Yes, it’s that time of year again. Outside Lands is about to begin, and with it, a slew of great acts you love — as well as a bunch of bands you may have never heard of before. I know that your instinct is to sleep in and show up just in time to let Third Eye Blind know that you do, in fact, believe in science. However, if you do, you are going to miss some of the best music in the festival. The lower part of the poster is where the good stuff hides, so, who knows — you may just stumble across the next Black Keys or Ellie Goulding, both past lower-poster-graduates.
The schedule is out NOW, so you can start planning your weekend. I do believe it’s in your best interest to include some of these acts:
Jordan Kurland has been influential within the Bay Area music scene for over two decades. He helped make Noise Pop a major music festival, and is one of the masterminds behind the Treasure Island Music Festival, currently heading into it’s 10th year. As one of the primary forces behind the mainstream acceptance of Indie Rock, you probably owe about half of your record collection to him. Spinning Platters had the opportunity to talk to this legend about how to book a great festival, the future of Treasure Island Music Festival, and a bit about the new ways bands are getting creative with drumming up revenue.
FYI, Treasure Island Music Festival is October 15th and 16th, and tickets are on sale NOW! Also, Noise Pop 2017 (the 25th year!) Super Fan Badges, went on sale today, and are moving fast. These include admission to 25 shows in the months leading up to next year’s festival, in addition to the entirety of Noise Pop 2017. You can buy this here!
Spinning Platters wraps up its coverage of the 59th San Francisco International Film Festival, which ended last Thursday, May 5th, after showcasing nearly 200 films from over 40 countries. The Fest may be over, but many of its offerings will be released throughout the year, so be sure to use our eight spotlight posts as a guide for potential future viewing.
We conclude our coverage by looking at three final films and two special events.
The Bandit (USA, 2016, 82 min, Closing Night Film)
Burt Reynolds (l.) and Hal Needham during the filming of Smokey and the Bandit.
Local filmmaker Jesse Moss, who found success two years ago with his intense, stunning, but somber documentary The Overnighters, told us at the Q&A after the closing night screening of his new film that after that emotionally wrenching experience, he wanted to go in an opposite direction and make a “fun car comedy” like the films he loved while growing up – films like the ’70s Burt Reynolds-helmed, car chase classic Smokey and the Bandit. Still a documentarian, though, Moss has thus made what he terms the first “action-comedy” documentary. Indeed, as a look at ’70s heartthrob action and comedy star Burt Reynolds and his lifelong friendship with Hal Needham, the Hollywood stuntman turned writer/director who made the iconic Smokey, Moss’s new film succeeds brilliantly at echoing the good ol’ boy charm of the best of Needham and Reynolds’s pictures. Featuring historical interviews with Needham (who passed away in 2013), as well as interviews with former Smokey co-stars, country music stars, friends, colleagues, family, and Reynolds himself, The Bandit is chock full of juicy behind-the-scenes insider stories and enough old TV and movie clips to please the most ardent pop culture fans. As a portrait of both a bygone era of movie-making and, more importantly, of a singular friendship that could shift between respect and rivalry, Moss’s picture mirrors the good natured southern charm of the Reynolds-Needham collaborations, while also examining more serious issues of fame, competition, and deep, enduring friendship. The Bandit took home the Audience Award at SXSW this year, and deservedly so; a genuine crowd pleaser, the picture is a must-see for students of ’70s cinema, and anyone who values engrossing, well-made documentary stories.
Spinning Platters is slowly but surely completing its coverage of the 59th San Francisco International Film Festival. Alas, SFIFF59 ended two nights ago, but we’re here to keep providing you spotlights on little known films that may come to a theater near you in the foreseeable future — so here’s a quick glimpse at four more features!
The Lobster (USA, 2015, 119 min, Added Programs)
Colin Farrell, et al. in THE LOBSTER.
Dark and satirical, romantic and visceral, The Lobster is a bizarre piece of thought-provoking cinema from Dogtooth director Yorgos Lanthimos. Colin Farrell plays a recently single man who checks into a “center” of sorts that focuses on matching romantic couples together — and the ones that don’t succeed in finding love get turned into animals. This peculiar premise and all of its intricacies are treated with extreme informality. The most brilliant aspect of The Lobster is that at the heart of all the odd characters (including top notch performances from John C Reilly, Rachel Weisz, and Ben Whishaw) and morbidly humorous absurdities is a uniquely human story that connects to our innermost societal fears, anxieties, and emotions.
The Lobster will be in Bay Area theaters May 20th.
Last night at Gray Area, the newly remodeled Grand theater, the Golden Gate Award winners of the 59th San Francisco International Film Festival were announced. With tacos and chardonnay in our stomachs, and smiles being exchanged between filmmakers, Film Society members, SFIFF59 staff members, and press members alike, we took time to honor all the films at this year’s festival.
Here are the winning films in the 12 categories announced at the GGA celebration (~$40,000 in prize money):
Golden Gate New Directors (Narrative Feature) Prize:
Winner: The Demons, Philippe Lesage (Canada) Jury note: “The Demons is an extraordinarily perceptive and structurally daring exploration of childhood in all its terrors and anxieties, both real and imagined.”
Special Jury Prize: Mountain, Yaelle Kayam (Israel/Denmark) Jury note: “The film provides a rigorous and multifaceted character study that becomes a bold statement about the role of women in physical and psychological confinement.”
Spinning Platters continues its coverage of the 59th San Francisco International Film Festival, which continues through this Thursday, May 5th. You still have plenty of time to get in a few screenings! More information and tickets are available here.
Here we spotlight another three features and the Golden Gate Persistence of Vision award!
Mountain (Israel/Denmark, 2015, 83 min, GGA: New Directors)
A scene from Yaelle Kayam’s MOUNTAIN will play at the 59th San Francisco International Film Festival, on April 21 – May 5,2016.
Mountain is a touching yet ultimately unsettling character study of an Orthodox Jewish woman living with her husband and four children on the Mount of Olives, an ancient Jewish cemetery and religious locale for Judeo-Christian faiths. Shani Klein gives a powerfully restrained performance as Zvia, a woman caught between family, tradition, and desire and the ramifications of choosing one over the others. The Mt. of Olives plays a crucial role as well, steeped in Jewish tradition and history, yet it serves as a constant reminder of loss and becomes a discrete location for nighttime prostitution. Director Yaelle Kayam patiently studies the effects of this symbolic location on its inhabitants, and utilizing a focus on Zvia manages to convey the deepest internal struggles of Orthodoxy in an ever-changing world.
Spinning Platters continues its coverage of the 59th San Francisco International Film Festival, which continues through this Thursday, May 5th. You still have plenty of time to get in a few screenings! More information and tickets are available here.
Here we spotlight three more Fest feature films, and one documentary.
College students Marcus (Logan Lerman) and Olivia (Sarah Gadon) get to know each other on their first date.
Writer/producer James Schamus (Crouching Tiger, Hidden Dragon; Brokeback Mountain) here proves himself equally adept at directing, choosing for his first full-length feature foray an adaptation of Philip Roth’s 2008 novel Indignation. Set in 1951 at a fictional Ohio liberal arts college, Schamus’s screenplay remains true to the Rothian themes of coming of age, family conflict, sex, love, religion, and death. Schamus and a stellar cast, including Logan Lerman (The Perks of Being a Wallflower) as the protagonist Marcus, a working-class Newark atheist Jew trying to fit in at the conservative, religious campus, and Tracy Letts as the no nonsense, intellectually formidable, but bemused Dean of Men, handle Roth’s heady material with remarkable skill and sensitivity. Sarah Gadon as Marcus’s troubled love interest, and the great Broadway actress Linda Emond as Marcus’s mom, who shares a breathtaking, Oscar-worthy scene with Lerman, round out the absolutely terrific cast. A tour de force scene between Lerman and Letts, in which the two argue about Bertrand Russell, among other issues, is also one of the most compelling, uninterrupted takes you’ll see on screen this year. A powerful meditation on repression and finding yourself through love and family, Schamus’s directorial debut is not to be missed.
Screenings:
No more SFIFF screenings, but will open nationwide on July 29th.
Spinning Platters continues its coverage of the 59th San Francisco International Film Festival, which is happening NOW through May 5th. Information and tickets are available here.
Here’s a look at three more feature titles…
Assassination Classroom (Japan, 2015, 110 min, Dark Wave)
A scene from Eiichirô Hasumi’s ASSASSINATION CLASSROOM will play at the 59th San Francisco International Film Festival, on April 21 – May 5,2016.
This is a bizarre one, ladies and gentlemen! Assassination Classroom is a new Japanese scifi-comedy-drama inspired by a manga series of the same name. The story is as outlandish as it gets, which is a welcome sight when you’re used to the common film festival fare. The plot: A ‘have a nice day’ smiley-faced alien comes to Earth and strikes a deal with the Japanese government that he will teach a middle school class how to assassinate him before graduation, at which point if he’s not assassinated he’ll destroy the planet. Woohoo! The film is filled with interesting socioeconomic commentary, with the alien being a metaphor for… something…I’m just not quite sure and too distracted by the zany, unexpected, unravelling plot to care. And that’s a good thing. Check it out!
Screenings:
Wednesday, April 27th – 10:00pm, Alamo Drafthouse
Tickets for Assassination Classroom available here.
Today, it begins! The San Francisco International Film Festival(SFIFF) runs from today, April 21st through Thursday, May 5th. We’ll continue to bring you spotlights of amazing films at the festival, and cover special events and awards. But allow us to give you one last preview of the program with spotlights on two more features and three excellent short film programs. Full program available here.
Phantom Boy (France/Belgium, 2015, 84 min, Global Visions)
A scene from Alain Gagnol and Jean-Loup Felicioli’s PHANTOM BOY will play at the 59th San Francisco International Film Festival, on April 21 – May 5,2016.
From the filmmaking team that brought us 2010’s A Cat in Paris comes another fun, beautifully drawn adventure, Phantom Boy. In the film, a young cancer patient with a unique power to engage in out-of-body excursions teams up with a cop to stop a deranged gangster from taking over New York City. Constantly hilarious, always engaging, and totally charming, this film is an instant crowd-pleaser and should be on the top of everyone’s must-see festival list.
Spinning Platters continues its preview coverage of the 59th San Francisco International Film Festival, which opens tomorrow, Thursday, April 21st. Information and tickets are available here.
To whet your Fest appetite, here we spotlight two of the Festival’s features and two documentaries.
Five Nights in Maine (USA, 2015, 82 min, Marquee Presentations)
Sherwin (David Oyelowo) and his mother-in-law Lucinda (Dianne Wiest) share a moment at her Maine house.
When an adult dies unexpectedly, whose grief is greater – the surviving spouse, or the surviving parent? Are such comparisons even fair? Such are the heady questions that writer/director Maris Curran explores here, in a picture thematically similar to the recently released Demolition. After his wife Fiona (Hani Furstenberg) dies suddenly in a car crash, city-dweller Sherwin (David Oyelowo) visits Fiona’s terminally ill mother Lucinda (Dianne Wiest) at her isolated house in rural Maine. Though both try to maintain a polite façade with each other as they process their loss, issues of blame, recrimination, and bitterness slowly rise to the surface, forcing the two to confront past and present emotional wounds. A pas de deux between two of today’s best actors set against a stunning backdrop of fall light and foliage, Curran’s film is a flawlessly executed meditation on how we deal with life, loss, and love.
