KK: This organization has got a tremendous amount of heart behind it, and it really is the people that make it [that way]. We were just looking at some old photos that we had blown up for our lobby for the 25th anniversary display, and we have this company photo from, I think it was 1989. And it was about nine people who were with us in ’89, still with us today. Phenomenal actors, and not people who are staying here because they have no other choice, but because the work that we do is so rewarding, both for the audience and personally as an artist. It’s really a thrill to literally go do something new every night. It’s exciting and the craft of it keeps you coming back for more.

I also think it’s because we’re an organization that really values stories, and stories that are driven by relationships and truth, versus trying to make something funny happen. That keeps people connected and interested much more than trying to be funny, or if this were a group where people were trying to outshine each other. But there’s a real passion for telling truthful, connected stories. And what happens is, because it’s being improvised, the result is often much more hilarious than anything that could have been written.

SFBG: So does BATS identify as a comedy group, or more just as a theater troupe?

KK: We self-identify more as a theater group. In some of our marketing, we started using the term “comedy theater,” but the word theater is really important and central to what we do, because it’s not about doing sketches or telling jokes. It’s about creating theater that an audience can connect with and can be moved by, whether it’s moved to uproarious laughter, or tears sometimes. We’re after that sincere stuff, the sincere human experiences that are traditionally at the roots of theater.

SFBG: Do you think having strong improv skills has helped the company beyond just performing onstage?

KK: Absolutely. There’s a culture of yes, and being inclusive, so it’s an organization where everybody’s voice gets to be heard. We’re really good at communicating with each other, because you need to be. And we honor that kind of direct and honest communication with each other. Everybody knows that everybody else is here for the same reason: because we love doing theater-based improvisation. We’re a group that all has the same goal: we’re all artistically in pursuit of a very special kind of theater that we think only gets created through making it up on the spot.

With that, you get to know each other very well. Our main stage company is 19 people right now, some of whom have been around for the whole 25, some who are as new as having joined us last year. But because of the way we work onstage, we’re very connected to each other.

SFBG: Why do you think Bay Area audiences love improv so much?

KK: Well, it’s not boring! There’s a lot of theater out there that for whatever reason, doesn’t connect with every audience. An experimental new play might not be any good. But if we’re in the middle of something, we’ve got the ability to go, “Hey, this is not very good. Let’s change it up, let’s start again.” And everybody can laugh with the release of that kind of tension or pressure, so you don’t have to sit through stuff that’s not working.

As an audience member, when you’re watching the improv happen onstage, you’re much more engaged than in a scripted play, because you know the actors are creating it on the spot, so there’s a part of you that’s always creating these shadow stories: “Oh, I bet those two characters are going to end up romantically linked together.” So they’re creating the story with us. And it’s a much more engaging type of theater than one that’s just being told to the audience.

I think that’s why you get those moments where 200 people laugh at the same time, because we’ve just put our finger on something that everybody was thinking, whether it was conscious or subconscious. We tap into this kind of group experience with it, and there’s this explosion of laughter that happens from just hitting some sort of primal truth that exists in that moment, in that theater, with these particular actors onstage, and these particular audience in the house.

SFBG: What’s the backstory on the 25th anniversary show this weekend?

KK: This weekend we’re celebrating the 25th anniversary of the first Theatresports show in San Francisco. So 25 years ago there was a group of local actors that was kind of housed by a group called Fratelli Bologna, who brought their friend down from Seattle, Rebecca Stockley, who’s now with us here at BATS. And she started teaching some workshops on the Theatresports format, which is creating theater with this kind of imaginary hook of it being a competition that draws people forward in their seats the same kind of way that a sporting event would, and gives the actors a lot of opportunities to create a lot of different types of theater in one night.

For a scene where there wasn’t much improvisation happening, there were mostly scripted actors, to be able to work in film noir, and Tennessee Williams, and play a silly game all on the same night created this kind of magic that everyone got really inspired by. So 25 years ago on November 10, 1986, they did the first public performance of Theatresports in San Francisco, and there was such a great response from the audience and from the players that those players went, “There’s something here. We want to keep doing this!” So that group went on and formed Bay Area Theatresports, which is now known as BATS Improv.

On Saturday night, we’re going to have a Theatresports match that’s going to be hosted by one of our founding members, and it’s going to feature two teams of improvisers that are a mix of some of our most veteran players, and some of our newest players, and they’re going to do about a 70-minute Theatresports match, and after that we’re going to hold a champagne and dessert reception with the cast and audience. We’re going to have people there from our history who’ve been important to us, longtime fans, etc. So it’s going to be a big community celebration.

SFBG: What else is coming up for BATS Improv?

KK: More great theater! We’re doing Theatresports on Friday nights through the end of the year. On Saturday nights in November we’re doing a format called “Family Drama,” which is an improvised three-act play, done very much in the classical stage play format. It’s a single set that the audience helps endow at the beginning of the show; each actor only plays one character, there are no cuts or time jumps. It’s a very straight-ahead, relationship-driven, three-act play.

In December, we’re bringing back a show called “Very Merry Murder Mystery!,” which is a British whodunnit with the hook being that not even the improvisers know who committed the murder. It’s a very strongly character-driven piece that feels very much like a big, silly Agatha Christie play. It’s a really fun show filled with a bunch of surprises.

“BATS Improv 25th Anniversary”
Sat/12, 8 p.m., $30
Bayfront Theater
Fort Mason Center, Marina at Laguna, SF
(415) 474-6776
www.improv.org

Rep Clock

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Schedules are for Wed/9-Tues/15 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. “Brazil on Screen:” Bandido de Luz Vermelha (Sganzerla, 1968), with “O Vermelha Luz do Bandido” (Jorge, 2009), Fri, 8. “Other Cinema:” works by archival compilation master Bill Morrison, Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. “Woody Wednesdays:” •Annie Hall (Allen, 1977), Wed, 3, 7, and Hannah and Her Sisters (Allen, 1986), Wed, 4:50, 8:50. The Man Who Fell to Earth (Roeg, 1976), Thurs, 2:30, 5:15, 8. “Midnites for Maniacs: Lost in No Man’s Land:” •FernGully: The Last Rainforest (Kroyer, 1991), Fri, 7:30; Romancing the Stone (Zemeckis, 1984), Fri, 9:30, and Ishtar (May, 1987), Fri, 11:45. $12 for all three films. “3rd I International South Asian Film Festival:” Gamperaliya (Peries, 1964), Sat, noon; I Am Sindhutai Sapkal (Mahadevan, 2010), Sat, 2:30; A Letter of Fire (Handagama, 2005), Sat, 5:10; Delhi Belly (Deo, 2011), Sat, 9:15. More info at thirdi.org/festival. •Flash Gordon (Hodges, 1980), Sun, 2, 4, and Dune (Lynch, 1984), Sun, 4:10, 9:15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Le Havre (Kaurismäki, 2011), Nov 11-17, call for times. Crimebuster: A Son’s Search for His Father (Dematteis, 2011), Sun, 2. Between Two Worlds (Kaufman and Snitow, 2011), Mon, 7.

EMBARCADERP CENTER CINEMA One Embarcadero Center, SF; www.sffs.org. $12-20. “New Italian Cinema:” A Quiet Life (Cupellini, 2010), Sun, 1; The First Assignment (Cecere, 2010), Sun, 3:45; Our Life (Luchetti, 2010), Sun, 6:30, 9:30; It’s Happening Tomorrow (Luchetti, 1988), Mon, 6:30; Ginger and Cinnamon (Luchetti, 2003), Mon, 9; 20 Cigarettes (Amadei, 2010), Tues, 6:30; One Life, Maybe Two (Aronadio, 2010), Tues, 9:15.

EXPLORATORIUM McBean Theater, 3601 Lyon, SF; www.exploratorium.edu. $5. “The Last Kodachrome Movie: Recent Works in Obsolete Color,” Wed, 7:30.

NINTH STREET INDEPENDENT FILM CENTER 145 Ninth St, SF; www.artwithimpact.org. Free. Slingshot Hip-Hop (Salloum, 2008), Thurs, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alternative Visions:” El Valley Centro (Benning, 1999), Wed, 7:30. “Romani Culture:” The Shutka Book of Records (Manic, 2005), Thurs, 7:30. “Southern (Dis)Comfort: The American South in Film:” House by the River (Lang, 1950), Fri, 7; The Fugutive Kind (Lumet, 1960), Fri, 8:50. “Abbas Kiarostami: The Fragility of Life:” And Life Goes On… (1992), Sat, 6 and Sun, 3. “Jeanne Moreau: Enduring Allure:” Jules and Jim (Truffaut, 1961), Sat, 8; Touchez pas au grisbi (Becker, 1953), Sun, 4:50. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” Stride, Soviet! (The Moscow Soviet in the Present, Past, and Future) (1926), Tues, 7.

PALACE OF FINE ARTS 3301 Lyon, SF; (415) 554-0525, www.americanindianfilminstitute.com. Free-$20. “36th Annual American Indian Film Festival,” Thurs-Sat.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. “3rd I International South Asian Film Festival:” Big in Bollywood (Bowles and Meehan, 2011), Wed, 7:20; “The Family Circus: Local Short Films,” Thurs, 7:20; Ashes (Naidu, 2010), Thurs, 9:30; Patang (Bhargava, 2010), Fri, 7:20; Semshook (Kumar, 2010), Fri, 9:45; Flying Fish (Pushpakumara, 2011), Sun, noon; Way of Life (Driver, 2011), Sun, 12:20; The Boxing Ladies (Nandakumar, 2011), plus shorts, Sun, 2:30; The Image Threads (Vijay, 2010), Sun, 2:40; Play Like a Lion: The Legacy of Maestro Ali Akbar Khan (Mellars, 2011), Sun, 4:30; What Is Time? (Pasha, 2009), Sun, 6; Pudhupettai (Selvaraghavan, 2006), Sun, 7:20. More info at thirdi.org/festival. Gainsbourg: The Man Who Loved Women (Forneri, 2011), Wed-Thurs, 7, 9. “International BowWow Doggy Film Festival,” Sat, 12:30. This event, $10-90. Public Speaking (Scorsese, 2010), Mon-Tues, 7, 8:45.

SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Bay Area Community Cinema Series:” We Still Live Here (Makepeace, 2011), Tues, 5:45.

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $5 donation. “The Vortex Incarnate:” •Bedazzled (Donen, 1967), Thurs, 9, and The Car (Silverstein, 1977), Thurs, 11.

WALT DISNEY FAMILY MUSEUM 104 Montgomery, the Presidio, SF; www.waltdisney.org. $12-20. “The 11th Hour: A Sampling of Shorts from World War II,” Fri, repeats throughout the day starting at 11am.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. Urbanized (Hustwit, 2011), Wed-Thurs, 4, 6, 8. “Manila! Manila!”, reading and screening with author R. Zamora Linmark, Fri, 7 (free event). The Dream of Eleuteria (Zuasola, 2010), Sat, 7:30; Sun, 2.

Far from heaven: Sam Brower takes aim at the FLDS church in “Prophet’s Prey”

2

If you read Jon Krakauer’s 2003 book Under the Banner of Heaven, and followed the trial of Warren Jeffs — notorious leader of the Fundamentalist Church of Christ of Latter-Day Saints, now in jail for life for sexual assault (after a stint on the FBI’s 10 Most Wanted List) — you’ll dig Sam Brower’s Prophet’s Prey (Bloomsbury, 336 pgs., $27).

Brower’s book, subtitled My Seven-Year Investigation into Warren Jeffs and the Fundamentalist Church of Latter-Day Saints, is the thrilling and disturbing tale of the private investigator’s relentless crusade for justice — not just in the Jeffs case, but against high-ranking FLDS members across Texas, Utah, Arizona, and beyond. The sect, which is completely removed from mainstream Mormonism, is best-known for its polygamist beliefs, often pairing underage brides with elderly church leaders (Jeffs is estimated to have over 50 wives, including the two, ages 12 and 15, that he was convicted of assaulting). They’re extremely well-funded, with leaders who live in mansions even as the rank-and-file go hungry. They also don’t care much for outsiders.

In Brower’s estimation, the FLDS church is “an organized crime syndicate that specializes in child abuse” — after reading his book (with a preface by Krakauer), you’ll tend to agree. He’ll be reading in Berkeley Tues/15; I caught up with him by phone at his home in snowy Cedar City, Utah, just over an hour’s drive from FLDS stronghold Short Creek, an isolated community straddling the Utah-Arizona border.

San Francisco Bay Guardian: I was just watching the recent clip of you on Dr. Phil, opposite former FLDS spokesperson Willie Jessop [an antagonistic figure in Prophet’s Prey]. That must have been an interesting experience.

Sam Brower: It was. It was weird, first of all, being there with Willie, who’s been on the opposite side of things throughout this whole ordeal. And then, Willie showed his true colors — he can’t answer a question and lies at the drop of a hat.

SFBG: He was in the news a couple of weeks ago, when the story broke about one of Warren Jeffs’ wives escaping from the church compound. I think you were quoted in the article, actually.

SB: Yeah, could be. One of Warren Jeffs’ wives took off, which is a very rare occurrence. This is the second one — the first one, I wrote about in the book; her name was Janetta — so it’s kind of a weird thing that they would actually let one of his wives get out of their grip, you know. And then just recently I heard that she has gone back to him. She’s with her family now, and so she’s back in the FLDS from what I understand. I was just waiting for that to happen. I know that they can’t afford to have one of Warrens wives out and talking, and that they’ll stop at nothing to try and get her back.

SFBG: You talk about this in the book a bit, but why is it so hard for them to escape?

SB: Number one, it’s not like they’re brainwashed. A lot of people use the term brainwashed, but it’s much, much deeper than that. They’re indoctrinated. It’s a cultural thing, and they really have no understanding of any other parts of the world. Their entire existence revolves around their life with the prophet. Many of them don’t have birth certificates. They don’t have drivers’ licenses. They’re with “caretakers,” they’re called — so there’ll be a group of wives and children that are being watched over by their caretakers.

In fact, it would be hard to trace wives, because they have no credit. They’re like non-entities. So it’s easier to trace their caretakers, the guys that are watching them. So they’re being watched constantly. They’re being shuttled around from place of refuge to place of refuge, and so, you know, they just don’t have a life or a world outside the relationship with Warren Jeffs and the church. So for [the wife who recently escaped] to get away is highly unusual, and my understanding was that she was in her stocking feet. She literally ran away.

SFBG: Do you think she had her own children that she left behind?

SB: I don’t know if she does or not. Some of his wives have not had children, mostly because there’s just so many wives. By the same token, some very young wives do have children, too. And I know that part of their existence is a very deviant existence, it’s a very deviant life — some of the things that came out in Warren’s trial regarding, basically, ritualistic orgies with his wives, in which he would say, “We all have to participate.” It was something that, before they became involved with Warren, was completely foreign to them. And it has to rock them a little bit to go from absolutely no sex education, no idea what it’s even about, to such a bizarre world.

SFBG: Warren Jeffs is serving a life sentence. Is he still in charge of the church?

SB: He’s running the show from prison as much as he can. While he was in jail, he had more access, because he was spending tens of thousands of dollars a month on calls from the jail. Now that he’s in prison he’s more restricted, but he still gets a 15-minute phone call every day, and he has two hours’ worth of visits on Saturday and on Sunday. And there are people who are called to visit him for those two hours on each day, and take down his revelations and notes and orders to the people.

So he’s still running the show, not as freely as had been in the past, but he still is, and he has his brother, Lyle Jeffs, who is now the prophet’s mouthpiece — the man who’s running the show on the ground, who is just as bad as Warren. Some people say he’s worse. And he also has his places of refuge all around the country in Colorado, South Dakota, and Texas, and different compounds. He has little kind of clones of himself there who also run those operations as well.

It’s a little bit of both: he’s still overseeing everything. He still has his input in everything. But he’s gotten rid of anybody within his crime syndicate that has any kind of moral compass, and instilled people who are blindly obedient and will do whatever he tells them to do.

SFBG: In the book, the first case that draws you into the FLDS world illustrates that obedience: a family nearly loses their home after the father is kicked out of the church, seemingly on a whim, and nobody outside of his immediate family questions the decision. How come nobody rebels?

SB: That’s the hardest thing for us, people on the outside, to wrap our minds around. And I think that’s what really grabbed me when I first started working on it, when I saw [the recently excommunicated man] Ross Chatwin holding up a copy of [history book] The Rise and Fall of the Third Reich [in a newspaper photo]. I read that book when I was a kid, and in my mind I was thinking, “Good grief, when I was a kid and read that book, I couldn’t understand what would make this whole country do whatever this madman told them to do!” And that’s what Ross Chatwin was saying.

And sure enough, I go down to [Short Creek], and good grief, there’s 10, 15 thousand people that’ll do anything that this guy tells ’em. He tells them to leave their home, their family, kids, and go repent from a distance, and they do it, and the wives go to another man. It’s nuts, crazy. It took me a long time to kind of get a feel for it. I still struggle with it. It goes back again to this deep-seated cultural thing, where blind obedience gets you stature within the culture. The more you can demonstrate this obedience, the more you demonstrate your faith, and the higher up on the pedestal you are.

It’s to the point where, this is an example, a mother who’s a nurse has a daughter who is hemorrhaging. The daughter was married off at 14 to some old lecher, and she’s hemorrhaging and about ready to die, and the mother won’t take her daughter to the hospital because Warren Jeffs told her not to, because they might be able to trace her to the “priesthood,” quote-unquote, and it may result in charges. It may lead them to the prophet. And she doesn’t do it. She’s willing to let her daughter die to prove her obedience and her faith. It illustrates how there are no boundaries there.

I’ve thought many times that, had not there been a handful of people that went after Warren Jeffs and tried to expose these things, how would it have ended? In fact I still worry about that. Would it have been another Waco, or another Jonestown? Right now there are edicts coming down that are out in Short Creek that there can be no more sex, period. Not even for procreation. They can’t watch TV, listen to the radio, read books, magazines, newspapers. Get on the internet. Nothing. They have no hope in their lives, no joy. It makes me wonder, how’s this all going to end? Is going to be, just a vision, some kind of huge manifestation of their faith that ends in some other tragedy? What’s going to happen?

SFBG: If their leader is in jail and they’re all behaving the same way, is there any hope for the future?

SB: I wish I knew. The way it appears now is that it’s just getting worse. Lyle Jeffs is a real mental case himself, and he’s the one who’s running the show now. I have a client, actually a half brother of Lyle and Warren, who wants to have his children. They’re his children. He has legal custody of them. But Lyle has taken them and is hiding the children from him. So we’re having to go to court, and jump through all these hoops to try and get this guy’s children back. And for some reason Lyle just doesn’t want him to have these children. Because he’s received some revelation saying that he shouldn’t have his own children.
I see it just continuing to get worse and worse. It’s anybody’s guess, really.

SFBG: You mentioned earlier that the church is like a “crime syndicate” — is that sort of the go-to argument to convince people who wonder about freedom of religion in this case?

SB: The freedom of religion thing is the FLDS’s wild card. You know, they try and go around and say that people are going after them because they’re an unpopular religion, and they practice polygamy, or whatever. But the fact is, they have turned into a crime syndicate that specialized in child abuse. And everything they do is in support of their illegal activities. They marry little girls off as young as 12 years old. They groom them from the ages of eight, nine, even younger, to become “heavenly comfort wives.”

You know, you can can believe whatever you want, as part of your religious doctrine or theology. If you want to believe that it’s OK to sacrifice virgins and throw them in a volcano, that’s fine. But when you start acting on those beliefs — when you start breaking the law — then it’s not OK anymore. And that’s what they’ve done. They’ve regressed to the point where, anything they do, anything that’s in violation of the law is, to them, within their rights to do that. That’s part of their free exercise of religion. And that’s not true. That’s not what the constitution says. It’s not OK to break the law just because you think it’s part of your religion. You can believe it if you want, but you can’t act on it.

SFBG: In the book, you discuss your own faith as a member of the mainstream Mormon church. I know the two aren’t connected, but is the FLDS church a topic of interest for mainstream Mormons? What’s been their reaction to the book?

SB: I think mainstream Mormons have been very interested in it. It’s one of the few times they’re able to read about it and find out what’s going on without being blamed for it. In fact, I just did a signing in Salt Lake City that was attended by a lot of mainstream church members.

SFBG: It sounds like you’re still very involved in FLDS cases, even now that Warren Jeffs is in prison. What are you up to now, and — as seen in the book — are you still a target for the church?

SB: Yeah, I’m still not on their Christmas list. I still have clients that are FLDS or former FLDS, and am still involved in it, and I guess I will be for as long as they’re still abusing children. It’s been a roller coaster ride and of course they do everything they can to try and get me out of the way, but it hasn’t worked in eight years. I feel sometimes like [the third] Godfather movie, where Michael Corleone says, “Just when I think I’m out, they pull me back in.” I have those moments every once in awhile, but I think I’m probably going to be in it for awhile.

When Warren’s trial happened, it was a good feeling in Texas. Life plus 20. But it was kind of bittersweet at the same time. Because then I leave, and I’ve got another client who’s still struggling to get his kids back. Lyle Jeffs is still doing the same things out in Short Creek. And part of me is going, “Yeah, we’ve come a long way. Things are happening.” But also, it’s still going on, too.

Sam Brower

Tues/15, 7 p.m., free

Books Inc.

1760 Fourth St., Berk.

(510) 525-7777

www.booksinc.net/Berkeley

Deep south

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cheryl@sfbg.com

FILM It’s a sunny day in Los Angeles, and Omi Vaidya is puttering around, looking for a neighbor who’ll loan him a lawnmower. Vaidya is an actor of the “working” (as opposed to “unemployed” or “superstar”) variety, with bit parts on shows like Arrested Development and The Office dotting his resume. Finding work as an Indian American actor can be frustrating — “a lot of it is typecasting,” he notes. Computer nerds and such.

But thousands of miles away in Mumbai, Vaidya’s star is about to explode. Accompanied by a film crew comprised of pals from UC Santa Cruz, he makes the trek to India to attend the premiere of 3 Idiots — a massive movie even by Bollywood standards — in which he has a small but showy part. Big in Bollywood tracks Vaidya’s journey from unknown to chased-down-the-street famous, a process that begins happening literally halfway through the film’s very first screening. (This being Bollywood, the movie is so long there’s an intermission.) Vaidya doesn’t speak much Hindi, but neither does the buffoonish character he plays; the film’s breakout joke, on the scale of “Show me the money” or “I drink your milkshake,” hinges on his confusing the word for “miracle” with the word for “rape.” (Indian audiences find this hilarious, and Vaidya is so endearing it’s almost easy to let that ickiness go.)

Working in a totally unfamiliar environment, directors Bill Bowles and Kenny Mehan, both of whom are slated to appear in person at Big in Bollywood‘s screening at the 3rd I International South Asian Film Festival, are forced to go gonzo at times. Amazingly, fake press passes identifying them as “Hollywood Kitchen” correspondents are all it takes to get their camera onto 3 Idiots‘ red carpet, and later, backstage at a glitzy awards show, where new sensation Vaidya is both co-host and nominee.

As Vaidya enjoys his success, Bowles and Mehan capture an insider’s view of how different the Bollywood and Hollywood industries are. Massive fame, however, evokes the same reaction in any language: “It feels like a zombie movie!” Vaidya exclaims, breathless after dodging an enthusiastic hoard of fans. Despite the adulation, he remains humble — thanks in part to his supportive mother, once an aspiring actress herself, and understanding wife, a PhD student who’s due back for class in SoCal just as Omi-mania starts to overtake India. Having his buddies film his every move probably also helped keep his ego in check, though he doesn’t seem prone to diva-ish behavior anyway: soon after he goes home to L.A., Vaidya — whose imdb.com profile suggests he’s not hurting for gigs — is back tending to his lawn, apparently unruffled about his return to anonymity.

While the 3rd I festival isn’t, alas, screening 3 Idiots, you can get your Bollywood fix with Delhi Belly, which looks to be in the same song-and-dance-infused screwball vein (with a poop-joke title). In a tidy illustration of how insular the industry is, Imran Khan, nephew of 3 Idiots star Aamir Khan (producer of Delhi Belly), plays the lead.

Other fest selections worth noting include Sanjeewa Pushpakumara’s grim (if overly long and rambling) Flying Fish, one of several films from Sri Lanka in this year’s program; its multiple stories are united not by overlapping characters but by a sense of despair in a country ravaged by war. In a program of short films about gender and sexuality, The Boxing Ladies, a doc about a trio of rebellious Kolkata sisters who shock their Muslim family with their shared passion for pugilism, is a standout.

3RD I SAN FRANCISCO INTERNATIONAL SOUTH ASIAN FILM FESTIVAL

Nov. 9-13, $12

Roxie Theater

3117 16th St., SF

Castro Theater

429 Castro, SF

www.thirdi.org/festival

Rep Clock

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Schedules are for Wed/2-Tues/8 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. Yanqui Walker and the Optical Revolution (Ramey, 2010), plus works by Jesse Lerner and others, Sat, 8.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $10-20. Super Natural (2011), Thurs, 7:15. Big-wave surfing doc. The Bolshoi Re-Opening Gala, Moscow (2011), Sat-Sun, 10am.

CALIFORNIA HISTORICAL SOCIETY MUSEUM 678 Mission, SF; (415) 357-1848, www.californiahistoricalsociety.org. Free. “Manzanar Fishing Club: A New Film Documenting the Untold Story of the Largest Mass Detention in U.S. history,” select clips and discussion with filmmakers, Thurs, 5:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-15. •Rebel Without a Cause (Ray, 1955), Wed, 3, 7, and Bigger Than Life (Ray, 1956), Wed, 5, 9:05. •In a Lonely Place (Ray, 1950), Thurs, 3:10, 7, and Party Girl (Ray, 1958), Thurs, 4:55, 8:55. Warren Miller’s Like There’s No Tomorrow (2011), Fri, 8. This screening, $20; more info at www.warrenmiller.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Gainsbourg: A Heroic Life (Star, 2010), Wed-Thurs, call for times. The Bolshoi Re-Opening Gala, Moscow (2011), Sun, 1:30 and Tues, 7.

COUNTERPULSE CounterPulse, 1310 Mission, SF; www.sftff.org. $12-15. “10th Annual San Francisco Transgender Film Festival,” Thurs, 8 (performances); Fri-Sat, 8 (films).

EMBARCADERO One Embarcadero Center, Promenade Level, SF; (415) 554-0525, www.americanindianfilminstitute.com. Free-$20. “36th Annual American Indian Film Festival,” Nov 4-9. Festival continues Nov 10-12 at the Palace of Fine Arts, 3301 Lyon, SF.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alternative Visions:” The Unstable Object (Eisenberg, 2011), Wed, 7:30. “Jeanne Moreau: Enduring Allure:” Bay of Angels (Demy, 1962), Thurs, 7; Elevator to the Gallows (Malle, 1958), Fri, 7; The Lovers (Malle, 1958), Fri, 8:50. “Abbas Kiarostami: The Fragility of Life:” Where Is the Friend’s Home? (1987), Sat, 6 and Sun, 5. “Special Screening:” Red Desert (Antonioni, 1964), Sat, 8. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” Kino-Eye (1924), Sun, 2; The Man with a Movie Camera (1929), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Mindglow (Wohl and Svedas, 2011), Wed, 7:30. With live performances by Bronze and Limosine. Gainsbourg: The Man Who Loved Women (Forneri, 2011), Wed-Thurs, 7, 9. A Hard Day’s Nightmare, Thurs, 7, 9:30. “Not Necessarily Noir:” The Killers (Siegel, 1964), Fri, 6:15, 9:50; Play Misty For Me (Eastwood, 1971), Fri, 8; Brainstorm (Conrad, 1965), Sat, 3:15, 7:45; Blow Out (De Palma, 1981), Sat, 1, 5:40, 9:55; Johnny Guitar (Ray, 1954), Sun, 3:30, 7:30; Female on the Beach (Pevney, 1955), Sun, 1:45, 5:40, 9:40; Teenage Gang Debs (Johnson, 1966), Mon, 8; Girl Gang (Dertano, 1954), Mon, 6:40, 9:40; Jail Bait (Wood, 1954), Tues, 6; Glen or Glenda? (Wood, 1953), Tues, 7:30; Plan 9 From Outer Space (Wood, 1959), Tues, 8:45. Ed Wood screenings hosted by Johnny Legend.

SAN FRANCISCO STATE UNIVERSITY McKenna Theater, 1600 Holloway, SF. “Contact: The Reel and the Real: Humanity’s Search for Extra-Terrestrial Intelligence:” Contact (Zemeckis, 1997), Wed, 6. With astronomer Jill Tarter, inspiration for Jodie Foster’s Contact character, in person; this event, free and more info at www.bayareascience.org. Knuth Hall, 1600 Holloway, SF. In the Wrong Body (Solaya, 2010), Thurs, 7. This event, $10 and more info at www.freethefive.org.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $12-20. “French Cinema Now:” The Screen Illusion (Amalric, 2011), Wed, 5; Le Havre (Kaurismäki, 2011), Wed, 7; Angèle and Tony (Delaporte, 2010), Wed, 9. “Cinema By The Bay:” I Think It’s Raining (Moore, 2011), Thurs, 9:30; “Baywatch!,” shorts program, Fri, 7; The Bat (West, 1926), with a live performance of a new score by Ava Mendoza, Fri, 9:30; “WeOwnTV: Freetown in the Bay,” shorts program, Sat. 2; “Essential SF: Canyon Cinema,” shorts program, Sat, 4:30; The Price of Sex (Chakarova, 2011), Sat, 6:45; Where’s My Stuff? (Burbank, 2011), Sat, 9 and Sun, 4:15; “Reel SF,” shorts program, Sun, 2; “SF360.org Presents: Essential SF,” shorts program, Sun, 7. VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $5 donation. “The Vortex Incarnate:” •Asylum of Satan (Girdler, 1975), Thurs, 9, and The Devil and Max Devlin (Stern, 1981), Thurs, 11. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. Urbanized (Hustwit, 2011), Nov 4-10, 4, 6, 8 (also Sat/5-Sun/6, 2).

Snack time!

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cheryl@sfbg.com

FILM “We are going to eat you!” Accompanied by a close-up shot of a vile, undead head, the iconic poster for Lucio Fulci’s 1979 Zombie clearly delineates the fate of all human flesh. It’s not a threat — it’s a guarantee, oozing with maggots and emphasized with a follow-up promise: “The dead are among us!”

Like all international cult movies of a certain era, Zombie is known by multiple titles; sometimes you’ll see it called Zombie Flesh-Eaters or Zombi 2, since it was released on its Italian home turf as a sequel-in-name-only to George Romero’s 1978 Zombi (better known stateside as Dawn of the Dead). But Fulci’s film is no Romero rip-off; you’ll find zero social commentary or monsters-as-metaphors here. (Sometimes, a zombie is just a zombie.) Fulci, who’d made his name directing salacious giallo films and the occasional spaghetti western, plunged eagerly into full-bore horror; the film’s skin-crawling, buzzing-fly mise-en-scène is jolted throughout with eyeball-popping moments of both terror and what-the-fuckness (key phrase: zombie vs. shark).

As Stephen Thrower notes in Beyond Terror: The Films of Lucio Fulci (an essential tome for its gore-geous photo plates alone), “Fulci’s zombies [are] far more revolting and putrescent than Romero’s.” I’d agree, even with Dawn‘s epic exploding head. But you know what, horror fan? You don’t have to choose. There’s room enough in the world for two zombie kings. It’s been a whole lot easier for Americans to feast on Romero films over the years, though, which is why the Roxie’s three-day screening of Zombie is such cause for excitement. The theatrical re-release is part of a nationwide rollout by Blue Underground, one of the current leaders in the give-trashy-movies-the-classy-DVD-releases-they-deserve movement (the company was founded by William Lustig, director of 1980 cult classic Maniac — speaking of exploding heads).

It’ll hit the screen “in a new 2K High Definition transfer from the original uncut and uncensored camera negative,” so everything will look extra juicy. As of October 25, you can also snatch up Blue Underground’s two-disc “Ultimate Edition,” featuring the new transfer and quite a few extras (though some seem to resemble the extras from Shriek Show’s 2004 two-disc “25th Anniversary” release; diehards will likely repurchase anyway).

If your only exposure to zombies of late has been TV’s The Walking Dead, you need a dose of Zombie. First shot: a gun aimed at the camera; from that moment it never lets up, as big-eyed Tisa Farrow (Mia’s less charismatic sister) travels in search of her missing father to the cursed island of “Matul” with suave newspaper reporter Ian McCulloch (Fulci, dubbed in Noo Yawk-ese, cameos as his editor). Matul happens to be ground zero for the undead apocalypse — filled to the brim with gushing, goregasmic guts. It makes The Walking Dead look like Disneyland. Best Halloween treat ever.

ZOMBIE

Sat/29, 3 and 5 p.m.; Sun/30, 3, 5, 7, and 9 p.m.; Sun/31, 7 and 9 p.m., $5-$9.75

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

Rep Clock

0

Schedules are for Wed/26-Tues/1 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6.66. “Christian Divine’s Eco-Horror Spooktacular,” Sat, 8.

BALBOA 3630 Balboa, SF; www.unaff.org. $10. “United Nations Association Film Festival: Education is a Human Right:” Because We Were Beautiful (van Osch), Wed, 5:30; Paradise Hotel (Tzavella), Wed, 6:50; Forerunners (Wood), Wed, 8:10; Butterflies and Bulldozers (Dunsky and Dunsky), Wed, 9:20.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-15. “Berlin and Beyond Film Festival:” 100 Years of Hollywood – The Carl Laemmle Story (Christiansen, 2011), Wed, 2:30; Lila Lila (Gsponer, 2009), Wed, 4:30; If Not Us, Who? (Veiel, 2011), Wed, 7. For tickets (most shows $12) and more information, visit www.berlinbeyond.com. Metropolis (Lang, 1927), with Giorgio Moroder’s 1984 score, Thurs, 3:30, 5:30, 7:30, 9:15. “Kevin Smith’s Halloween Extravaganza:” •”Jay and Silent Bob Get Old: Live!”, Fri, 7, and Red State (Smith, 2011), Fri, 9:30. •The Red Shoes (Powell and Pressburger, 1948), Sat-Sun, 2:30, 7, and Black Narcissus (Powell and Pressburger, 1947), Sat-Sun, 4:55, 9:30. Closed Mon-Tues.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Margin Call (Chandor, 2011), call for dates and times. The Women on the Sixth Floor (Le Guay, 2011), Wed-Thurs, call for times. Gainsbourg: A Heroic Life (Star, 2010), Oct 28-Nov 3, call for times. !Woman Art Revolution (Hershman Leeson, 2011), Sun, 4:15.

LOST WEEKEND VIDEO 1034 Valencia, SF; www.lostweekendvideo.com. $5. “Zombie Battle Royale:” Kárate a muerte en Torremolinos (Temboury, 2003) with “Attack of the Zombie Luchadores!” (Bandera, 2011), Sun, 8.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10 (reservations required as seating is limited). “CinemaLit Film Series: Discovering Myrna Loy:” Love Crazy (Conway, 1941), Fri, 6.

NINTH STREET INDEPENDENT FILM CENTER 145 Ninth St, SF; www.cutthefilm.com. $6. Cut: Slicing Through the Myths of Circumcision (Ungar-Sargon), Sat, 7.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alternative Visions:” “Films of Chick Strand” (1964-86), Wed, 7:30. “The Outsiders: New Hollywood Cinema in the Seventies:” The Private Files of J. Edgar Hoover (Cohen, 1978), Thurs, 7. “Rainer Werner Fassbender: Two Great Epics:” Berlin Alexanderplatz, Parts XII-XII, Epilogue (1979-80), Fri, 7. “A Theater Near You:” Summer (Rohmer, 1986), Sat, 6:30 and Sun, 4; Four Adventures of Reinette and Mirabelle (Rohmer, 1987), Sat, 8:30. “UCLA Festival of Preservation:” Waiting for Godot (Schneider, 1961), Sun, 6. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” “Kino-Pravda Nos. 18, 20-22” (1924-25), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. San Francisco Documentary Film Festival, Wed-Thurs. For tickets (most shows $11) and more info, visit www.sfindie.com. Gainsbourg: The Man Who Loved Women (Forneri, 2011), Oct 28-Nov 3, 7, 9 (also Sat-Sun, 3, 5). “Halloween Spooktacular:” The Hunger (Scott, 1983), Fri, 7; Nadja (Almereyda, 1994), Fri, 9:30. “20th Anniversary Celebration for David Lynch’s Twin Peaks:” Laura (Preminger, 1944), Sat, 7; Twin Peaks: The Pilot (Lynch, 1990), Sat, 9; Twin Peaks: Fire Walk With Me (Lynch, 1992), Sat, 11. Zombie (Fulci, 1979/2011), Sat, 3, 5; Sun, 3, 5, 7,9; Mon, 7, 9. Some Guy Who Kills People (Perez, 2011), Tues, 7, 9. SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $12-13. “French Cinema Now:” Bachelor Days Are Over (Lewcowicz, 2011), Thurs, 6:15 and Sun, 9; Goodbye First Love (Hansen-Løve, 2011), Thurs, 9 and Sat, 4; Beautiful Lies (Salvadori, 2010), Fri, 1:30 and Sun, 6:30; The Moon Child (Gleize, 2010), Fri, 4 and Sat, 1; The Kid With a Bike (Dardenne and Dardenne, 2011), Fri, 7 and Sun, 4:30; The Long Falling (Provost, 2011), Fri, 9 and Sun, 1:30; The Minister (Schoeller, 2011), Sat, 6:30 and Mon, 9; Four Lovers (Cordier, 2010), Sat, 9:30 and Tues, 9; The Screen Illusion (Amalric, 2011), Mon, 7; Angèle and Tony (Delaporte, 2010), Tues, 7. SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Thursdays at Noon Film Series: When Women Got the Vote:” Standing On My Sister’s Shoulders (2002), Thurs, noon. VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $5 donation. “The Vortex Incarnate:” •Phantom of the Paradise (De Palma, 1974), Thurs, 9, and Poor Devil (Scheerer, 1973), Thurs, 11. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Mexico Rising: The Films of Nicolás Pereda:” Perpetuum Mobile (2009), Thurs, 7:30. Diary of a Country Priest (Bresson, 1951), Sat, 7:30; Sun, 2. New 60th anniversary print restoration.

Rep Clock

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Schedules are for Wed/19-Tues/25 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $7-35. ATA Film and Video Festival: opening reception, Wed, 7; short film screenings, Thurs-Fri, 8; Super 8 film workshop, Sun, 1-4. “Other Cinema:” “Anomalies of the Archive,” Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-15. •Rosemary’s Baby (Polanski, 1968), Wed, 2:20, 7, and Inferno (Argento, 1980), Wed, 4:50, 9:30. “Berlin and Beyond Film Festival:” Almanya: Welcome to Germany (Samdereli, 2011), Thurs, 7; Mount St. Elias (Salmina, 2009), Fri, 3:30; Joschka & Mr. Fischer (Danquart, 2011), Fri, 6; How About Love (Haupt), Fri, 9:15; Winter’s Daughter (Schmid), Sat, 1 and Mon, 4; Little Alien (Kusturica, 2009), Sat, 3; The Poll Diaries (Kraus, 2010), Sat, 6:45; Sennentuntschi (Steiner, 2010), Sat, 6:45; The Tigerduck Gang (Probost), Sun, 11am; Face the Wall (Weinert, 2010), Sun, 1; The Fatherless (Kreutzer, 2011), Sun, 3:30; Bold Heroes (Schaerer), Sun, 6; The Day I Was Not Born (Cossen, 2010), Sun, 8:45; Stopped On Track (Dresen, 2011), Mon, 6:30; Klitschko (Dehnhardt, 2011), Mon, 9:15; Jane’s Journey (Knauer, 2010), Tues, 3:30; Remembrance (Justice, 2011), Tues, 6; The Sandman (Luisi, 2011), Tues, 8:30. For tickets (most shows $12) and more information, visit www.berlinbeyond.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Call for program information.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10 (reservations required as seating is limited). “CinemaLit Film Series: Discovering Myrna Loy:” Manhattan Melodrama (Van Dyke, 1934), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alternative Visions:” “Jordan Belson: Films Sacred and Profane” (1959-2005), Wed, 7:30. “The Outsiders: New Hollywood Cinema in the Seventies:” Bush Mama (Gerima, 1975), Thurs, 7; The Last Picture Show (Bogdanovich, 1971), Sat, 8:40. “Rainer Werner Fassbender: Two Great Epics:” Berlin Alexanderplatz, Parts IV-VII (1979-80), Fri, 7; Parts VIII-XI (1979-80), Sun, 2. “UCLA Festival of Preservation:” Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (Altman, 1982), Sat, 6:30. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” “Kino-Pravda Nos. 14-17” (1922-23), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. San Francisco Documentary Film Festival, through Oct 27. For tickets (most shows $11) and more info, visit www.sfindie.com. SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $8-25. “NY/SF International Children’s Film Festival,” Sat-Sun, 10am. (This event also has programming Fri, 5pm, Premier Theater, Letterman Digital Arts Center, Presidio, SF). •An Injury to One (Wilkerson, 2002), Mon, 6:30, and “Orbit(film)” (curated by Mike Plante), Mon, 8. “Behind the Story: Under Suspicion,” presented by the Center for Investigative Reporting, Tues, 7. SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Thursdays at Noon Film Series: When Women Got the Vote:” •Suffragettes in the Silent Cinema (2008), Give the Ballot to the Mothers (1996), and The Sixth Star (2011), Thurs, noon. “Bay Area Community Cinema Series:” Deaf Jam (Lieff), Tues, 5:45. VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $5 donation. “The Vortex Incarnate:” •Image of the Beast (Thompson, 1980), Thurs, 9, and Devil Dog: Hound of Hell (Harrington, 1978), Thurs, 11. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Mexico Rising: The Films of Nicolás Pereda:” Juntos (Together) (2009), Thurs, 7:30; •Where Are Their Stories? (2007), and All Things Were Now Overtaken By Silence (2010), Sun, 2.

Not just for Halloween: bone tome “Empire of Death”

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Sometimes, you can judge a book by its cover. Case in point: Dr. Paul Koudounaris’ The Empire of Death: A Cultural History of Ossuaries and Charnel Houses (Thames and Hudson, 224 pgs., $50), a hefty black tome emblazoned with shiny gold letters and a photo of a skeleton posed with its arm raised, clad in a helmet and suit of armor.

Sold! So, uh, what’s this book about, now? Koudounaris, whose credentials include a PhD in Art History from UCLA and an innate curiosity about things he terms “bizarre and suspicious,” spent five years traveling the globe learning more about the ancient (and primarily Catholic) practice of massing bones in charnel houses, often with eerily artistic results. He’ll be in town for a series of Empire of Death-related events starting Thurs/20.

To gather the book’s 260 photos (plus dozens of illustrations), the author traveled across multiple continents to 70 different locations, many of which are off-limits to the public. Lest you think he’s some kind of ghoulish Ed Gein type, Koudounaris explains his motivation on his website (a companion source for the book): “The Empire of Death [contains] hundreds of photographs and a text which not only recovers their history, but the history of the religious movement which gave birth to them. This is not a book about the macabre or death. It is a book about beauty and salvation. If you understand that when looking at these photos, then I hope you will choose to read the book.”

And the photos are beautifully presented, with accompanying text to contextualize, and share the significance of, exactly what you’re looking at: a wall of skulls arranged behind a “plague crucifix” in Switzerland; mummified monks posed beneath the memento mori symbol of an hourglass with wings (“time flies”) in Rome; painted skulls and a spectacularly bejeweled skeleton in Germany; and that fellow from Empire of Death‘s cover, martyr St. Pancratius, articulated using a “fine mesh fabric” and dressed in gleaming armor, forever on guard at the Church of St. Nikolaus in Wil, Switzerland.

Koudounaris’ author bio reveals that while he was working on the book, “he managed to become cursed, exorcized, arrested, and manacled by a deranged Italian monk,” so expect some hair-raising storytelling during his Bay Area appearances. Also on tap: slide shows, book signings, and a chance to check out prints of original photos from the book.

Thurs/20, 6:30 p.m., free
Paxton Gate
824 Valencia, SF
www.paxtongate.com

Thurs/20, 9 p.m., $20 (part of a larger event)
Trickster Salon, SF
For location information, RSVP here)

Fri/21, 7 p.m., free
Dark Carnival Imaginative Fiction Bookstore and Escapist Comic Bookstore
3086 and 3090 Claremont, Berk.
www.darkcarnival.com

Sun/23, 8 p.m., free
Dog Eared Books
900 Valencia, SF
www.dogearedbooks.com

A decade of DocFest: more reviews!

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Check out more coverage of the 10th San Francisco Documentary Film Festival in this week’s Guardian.

Beaverbrook (Matthew Callahan, U.S., 2010) If you attended Camp Beaverbrook, which operated in California’s Lake County from 1961-85, this film is required viewing. It offers an intensely wistful look at an old-fashioned sleepaway camp that thrived in an era before insurance companies started frowning on things like helmet-free kids galloping wildly on horseback. If you don’t have Beaverbrook in your blood, however, watching 1979’s Meatballs will offer a similar overdose of nostalgia, plus the huge added bonus of Bill Murray. Sun/16, 5 p.m. and Oct. 18, 7:15 p.m., Roxie; Fri/14, 7:15 p.m., Shattuck.

Heavy Metal Picnic (Jeff Krulik, U.S., 2010) Everyone’s seen Heavy Metal Parking Lot, the 1986 Jeff Krulik and John Heyn short that became a pre-internet cult classic. Shot amid the beer-y, mullet-y, “party-as-a-verb” shenanigans that transpired before a Judas Priest-Dokken show, Parking Lot is a seminal document for metalheads and anthropologists alike. Twenty-five years later, the prolific Krulik, again with Hayn, returns to the subject matter that made him famous with Heavy Metal Picnic, a 666 … er, 66-minute look at an notorious 1985 concert known as “The Full Moon Jamboree” — described as a “heavy metal Woodstock” by the nervous local press at the time. Basically, this is Parking Lot shifted to the Maryland woods; there’s a concert going on in the background (the bigger acts were Pentagram and the Obsessed, but there’s hardly any footage of them; local boys Asylum and show organizer Billy Gordon of Blue Rockers are prominently featured, however) but the main attraction is, as ever, the fans assembled for raucous raging.

Krulik adds depth to the footage shot that weekend (not by him; from what I can tell, he didn’t actually attend) by tracking down various participants — from the show’s perma-grinning hosts to the members of Asylum to the ne’er-do-wells who patrolled the crowds with a video camera, still a novelty at the time, pouncing on pretty girls and eliciting slurred commentary from the assembled shirtless masses — and interviewing the 21st century versions. The film also traipses back to the spot where the party was held, still intact but now closely surrounded by McMansions. Times have changed, hairlines have receded, cut-off T-shirts are no longer fashionable — but the pursuit of establishment-ranking good times remains irresistible. Essential hesher viewing. Sat/15 and Mon/17, 7:15 p.m., Roxie; Oct. 19, 9:30 p.m., Shattuck.

http://www.youtube.com/watch?v=pBdzQxVWnVU

Peep Culture (Sally Blake, Canada, 2011) Sally Blake’s Peep Culture adds one more layer of media to the journey of one Hal Niedzviecki, following him as he agrees (for the documentary) to have cameras installed in his house so he can join the legions of “lifecasters,” everyday folks who believe sharing every detail of their lives will lead to internet-borne fame and possibly fortune. (His wife, who lives in the house too, along with the couple’s young daughter, is less than thrilled by this.) Though his online profile was previously pretty low, Niedzviecki did build up some expertise on the matter: he’s the author of The Peep Diaries: One Man’s Journey into Self-Exposure, Surveillance, and the Future of Voyeurism. But why read the book when you can actually peep at the guy, as he goes about his everyday life (making lunch, sleeping, peeing) on camera?

Fortunately, there’s more to Peep Culture than pee-pee. Niedzviecki also launches an investigation into the movement he’s recently, somewhat reluctantly, become a part of. He visits a few folks who’ve become “famous” due to their online openness, then travels to Hollywood to attend a boot camp for people desperate to get cast on reality TV shows, then checks out the Fox Reality Channel’s headquarters. That channel has since ceased to be, but reality shows are still going strong: hunting the next great American singer or chef, charting the foibles of Teen Moms and Housewives, exposing hoarders of objects and children, manufacturing lavish Kardashian weddings, etc., feeding the belief that absolutely anyone can be famous. (Which is, of course, the most important thing in life ever, aside from getting gloriously rich off that fame … right?) Though Niedzviecki is not the most compelling film subject ever (probably the biggest reason his online “life” never really takes off — he can’t quite put aside how ridiculous the whole thing is, and never lets totally loose) Peep Culture offers a timely take on the overshare era. Oct. 22 and 26, 7:15 p.m., Roxie; Fri/14, 12:30 p.m., Shattuck.

SAN FRANCISCO DOCUMENTARY FILM FESTIVAL
Oct 14-27, $11
Roxie Theater
3117 16th St, SF
Shattuck Theatre
2230 Shattuck, Berk
www.sfindie.com

Rep Clock

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Schedules are for Wed/12-Tues/18 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Other Cinema:” “Gerry Fialka’s PXL This 20!,” films made with the Fisher-Price PXL 2000, Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-15. •Dinner at Eight (Cukor, 1933), Wed, 2:50, 7, and Libeled Lady (Conway, 1936), Wed, 4:55, 9:05. Arab Film Festival: Egyptian Maidens (Amin, 2010), Thurs, 7:30. For tickets ($25) and complete festival information (festival runs through Oct 23 in SF, San Jose, and Berkeley), visit www.arabfilmfestival.org. •Fright Night (Holland, 1985), Fri, 7:30, and Child’s Play (Holland, 1988), Fri, 9:30. “Marc Huestis Presents:” The Bad Seed (LeRoy, 1956), noon, 7:30, 9. With star Patty McCormack in person at noon and 7:30pm shows; for tickets ($10-35), call (415) 863-0611 or visit www.ticketfly.com. •The Exorcist (Friedkin, 1973), Sun, 2:20, 7, and The Exorcist III (Blatty, 1990), Sun, 4:45, 9:25. Pearl Jam Twenty (Crowe, 2011), Tues, 8. Free screening presented by KQED; for reservations (recommended) visit kqed.org/pearljam.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. Mill Valley Film Festival, through Sun/16. Tickets (most shows $13.50) and more info at www.mvff.com.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10 (reservations required as seating is limited). “CinemaLit Film Series: Discovering Myrna Loy:” Penthouse (Van Dyke, 1933), Fri, 6.

OAKLAND METRO OPERA HOUSE 630 Third St, Oakl; www.bloodsweatvinyl.com. $18. Blood, Sweat + Vinyl: DIY in the 21st Century (Thomas), Sat, 6. With performances by Oxbow and Evangelista, two of 20 bands featured in the documentary.

OAKLAND MUSEUM OF CALIFORNIA James Moore Theater, 1000 Oak, SF; www.museumca.org. Free with museum admission ($6-12). “Home Movie Day,” movies submitted by the public as well as from the African American Museum and Library at Oakland, Sat, 1-5.

ODDBALL FILM AND VIDEO 275 Capp, SF; (415) 558-8112, rsvp@oddballfilm.com. $10. “Media Ecology Soul Salon (MESS) with Joey Bishop (aka Ed Holmes),” rare film clips and interview with Holmes by Gerry Fialka, Fri, 8:30.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Paul Sharits: An Open Cinema:” “Paul Sharits: Midcareer Work” (1973-76), Wed, 7:30; “Late Work” (1975-82), Thurs, 7:30. “Rainer Werner Fassbender: Two Great Epics:” World on a Wire (1973), Fri, 7; Berlin Alexanderplatz, Parts I-III (1979-80), Sun, 2. “Home Movie Day:” “Amateur Night: Home Movies from American Archives,” Sat, 6:30. “UCLA Festival of Preservation:” Sleep, My Love (Sirk, 1948), Sat, 8:45. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” “Kino-Pravda Nos. 9–11, 13 (Yesterday, Today, Tomorrow: A Film Poem Dedicated to the October Celebrations)” (1922), Tues, 7.

PIEDMONT 4186 Piedmont, Oakl; (510) 464-5980, www.landmarktheatres.com. $15. The Room (Wiseau, 2003), Fri-Sat, midnight. Director and star Tommy Wiseau and co-star Greg Sestero in person.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. American Teacher (Roth, 2011), Wed-Thurs, 8:45 (also Wed, 6:30). Sleep Furiously (Koppel, 2008), Wed-Thurs, 7, 9. San Francisco Documentary Film Festival, Oct 14-27. For tickets (most shows $11) and more info, visit www.sfindie.com.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $13. “Taiwan Film Days:” Formosa Mambo (Wang, 2011), Fri, 7; Taivalu (Huang, 2011), Sat, 1:30; Pinoy Sunday (Ho, 2009), Sat, 4 and Sun, 7; You Are the Apple of My Eye (Giddens, 2011), Sat, 6; Honey Pupu (Chen, 2011), Sat, 9; The Coming of Tulku (Cheng), Sun, 1; Bear It (Cheng, 2011), Sun, 4:15; Ranger (Chienn, 2010), Sun, 9. SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Thursdays at Noon Film Series: When Women Got the Vote:” Iron-Jawed Angels (von Garnier, 2004), Thurs, noon. SAN FRANCISCO STATE UNIVERSITY Coppola Theater, 1700 Holloway, SF; cinema.sfsu.edu. Free. “SFSU MFA Film Screening,” Thurs, 7:30. VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $5 donation. “The Vortex Incarnate:” •Masque of the Red Death (Corman, 1964), Thurs, 9, and Doctor Faustus (Burton and Coghill, 1967), Thurs, 11. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Mexico Rising: The Films of Nicolás Pereda:” Summer of Goliath (2010), Thurs, 7:30 and Sun, 2.

A decade of DocFest

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cheryl@sfbg.com

>>Read even more Docfest reviews here!

FILM The San Francisco Documentary Film Festival (Oct. 14-27), now in its 10th year, is probably my most-anticipated local film event. One of my favorite docs of all time, Cropsey, first crossed my path at the 2009 fest. This year, I didn’t even try to come up with a coherent theme or find one film to focus on — I just started grabbing titles and watching as many of them as possible. It’s been a gluttonous feast of true stories, friends. Short takes follow, with more online at Guardian blog Pixel Vision.

Ecstasy of Order: The Tetris Masters (Adam Cornelius, U.S., 2011) I can’t think of anything more boring than watching someone else play a video game. Especially Tetris. The goofy, good-natured Ecstasy of Order skirts that basic dilemma by focusing on its subjects, all contenders at the 2010 Classic Tetris World Championship. Most everyone involved was a full-on teenage geek back in gaming’s early days; now, with years of experience under their belts, they’re far more skilled and (for the most part) way less dorky. Trouble is, there’s no villain — unlike 2007’s mighty The King of Kong (an obvious inspiration here), a film elevated by its epic good-vs.-blowdried-evil central conflict. By contrast, Ecstasy‘s crew is comprised of friendly misfits who seem to genuinely enjoy playing against each other; without much drama, the stakes don’t seem as high. Oct. 23, 12:30 p.m., and Oct. 25-26, 9:30 p.m., Roxie.

The Furious Force of Rhymes (Joshua Atesh Litle, France/Germany/U.S., 2010) San Francisco native Joshua Atesh Litle’s vivid, cross-cultural study of contemporary hip-hop offers ample examples of how and why, as one German rapper says, music has become “an international language for those without voices.” After a brief recap of hip-hop’s Bronx, NY origins, the film jets to Paris and Berlin, the West Bank and Israel, and Dakar, Senegal, highlighting performers who rhyme about social injustice, political unrest, racism, immigrant struggles, and other issues affecting their daily lives. Kinda makes you sorry that mainstream American hip-hop has become so superficial and swag-obsessed. Fri/14 and Oct. 20, 9:30 p.m., Roxie; Mon/17, 9:30 p.m., Shattuck.

Holy Rollers (Brian Storkel, U.S., 2010) For a time, one of the most successful card-counting outfits in America was “the Churchteam,” a group of 20-somethings who mapped out a businesslike way of relieving casinos of millions of dollars. Two managers trained a pack of players, who would then travel to Las Vegas and other places, armed with stacks of bills (contributed by investors) and the cojones to cheat until they were “backed off” from the blackjack table. (As 2009’s The Hangover, excerpted here, points out, counting cards isn’t illegal — it’s merely “frowned upon.”) Neat story, but the real hook here is that the Churchteam was comprised almost entirely of practicing Christians; their shared faith insured that nobody would steal from the team’s profits. (Of course, when the team started losing, and theft was suspected, all eyes fastened upon the single non-Christian in the pack.) The fast-paced Holy Rollers tends toward the highly enjoyable, but the Churchteam members are so self-satisfied that they prove difficult to root for at times. Holy smugness, bro! Sun/16 and Oct. 20, 7:15 p.m., Roxie; Tues/18, 9:30 p.m., Shattuck.

Scenes of a Crime (Grover Babcock and Blue Hadaegh, U.S., 2011) Scenes of a Crime proves that “good cop/bad cop” interrogation techniques are used in the real world, not just crime films. It also affirms, distressingly, that the American justice system often travels through murky waters. When a baby dies under mysterious circumstances, his father is taken into custody; after an epic interrogation, he confesses to causing his child’s death, complete with a harrowing demonstration. At his trial, experts argue over the medical evidence, but the police-station videotape remains the case’s most pivotal factor. Was the father guilty, or did he deliver a false confession, egged on by the cops’ manipulative questions? The verdict says one thing; after watching Crime, you may believe another. Oct. 22, 12:30 p.m., and Oct. 24, 9:30 p.m., Roxie; Fri/14, 2:45 p.m., Shattuck.

With Great Power: The Stan Lee Story (Will Hess and Nikki Frakes, U.S., 2011) DocFest’s closing-night film defines “hagiography,” but if you don’t love Marvel Comics maestro Stan Lee, you might not have a pulse. Basically everyone ever associated with a Lee-based project (movie stars, directors, artists) pops up to fawn over the 88-year-old dynamo, but most delightful is the man himself, a hilarious, heartfelt character who has clearly spent his entire adult life working at a job he loves, influencing and entertaining millions along the way. With Great Power doesn’t quite come out and say it, but I will: he’s a real-life superhero. Oct. 23, 9:30 p.m., and Oct. 27, 7:15 p.m., Roxie; Oct. 20, 9:30 p.m., Shattuck.

The Woodmans (Scott Willis, U.S., 2010) Francesca Woodman jumped off a building in 1981 when she was 22, despondent over the fact that her photographs hadn’t found a niche in New York’s competitive art world. She was no stranger to competition — she’d grown up with a parents who placed art-making above all other obligations. Fast-forward to the 21st century, and Francesca remains the most-acclaimed Woodman; her haunting black-and-white photos, often featuring the artist’s nude figure, have proven hugely influential in the realms of both fine art and fashion. She was, as the San Francisco Museum of Modern Art website says (an exhibit of her work opens Nov. 5), “ahead of her time.” Scott Willis’ documentary features extensive interviews with her parents, George and Betty, and to a lesser extent Francesca’s brother, Charles (also an artist); the film is both Woodman bio and incisive exploration of the family’s complex dynamics. Most fascinating is Charles, who remarks of his daughter’s posthumous success, “It’s frustrating when tragedy overshadows work.” But after her death, he took up photography, making images that resemble those Francesca left behind. Sat/15, 7:15 p.m., and Oct. 22, 12:30 p.m., Roxie; Sun/16, 12:30 p.m., Shattuck.

SAN FRANCISCO DOCUMENTARY FILM FESTIVAL

Oct 14-27, $11

Roxie Theater

3117 16th St, SF

Shattuck Theatre

2230 Shattuck, Berk

www.sfindie.com