Aaron Tveit and James Franco in HOWL
The 34th annual Frameline LGBT Film Festival, which remains the largest of its kind in the world, will take place in San Francisco from June 17-27. Packed into those eleven days will be hundreds of narrative films, documentaries, and shorts covering nearly every conceivable angle of the LGBT experience from just about every corner of the globe. After the jump, Spinning Platters helps you narrow it all down by picking three films from each of four main categories.
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Oh Captain Nemo, you know how to bring the crazy!
Although I knew nothing about the silent film 20,000 Leagues Under the Sea, I had high expectations for this evening, all of which were piled on Stephin Merritt’s shoulders. His amazing ability to craft the perfect quirky pop song seemed well suited to the project: creating a live score to a silent film. This is a mainstay of the San Francisco International Film Festival, after last year’s The Lost World with Dengue Fever, and I’m very happy it is. It is a great opportunity for a songwriter/composer to showcase his song-craft and experiment, but composing almost 2 hours of music that will enhance someone else’s work? It’s a tall order for even the most talented and interesting songwriter. [read the whole post]
Of all the movies playing at the San Francisco International Film Festival Jalsaghar (The Music Room) was what I wanted to see most.
An Indian film from 1958 that has been recently restored is not your usual popcorn popping movie. It’s more of a privilege to see and everything about my experience was just that. [read the whole post]
The 53rd annual San Francisco International Film Festival concluded last night, thus ending this year’s edition of one of our fair cities’ most enduring and enriching cinematic traditions. After the jump, I’ll recap some of the festival’s highlights, ranging from Serge Gainsbourg lookalikes and Tilda Swinton speaking Italian, to James Schamus dismissing Brokeback Mountain enthusiasts and Jason Reitman teaching Terry Zwigoff how to be a douchebag.
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Anna Mouglalis and Mads Mikkelsen are quite believable as this iconoclastic pair
“Coco Chanel and Igor Stravinsky” twists the worlds of fashion, art, music and society together. It screams about the new-ness inherent in the early 20th century: in music, in fashion, and in people’s relationships. The film depicts the couple’s passionate affair along with what is billed (by the film) as each of their greatest works: Stravinsky’s ballet “The Rite of Sping” or “Le Sacre du Printemps” and Coco Chanel’s iconic fragrance Chanel No. 5. In this day and age where music and fashion are so intertwined the film successfully takes you into the world of 1920′s Paris where this was far from the truth. Coco Chanel is the unlikely patron here, bringing Igor Stravinsky into her world with money, and with that relationship forged, the pair change each other’s art and direction. [read the whole post]
Rejoice and Shout, the latest music documentary from director Don McGlynn (The Howlin’ Wolf Story, Somewhere Over The Rainbow: Harold Arlen, and many more) is the most thoroughly researched and exhaustive film about African-American gospel music ever committed to film. In telling the story of gospel in America, it simultaneously mirrors the entire narrative of the African-American experience, beginning with slavery and ending with the election of the nation’s first black president. It is an ambitious undertaking, and for the most part, it is successful.
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