One of the best films I’ve seen in the SF International Film Festival arrives Saturday night.
The award-winning “God’s Own Country” has been lazily labeled as the English “Brokeback Mountain.” Enough with that. This raw yet heartfelt drama about a 20-something wayward sheep farmer’s ( Josh O’Connor) firey attraction to a compassionate Romanian immigrant field hand (Alec Secareanu) scores on its own terms, and on its own well-drawn emotional and physical terrain. Francis Lee’s debut feature is one of the finest films I’ve seen yet from 2017, and what I particularly liked about it is how it’s so refreshingly hopeful. A tone-perfect film; so well-acted, directed and photographed. It screens this Saturday at the Roxie and on April 17 at the Alamo. For tickets, visit http://www.sffilm.org/festival/attend/tickets
Tonight the San Francisco International Film Festival kicks off its 60th year in grand style. This year’s program is stuffed with great indie films poised to light up screens in San Francisco and Berkeley. Which ones should you see? I’ve already come up with this list, but there are many other offerings. Here are but four other must-see recommendations to get you through what’s expected to be a (mostly) rainy weekend.
“Hotel Salvation”: A dream spurs an elderly man to pack his bags and journey to a unique hotel hugging the Ganges river in the city of Varanasi. Along for this life-altering experience is his stressed-out, not exactly present-in-the-moment son. Shubhashish Bhutiani’s soul-searcher of a first feature sprinkles in the appropriate dashes of humor and compassion and does so in a most aware and sensitive way. ( 3 p.m. April 6 at SFMOMA; 8:15 p.m. April 7 at the Roxie)
“The Cage Fighter”: In this hard-hitting yet intimate fly-on-the-wall documentary, mixed martial arts fighter Joe Carman keeps getting drawn back into the literal and figurative ring, much to the dismay of loved ones. Filmmaker’s Jeff Unay’s depiction of both family life and the fighting life rattles you as it exposes the physical and psychological bruises that result. Highly recommended. A world premiere. (6 p.m. April 7 at SFMOMA; 3:30 p.m. April 10 at the Victoria; 9:30 p.m. April 13 at SFMOMA).
“People You May Know” (2017): An average guy (a standout Nick Thune) with zero interest in social media engagement tests the influencer waters by creating a clickable persona that turns him into an internet celebrity of the moment. Sherwin Shilati’s wry, yet humanist commentary on our connected times is an indie romantic dramedy charmer. I loved its energy and its unwavering understanding of these imperfect characters and the modern headaches and heartaches they encounter. Another world premiere you shouldn’t miss. (Plus Usher’s in it.) (8:30 p.m. April 7 at SFMOMA; 1:30 p.m., April 10 at the Roxie)
“The Lost City of Z”: If you pine (as I do) for sweeping historical epics based on a truth-is-stranger-than-fiction adventure yarn you’re in for a rip-snorting treat. James Gray’s gorgeously shot, directed and written adaptation of David Grann’s gripping best-seller on explorer Percy Fawcett’s legendary pursuit for a “lost city” in the Amazon taps into the searcher in all of us. Charlie Hunnam (in particular), along with Robert Pattinson, Sienna Miller and Tom Holland deliver career highs. One of my favorite films of 2017 so far. (7 p.m. April 7 at the Yerba Buena Center for the Arts; opens April 21 in the Bay Area)
For tickets and additional information, visit sffilm.org/festival
The San Francisco International Film Festival turns 60 this year, and the SF Film Society is going all out to celebrate. Here are 10 films I recommend you try to catch during its run from April 5 to April 19. In the days ahead, I’ll be posting short takes on other films that are worth seeing during the festival. Happy viewing!
Today as part of the Center for Asian American Media Festival events, I went up on stage at SF’s Gray Zone and announced an award for best international feature to a talented new filmmaker. You might not have heard of Shumin Liu and his four hour, forty-five minute epic “The Family,” which impressed Slamdance audiences and critics who saw the film at the Venice Film Festival. Hopefully, with this award that our San Francisco Film Critics Circle jury decided upon, his slow but engrossing drama about a changing China and changing family dynamics will be seen by more movie fans. It intimately chronicles the journey of an elderly couple as they visit their adult children living in various parts of China.
The running time is indeed intimidating, but rest assured there is artistry and creativity saturated in each frame. So glad that as a president of the SFFCC I could represent our group and hand out an award to a film and a director/screenwriter who are so deserving. Afterwards, Shumin spoke to members of the SFFCC and shared how much this award so deeply means to him. (The film took four years to make). Hope you see it.
The Center for Asian American Media kicks off its 35th annual festival on Thursday, and this year’s film program is particularly strong.
One of the best titles is “The Chinese Exclusion Act,” a powerful, topical documentary that closes out the festival. It takes a dark chapter in history — the banning of a particular race –and intelligently explores the evolution of how this law came about and how it was eventually overturned.
This is a compelling, thoroughly researched film that reminds us an invaluable lesson about learning from our past.
Here are five films you shouldn’t miss at the festival.
We put a lot of stock into the Academy Awards. But often they do silly things. “Crash” anyone?
Here’s hoping that voters this year select the film that truly represents a Best Picture. In that regard, one nominee stands out far more than the others. Here then are my picks for what will win and should win.
I managed to squeeze in quite a few movies while at the Sundance Film Festival. I’ll be posting short reviews of some of the films — along with a web series I absolutely adore — in the coming weeks.
First up, “Wind River.”
Taylor Sheridan is an upstart around Hollywood, a rugged-looking guy who got his start as an actor and has since leapt into the big leagues based on the topical, highly quotable neo-noir scripts he writes. With just two high-profile screenplays — 2015’s bleak drug cartel thriller “Sicario” and 2016’s out-to-beat-the-system bankrobber thriller “Hell or High Water” — which earned him a most deserved Oscar nomination — Sheridan has attained a mercurial star status that few screenwriter ever attain. If his name gets attached to a film, studio bigwigs along with audiences, notice and get onboard.
So it’s not exactly a surprise that the audacious, restless-seeming Sheridan decided to try his hand at directing, a common but sometimes treacherous path actors and screenwriters take. Historically, the results have been hit or miss, with some standouts — Ron Howard and the late Ida Lupino — receiving praise for their efforts and others, including Ryan (“Lost River”) Gosling and Nicolas (“Sonny”) Cage, greeted by bad reviews.
With his violent and intensely absorbing thriller “Wind River,” Sheridan reveals he’s a very good director indeed.
His debut, starring Jeremy Renner and Elizabeth Olsen, received a well-deserved standing ovation at the Sundance Film Festival screening I attended, ushering in the arrival of a director with his own distinctive tough-guy vision.
Sheridan’s murder tale is a grabber from the start. It takes place on a Wyoming Native American reservation (Park City, Utah, subbing for it), a setting that presents the metaphorically inclined writer/director fertile terrain to explore.
Of the cast, Renner stands out as Cory Lambert, a Fish and Game agent haunted by the killing of his daughter and now investigating the murder/rape of a teen-aged Native American whose brutalized corpse he has found in the snow.. Cory joins forces with the fish-out-of-water FBI rookie Jane Banner (Olsen) as the duo and the reservation’s police chief (scene-stealer Graham Greene) unsnarl a tangled web that becomes ever more horrific as the layers get peeled back.
Sheridan expertly creates the environment, and we feel the cold. As both writer and director, he also slowly builds on the tension. This gradual approach is a smart move, allowing for heightened character development and an opportunity to powerfully explore the grief many are experiencing. But don’t think the calculated pace means the film isn’t gritty; the final act is particularly brutal.
The biggest complaint I had with “Wind River” is Olsen’s conventional, rather one-note FBI character. Her Jane is typically ill-equipped for this assignment and comes across clueless at the start. Since she’s the main female character, I wish she would have been more interesting and less obvious.
Renner’s character, though, is better defined. The versatile Renner taps knowingly into Cory’s never-ending grief along with his unwavering resolve to mete out justice for a family grappling with a tragedy he understands too well. It’s a restrained performance, one of Renner’s best, in a thriller that further cements the actor’s reputation and Sheridan’s as well.
Sheridan makes the transition to director easily, and the result is one of the more ambitious, engrossing thrillers in recent memory. You won’t want to miss it.
3 out of 4 stars
Cast: Jeremy Renner, Elizabeth Olsen, Graham Greene, Gil Birmingham
Director and writer: Taylor Sheridan
Running Time: 1 hour, 51 minutes
Rating: R (for strong violence, a rape, disturbing images, and language)