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San Francisco International Announces Itself Rocketing up the elevator of the picturesque St. Francis hotel in San Francisco, one is treated to a bird’s eye view of Union Square, the same view seen in Francis Ford Coppola’s “The Conversation.” It’s a fitting start to the 53rd annual San Francisco International Film Festival, which kicked off with a press conference on the 32nd floor of the historic hotel.
Director of Programming Rachel Rosen opened the conference by saying that the goal of the festival has never been to program with themes in mind. She explained, “What we’re looking to do is gather together the best and most diverse selection of international cinema that we can bring to San Francisco.” And yet, themes do arise, however inadvertently.
This year Rosen noticed what she characterized as “a return to basics, or beauty, in filmmaking.” More and more films willing to present a straightforward narrative and let the cinematography be elegant, rather than flashy or edgy. Unclassifiable, genre-busting films are also on the rise, as filmmakers seek to challenge their audience via structure, rather than shock-value. And, looking at all the films about art, photography, and filmmaking itself, there is a cautionary tale at work.
Opening the festival will be Jean-Pierre Jeunet’s new film “Micmacs.” The director of “Amelie” and “Delicatessen” is sure to please his audience, after which time the opening night party at the Regency Center will jump-start the festival. Josh Radnor’s debut feature “happythankyoumoreplease” will serve as the festival’s centerpiece screening, followed by a party at Manor West, one of the social highlights of the festival. And closing the festival is the somewhat oddly chosen film “Joan Rivers: A Piece Of Work.”
There are many awards given out every year, but perhaps none bigger than the Mel Novikoff Award, which goes to Roger Ebert, who will be in attendance to receive the award. Ebert will screen and discuss one of his favorite recent films, 2008’s “Julia.” The award goes to “an individual or institution whose work has enhanced the film going public’s knowledge and appreciation of world cinema.” A consummate champion of global auteurs, few could argue that Ebert, to the extent to which he has been allowed, has done more than almost anyone to bring world cinema to a mass audience.
Perhaps most intriguing to yours truly is the program, "A Drunken Evening With Derek Waters and Wholphin." The viral internet series “Drunk History,” produced and often starring Derek Waters, features a variety of actors playing out significant moments in history as retold by people under the influence. Waters himself will be in conversation with Wholphin editor Brent Hoff concerning the series, as well as his other work. Wholphin is the DVD quarterly arm of McSweeney’s Books in San Francisco, a collection of rare and unseen shorts shimmering with whimsical artistry. It’s sure to be a magical debauchery.
Homegrown festival participants include Robert Hernandez and Geoffery Smith’s “Presumed Guilty,” which was preemptively awarded the Bay Area Documentary Award. Sam Green’s “Utopia In Four Movements.” The drag queen slasher-flick “All About Evil.” And the Golden Gate Persistence of Vision Award will go to the highly influential Fremont-born animator Don Hertzfeld.
Some highly-recommended films from cinephile Rod Armstrong were Henri-Georges Clouzot's “Inferno,” a restored print of Luchino Visconti’s “Senso,” and Luca Guadagnino’s new film “I Am Love,” which brings the visions of Visconti and Antonioni into the 21st century.
These are just a very few of the many things going on at this year’s SFIFF, and an in-depth report will follow in our May issue. No matter how you slice it, this year’s festival has something to offer nearly everyone. And there will be further announcements in the weeks to come, which we will add to our blogroll. So stay tuned!R. Seifert April 10, 2010