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    San Francisco Film Society Announces Significant Funding Increase to Extend Filmmaker360 Programs

    The San Francisco Film Society has announced a significant increase in funding to its Filmmaker360 programs, thanks to the society's collaborative relationship with the Kenneth Rainin Foundation. Filmmaker360 supports narrative feature filmmakers through cash grants, residencies and script workshops...

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    San Francisco Film Society & Kenneth Rainin Foundation Announce Recipients of 6 Filmmaking Grants Worth $300,000

    Six projects have been awarded a total of $300,000 from The San Francisco Film Society and the Kenneth Rainin Foundation Filmmaking Grants. The twice-annual grants are given to narrative feature projects with social justice themes that will have a significant professional or economic impact on the B...

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    Brownlow Restoration of Abel Gance’s 'Napoleon' Triumphs at Oakland’s Paramount Theater

    If at all possible, you should get yourself over to the Paramount Theater in Oakland next weekend (March 31 and April 1) for the final two performances of Kevin Brownlow’s 5½ hour restoration of Abel Gance’s 1927 "Napoleon," accompanied by Carl Davis conducting the Oakland East Bay Symphony in the p...

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    Bingham Ray Moves West to Run San Francisco Film Society

    Bingham Ray is back on the festival acquisition beat. But this time, after decades in indie distribution and a recent stint consulting at SnagFilms and the Film Society of Lincoln Center, Ray will be making a move to the Bay Area as executive director of the San Francisco Film Society, which runs ye...

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    San Francisco Jewish Film Festival: From Simone Weil to Kirk Douglas

    San Francisco critic Meredith Brody reports from the city's Jewish Film Festival:The graphics for this year’s San Francisco Jewish Film Festival feature a number of inspiring calligraphed words, including faith, justice, courage, pleasure, passion, drama, family, transformation, and humor. The list ...

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    SFIFF 54: Wrapping Up the Fest, Days 13-15: The Arbor, Bromberg, Let The Wind Carry Me, Winners, Etc

    Meredith Brody wraps up SFIFF 54 and the many films of days thirteen, fourteen and fifteen:After the San Francisco International Film Festival’s second weekend, I feel like the toboggan is slowing down before it crosses the finish line. Day Thirteen, for example: joining Creative Director Miguel Pendas’ SF Film Noir locations tour, which he puts on (along with a tour devoted exclusively to locations for Vertigo) for guests and press, is irresistible to me, but effectively knocks out most of the day. Miguel totes ten companions around SF’s hills and valleys in a van (with an indefatigable driver who manages to pull over where there’s no place...

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    SFIFF 54: Day Twelve: Tilva Rosh, Hands Up, Ulysses and the Tindersticks do Claire Denis

    On day 12 of the San Francisco International Film Festival, Meredith Brody reports back on her French triple bill (Hands Up is the stand out), Tilva Rosh, Ulysses, and finishes the day off right with English rock/jazz band Tindersticks playing excerpts from their film scores for Claire Denis movies.Amazingly, after getting stuck into CNN-land for two hours of repetitive Osama Bin Laden-chat last night, I still manage to watch the two DVDS of Festival movies that I brought home: I’m Glad My Mother is Alive, by the father-son duo of prolific Claude Miller and his son, neophyte Nathan Miller (giving nepotism a good name). Again something of a me...

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    SFIFF 54 Day Eleven: Film Fest Instructor's Guidebook, Hands Up, Something Ventured, Bin Laden

    On day eleven of the San Francisco International Film Festival, Meredith Brody talks Hands Up (a "kind of a Bizarro-world Disney film"), Citizen Kane, Something Ventured and its billionaires, and The Salesmen (which she tries tricking herself into liking by thinking of Jeanne Dielman). At the end of...

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    SFIFF 54 Day Ten: Dog Day Afternoon, Cinema Komunisto, James Woods, Making Friends with Books

    On day ten of the San Francisco International Film Festival, Meredith Brody talks Dog Day Afternoon, sees and loves Cinema Komunisto, digresses on James Woods (among other things) and makes friends via Bossypants and Chekhov's short stories:I start the day by watching as much of the program honoring Frank Pierson with the Kanbar Award for screenwriting as I can before dashing off to see Love in a Puff. The clip that Pierson showed in his Master Class, the afternoon before, reminded me that (a) I know Sidney Lumet's Dog Day Afternoon -- the movie they’re going to show as part of the tribute -- very well indeed, (b) yes, the 70s were a golden a...

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    SFIFF 54 Day Nine: Terence Stamp, Toby Dammit, Foreign Parts, Black Bread, Frank Pierson

    On day nine of the San Francisco International Film Festival, Meredith Brody starts small and winds up enthralled by the enduring allure of Terence Stamp. Odd and thrilling to watch a tiny movie, shot by a two-person crew, about nearly-invisible lives and occupations, on the biggest screen in the Kabuki: one of the treats of a festival. The movie is Foreign Parts, by Véréna Paravel and J.P. Sniadecki. For the first time in these chronicles, I’m tempted to quote directly from the SFIFF catalogue : “Anthropological in scope, sensuous in detail, and emotionally resonant throughout…,” with which I can only concur. The filmmaking pair, associates ...

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