Time to Unclog the Backlog

Indiefest is up and running, and as usual Jason Watches Movies is the go-to site to get the latest screening reports. I haven't been this year yet myself. Because I didn't want to miss the scarcely-screened an American Tragedy and Dishonored in the Pacific Film Archive's Josef von Sternberg series, I had to skip the other night's screenings from Indiefest's I Am Curious (Pink) selection of Japanese "pinku" films, and I'll be missing next Saturday's follow-up in favor of the Cat and the Canary at the Silent Film Festival. But I do hope to sample Indiefest selections Woodpecker, Great Speeches From a Dying World and Idiots and Angels if I can. We'll see. February is shaping up to be a very busy month for attractive filmgoing experiences. Following are a list of festivals and screening venues which have (relatively) recently announced new programs over the next several weeks, with a few particular highlights from my perspective.

The Stanford Theatre has a new calendar running through April 27th. This is the premiere Frisco Bay venue devoted almost exclusively to classic Hollywood and British films 4-5 days a week (closed Tuesdays, Wednesdays and occasionally Thursdays this season). Silent films with top organ accompaniment play on select Fridays; in each case well-known titles programmed with a rare and somehow related talkie as second feature, e.g. both versions of Seventh Heaven on March 13th, and King Vidor's silent masterpiece the Crowd with his 1934 Our Daily Bread on March 27th. The venue steps out of the English-language comfort zone with day-long screenings of Satjajit Ray's Apu Trilogy, perfect counter-programming for Oscar weekend for anyone tired of hearing about Slumdog Millionaire. Other noteworthy picks include but are not limited to Edgar G. Ulmer's the Black Cat with Mitchell Leisen's Death Takes a Holiday March 19-20, and Michael Powell & Emeric Pressburger's a Matter of Life and Death and a Canterbury Tale April 18-20. Powell & Pressburger's the Life and Death of Colonel Blimp plays April 23-24 with the original British version of Gaslight.

These are not the only chances on the horizon to see Powell & Pressburger's tremendously enjoyable films on large cinema screens in the coming months. Their (to my mind) greatest masterswork I Know Where I'm Going! comes to the Vogue in Laurel Heights on March 1st, and Powell's sans-Pressburger film Age of Consent screens in what's billed as "a pristine archival print" at the Rafael Film Center in San Rafael March 3rd. This is in connection with the Mostly British Film Series held at those theatres February 26th through March 5th. The majority of offerings will be recent films from the U.K. (and/or Australia and Ireland, thus the "mostly" in the series title), such as opening night's Genova by Michael Winterbottom and the much-laureled closer Hunger from artist Steve McQueen. But another retrospective at the Vogue is the Friday February 27th showing of Christopher Nolan's first feature, from 1998, Following. Though its time-jumping narrative is arguably less graceful than that of his first American breakthrough Memento, it's still an intriguing and relatively assured debut that may be even more interesting to view in the light of a subsequent highly successful Hollywood career.

The Balboa Theatre celebrates its 82nd year of operation February 22 at 1PM with a screening of Mary Pickford's final silent film My Best Girl, released in late 1927. At about that time halfway around the world Pickford appeared on screen, without her knowledge, in a film called a Kiss From Mary Pickford. A newsreel camera had captured brief footage of her planting a kiss on actor Igor Ilyinsky while she and her husband Douglas Fairbanks were traveling in the pre-Stalinist Soviet Union. A screenplay fictionalizing this incident was written for Ilyinsky, last seen on Frisco Bay screens in the PFA-programmed Carnival Night, where he plays the crusty-old-dean role in a school pageant film. Here he's 30 years younger and apparently hilarious. I'm excited for this chance to see a Kiss From Mary Pickford at the Castro Theatre, and then a "real Mary Pickford film" from the same year at the Balboa the following weekend.

The Red Vic's current calendar is no longer new anymore, but's it's starting to get really interesting. This week Werner Herzog's Nosferatu the Vampyre remake plays February 11th and 12th, all the better to get us in the mood for original Nosferatu director F.W. Murnau's Sunrise at the Castro on February 14th. At the Red Vic that day, and the day before, is the theatre's annual Valentine's Day booking of Annie Hall. February 22 & 23 is the Muppet Movie (the first, best, and Orson Welles-iest of the Henson movies) and more Henson magic comes April 1 & 2 with Labyrinth. Frisco filmmaker Kevin Epps has a new documentary the Black Rock premiering February 27-March 5, and it will be directly preceded by a one-night stand of his first feature Straight Outta Hunters Point. Arthouse revivals take over the venue for much of March, starting with Brazil on the 6th & 7th, and continuing with Belle de Jour on the 10th & 11th, Stranger Than Paradise on the 17th and Down By Law the following two days, Two-Lane Blacktop on the 25th & 26th, 2 or 3 Things I Know About Her on the 29th & 30th, and finally the Jerk on April Fools Eve. Okay, so perhaps "arthouse" is a stretch for that last item. But on the subject of comedy, I think the Red Vic screening I'm most looking forward to is tonight's midnight showing of one of the most misunderestimated films released during the previous Presidential administration, Pootie Tang. It's part of a Full Moon Midnight series that will next stop at The Room March 11th. Like most people I've never seen Pootie Tang on the big screen, but unlike most I've enjoyed it countless times - under the influence of no illicit substances, mind you - on video. It's almost impossible to make it sound like something worth watching but still its cult following grows for some reason. Sepatown.

SFMOMA's Chantal Akerman series rolls along to its conclusion February 28th, a screening of Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles with Akerman herself in attendance for a post-screening q-and-a. In March and April the museum's screening room gives itself over to a science-fiction series entitled the Future of the Past: Utopia/Dystopia, 1965-1984. It ranges from Godard's Alphaville and Truffaut's Fahrenheit 451 to Michael Radford's 1984 with stops at a Clockwork Orange, Fantastic Planet, Andrei Tarkovsky's Stalker and more.

Finally, more film festivals have announced schedules in the past week or two. There's the Ocean Film Festival Feb. 19-22, with its subject focus on science, ecology and recreation on the world's waters. The Noise Pop Film Festival (Feb. 25- Mar. 1) is another subject-specific festival, gathering music documentaries of interest to the loyal attendees of the live performances that have made Frisco a late-February destination for touring bands and music obsessives for years now. I've never attended these so I can't exactly vouch for them, though they've lasted long enough to be considered successful, and to have attracted loyal supporters.

Almost a year ago I trekked to San Jose to attend a few screenings at the most prominent film festival in the most-populated (at night, anyway) city on Frisco Bay, Cinequest. What felt like a novelty last year may have to turn into a tradition, as there are several films in their program I've been anticipating, and I'm not at all confident all of them will find their way into a more Northerly cinema. Kiyoshi Kurosawa's new Tokyo Sonata, plays Cinequest twice, both times at the beautifully restored California Theatre in downtown San Jose. But I know it's going to be distributed theatrically later this year, and it's expected to be among the films programmed for the San Francisco Asian American International Film Festival when their own schedule is unveiled tomorrow. So I probably won't endeavor to catch it at Cinequest. On the other hand, El Camino from Costa Rica, intriguingly synopsized by David Bordwell, and Alejandro Adams' Canary, his genre film follow-up to Around the Bay, seem like they might be just the sorts of films that play Cinequest but otherwise slip through Frisco Bay cinephiles' fingers this year, no matter how good they are. I hope not, but one can't be too sure and I'm seriously contemplating a road trip on March 1st, when they both play at venues across the street from each other.

On the Marquee Tonight

The 400 Blows. I haven't watched Truffaut's first feature in almost ten years, when the Castro Theatre brought a giant retrospective of the director to town. It's at the Red Vic one last night, and I've got a Punch Card burning a hole in my pocket. As a member of the What Time Is It There? fan club, I'm overdue to see the film it "samples" again, before I get exposed like one of those fauxs who pose at Marginal Prophets shows.

If you miss this, it's pretty much all hits at the Red Vic in January:

Wong Kar-wai's Fallen Angels January 8th (a gap in my Wong-ography) followed by two nights of Ashes of Time Redux which I wrote on a bit here.

Hiroshi Teshigahara's Antonio Gaudí, a regular attraction at the venue, at least until it was released on a Criterion DVD nearly a year ago. That shouldn't scare off the Red Vic loyalists, though. Right?

A midnight screening of Jackie Chan's The Legend of the Drunken Master from 1994, on Sunday January 11th. Will the Red Vic become Frisco's next viable midnight movie venue?


One of my favorite films of 2008, Ballast, plays January 14-15. See my interview with the director, Lance Hammer. But more importantly, see this film on the big screen if you haven't had a chance to yet.

People have been telling me to see the American Astronaut for years now. Hopefully I'll finally get around to it, now that director Cory McAbee has a new film scheduled for Sundance and I won't be in Utah to see it.

Jean-Luc Godard's Vivre Sa Vie January 18-19- I usually cite this as my favorite Godard.

Ziggy Stardust and the Spiders From Mars January 20-21.

And what would we do without the eighties? Perhaps be rolled over by the snowballing nineties revival, kicking and screaming? 'Til then, The Dark Crystal plays January 22.

Calendar Catch-Up

I just got back from Frisco's most unpretentious repertory venue, the Red Vic Movie House, where I saw Max Ophuls' the Earrings of Madame de... for the first time in several years, and the first time in a cinema. It's fantastic to see the director's long takes unfold on the big screen. The film plays again tonight, June 23rd.

I picked up the latest Red Vic calendar as well, detailing the program selections through early September. Potential highlights include, but are not limited to:

Errol Morris's the Thin Blue Line on July 22, following a two-day run of his latest Standard Operating Procedure July 20-21.

Two of the acknowledged greats of the rock-concert-doc: Stop Making Sense July 29 and Gimme Shelter July 30, for comparison a week after Martin Scorsese's own Rolling Stones concert film Shine a Light July 23-24.

Jim Jarmusch's neo-acid-Western masterpiece Dead Man August 19-20, perhaps a tie-in with the two-day stand of Hamony Korine's Mister Lonely August 26-27.

Close Encounters of the Third Kind August 21, presumably selected in connection to the Frisco theatrical premiere of the space-race documentary Sputnik Mania August 14-17, and not so much in connection with Indiana Jones and the Kingdom of the Crystal Skull on July 18-19. Though I wouldn't be too sure.

You Are What You Eat, Roger Corman's the Trip, Riot on Sunset Strip and L.A. rock band documentary Love Story take over Labor Day weekend, all hosted by Dominic Priore.

Another big-screen chance to see Killer of Sheep August 24-25.

Jean-Luc Godard's recently-redistributed 1965 Pierrot Le Fou finally plays this side of Frisco Bay on September 1-2. It's played the Pacific Film Archive in Berkeley recently, and plays there again August 2nd as part of a widescreen series.

Yep, the PFA has a fresh new calendar out too, and as usual the glimpse of the next couple months on offer has diverted my attention slightly from the programs closing out the current month's offerings; I feel like I need to conserve my anticipatory drool! (though honestly I'm eager to see Mad Detective this Friday and Opening Night next Sunday).

I've long considered the PFA perhaps my favorite local venue to see a vintage widescreen film; the theatre's shape seems particularly ideal for the format and just thinking about getting a chance to see all these CinemaScope, Totalscope, Tohoscope, etc. films is pretty distracting. I can't decide if I'm more excited to see Markéta Lazarová and Bigger Than Life again, to see the Red and the White and the original Invasion of the Body Snatchers for the first time ever, or to see Yojimbo (pictured above) and McCabe and Mrs. Miller for the first time on that particular screen.

Widescreen worship is available for films in a couple other PFA summer series too, namely the set devoted to films based on the writings of noir fiction author David Goodis (widescreen: Shoot the Piano Player / not wide: Nightfall) and a tribute to the United Artists studio (widescreen: West Side Story / not wide: the Shanghai Gesture.) Unlike the Castro Theatre booking of this 90th anniversary traveling series, the PFA will be bringing films going back to the silent era and the studio's very beginnings: Steamboat Bill, Jr. July 6th, Thief of Bagdad July 20th, and Broken Blossoms August 3rd. The latter film by United Artists founder D.W. Griffith celebrates its own 90th anniversary next year, and will also be showing at the Stanford Theatre August 20th.

Another series with some, but not much, venue crossover is the retrospective of films shot by the great Mexican cinematographer Gabriel Figueroa, who worked with directors like Luis Buñuel, Emilio “El Indio” Fernández, Ferndano de Fuentes, and John Ford. A few of the films in the Figueroa series also play SFMOMA this summer, but only a few, so you'll have to coordinate your calendar to get them all in (and I've never seen a Figueroa-shot film that wasn't worth looking at, especially in a good print, so I'd recommend expending this effort.)

Finally, the PFA is hosting a Manoel de Oliveira series in anticipation of the Portuguese filmmaker's 100th birthday this December. From the PFA program guide: "It’s not often that we can celebrate the centennial of a director who is not only still living, but still working." I've seen shamefully few of Oliveira's films; one, to be exact, his documentary Oporto of my Childhood. It's not playing the PFA, but as I recall it includes a clip of the first film he directed, the silent Douro, Faina Fluvial, which will play in a program of shorts on August 27th. The series runs on Saturdays, Sundays and Wednesdays through August and even September (incidentally, this is the first time in my several years of PFA calendar-watching that they've announced dates for a major program this far in advance.) It closes out with a September 28th screening of Abraham's Valley, which I hear is a tremendous film, and only available on a very inferior DVD copy. Other than that, I have no idea which titles to prioritize in this series, and would love to get suggestions from more experienced Oliveira-watchers. Anyone?

Mark Your Calendar: Silent Film Festival and More

NOTE: THIS ENTRY HAS BEEN SALVAGED FROM THIS SITE AND REPOSTED UNEDITED ON 5/7/2008. SOME INFORMATION MAY BE OUTDATED, AND OUTGOING LINKS HAVE NOT BEEN INSPECTED FOR REPUBLICATION. COMMENTS CAN BE FOUND HERE.

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I've left link hints in my previous two posts, but I'm not sure how many of my readers follow all the purple-font clickables in some of my more densely-packed entries (what say you, readers?). So I'd like to take a bit of time to point out some of what's going to be playing at the 13th Annual Silent Film Festival, to be held at the Castro Theatre this July 11th, 12th and 13th. As I did last year, I will be contributing an approximately 1200-word essay on one of the films to the festival program guide and developing a slide show presentation to be seen before the film begins. I've been attending biweekly meetings of the festival's Writers Group, where the essayists for each of the films compare research notes and drafts. So you could say I've been biased by hearing all sorts of fascinating things about each of the films in the program. But I was excited by all eleven feature films playing this year's edition from the moment they were revealed to the writers group a few weeks ago, and I honestly would have enjoyed researching and writing on any one of them.

But I'm thrilled that I'm getting to research what was my first choice from among the selections (picked by festival programmers Stephen Salmons and Stacey Wisnia.) The first Japanese feature ever to play at the festival, it's called Jujiro, or Crossways in English. It was directed by Teinosuke Kinugasa, perhaps best-known for his remarkable a Page of Madness made two years before Jujiro. I haven't seen the film I'm writing on myself yet, but I've been delving as deeply as I can into English-language sources on it, on Kinugasa, and on the context of silent-era filmmaking in Japan. Every day I feel more certain that I'm going to love seeing Jujiro projected in a reportedly astonishing 35mm print provided by the BFI at the Castro in a few months.

The weekend-long program will open Friday, July 11th with what happens to be my personal favorite Harold Lloyd film, the Kid Brother. Having seen it with organ accompaniment at the Stanford Theatre several years ago, I can attest that Lloyd's rural exploits in this film slay an audience in the mood to laugh. Another comedy showing during the weekend is one of the original flapper Colleen Moore's few surviving films, Her Wild Oat. I've only seen Moore in the talkie the Power and the Glory and interviewed in Kevin Brownlow and David Gill's "Hollywood" series of documentaries, but that's more than enough to make me eager to see her in a silent film.

I'm also eager to fill a few gaps in my knowledge of a pair of European auteurs, Carl Theodore Dreyer and Rene Clair. The Dreyer film being shown by the festival is his early gay-themed drama Michael, and the Clair film is his last silent Les Deux Timides, a comedy. Between Dreyer, Clair and Kinugasa, there's some very prestigious directing muscle behind this year's foreign film selections; there are actually other well-known directors on the program schedule besides those three, but if I'm going to finish this post before passing out tonight I'd better leave it at that for now.

Well, maybe just one more. Or two, really. Tod Browning is another favorite around these parts, and the festival is bringing him back this year along with his favored star Lon Chaney. The film is the Unknown, and it features Joan Crawford in one of her first film roles, possibly as young as 19 (various sources on Crawford reveal various birth years, the latest being 1908, hence the centennial tributes popping up this year.) It will be shown at a late Saturday night screening and, here's the kicker, introduced by Guy Maddin. Maddin has designated the film as his "Director's Pick," something new for the Silent Film Festival. Presumably, in future festivals other current-day directors will be invited to present a silent-era film they feel particularly fond of.

Of course, this will not be Maddin's first trip to Frisco in 2008. He's also expected at the 51st SF International Film Festival that opens this Thursday, attending the first two of the festival's screenings of his latest curiosity My Winnipeg on May 1 & 3. I've seen My Winnipeg and feel confident in assuring Guy Maddin fans that they will not be disappointed in this new film. Unless they have an unexplainable aversion to Ann Savage, who puts in a terrific performance re-enacting the part of Guy's mother. Or to shots of snow, in which case how could you be a Guy Maddin fan in the first place? My Winnipeg is also narrated by Maddin, and I've heard conflicting guesses from people who saw him narrate the film live in Toronto as to whether they expect him to repeat that performance for his SFIFF appearances.

In case you haven't noticed, I've segued out of talking about the Silent Film Festival and am on to other events. I'll try to be quick, getting down to only the bare essentials so I can go to sleep.

As I mentioned, the SF International Film Festival opens this Thursday and runs for two weeks. The (in part) festival-funded sf360 already has the most voluminous coverage from its crack team of writers. Once again I'd also like to point in the direction of Michael Hawley on the Evening Class, who anticipates attending a very similar selection of festival films to the schedule I hope to use. One film Michael leaves out, however, is Johnny To's Linger, which I'm thrilled to see programmed as I have as much interest in To's non-gangster films as I do in the Triad- and/or hitmen-themed films he's best known for. I'm at least as interested in To's thematic concerns and his mise-en-scene as I am interested in him as a genre interpreter.

Some may have wondered why Linger was picked for the SFIFF instead of the more-acclaimed Mad Detective, which appeared at the Venice Film Festival and others. Well, their chance to see Mad Detective comes with the release of the newest PFA calendar. It's not the most jam-packed calendar of the year, as the Berkeley venue will be closed for three weeks following its stint as a venue for the SFIFF, and will also not be running programs on Mondays or Tuesdays in June. But the calendar does include a 9-title series of To's action films, including Mad Detective, which I've not seen yet. Of the eight I have seen my favorite is the goofy Running on Karma. Throw Down is the one I most feel I should give a second chance to after not liking it as much as I'd hoped the first time around. I do wish a Hero Never Dies had been selected as well, as it's my very favorite To film.

Other newly-announced PFA programs include the entire Berlin Alexanderplatz in four parts May 30-June 7, an all-day marathon of Lynn Hershman Leeson video works June 1, a very welcome Joan Blondell series including the big-screen must-see Footlight Parade and John Cassavetes' Opening Night, and a pair of series devoted to filmmakers I've never heard of (any reader suggestions would be welcome): Austria's Axel Corti and Turkey's Zeki Demirkubuz. In conjunction with the BAM exhibition of Bruce Conner's Mabuhay Gardens photographs, there will be four guest-filled Thursday evenings of punk films culminating in a June 26 pairing of Penelope Spheeris' seminal Decline of Western Civilization (the first, best, original segment in the eventual trilogy) with Conner's influential Devo promo Mongoloid.

And before I finally sign off, I just want to pick out the very best of the latest calendars from Red Vic on Haight Street and the Rafael in Marin county. The Red Vic calendar, amidst its usual excellent mix of premieres and second-run "last chance before DVD" screenings, has a few repertory gems in its lineup this time around, most notably a June 10th screening of Haskell Wexler's Medium Cool, which I've never seen before, and a June 22-23 short stand of Max Ophuls's the Earrings of Madame de..., which I've only seen on VHS but love dearly. While the Rafael will be hosting a Jimmy Stewart retrospective Sunday and Wednesday evenings from May 18 through June 18. Having never seen the Shop Around the Corner on the big screen and the Man Who Shot Liberty Valance at all you can bet I've already started scheming ways to secure transportation to and from San Rafael on June 1 and June 18, respectively.

Quick Flick Picks

NOTE: THIS ENTRY HAS BEEN SALVAGED FROM THIS SITE AND REPOSTED UNEDITED ON 10/8/2008. SOME INFORMATION MAY BE OUTDATED, AND OUTGOING LINKS HAVE NOT BEEN INSPECTED FOR REPUBLICATION. COMMENTS CAN BE FOUND HERE.

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On the eve of a day-long movie marathon, I just wanted to get some items off of my to-blog list.

In my last post on silent film, I mentioned that the Berlin and Beyond festival will, as usual, be showing a German silent film as part of its 2008 program. It's just been revealed that the festival, running January 10-16 at the Castro Theatre, will present the 1929 comedy the Oddball with live musical accompaniment by Dennis James.

Some noteworthy though not-so-silent entries in Berlin and Beyond 2008 include Michael Verhoeven's the Unknown Soldier, and a three-film tribute to the recently-deceased actor Ulrich Mühe: along with his recent triumph in the Lives of Others the festival will screen a film from his East German film career, Half of Life, and his role in the Austrian Michael Haneke's 1997 Funny Games, just before the Sundance premiere of that director's apparently all-but shot-for-shot remake. The opening night film is the Edge of Heaven by Fatih Akin, contradicting the program guide on the Castro's website, which says it will be Yella. Christian Petzod's film will still play in the festival, but its opening slot was switched out for Akin's after the Castro schedules went to press.

Speaking of which, there's a lot to talk about on those Castro schedules, and I'm not even going to cover it all here. A MiDNiTES FOR MANiACS triple bill of Burt Reynolds films including Peter Bogdanovich's rarely-revived tribute to Lubitsch, At Long Last Love, plays December 7th, and another threefer starts with possibly the most heartbreaking summer vacation movie of my teenage years, which was also Winona Ryder's first film role, Lucas. That plays February 8th, the Friday before Valentine's Day (on which Marc Huestis brings Olivia Hussey for the 40th anniversary of Romeo & Juliet.)

There's another in the Castro's continuing series of classic films organized by composer, this time nine days (December 26-January 3) of double-bills scored by the great Miklos Rosza, including multiple collaborations with Billy Wilder and Vincent Minelli. January 4-9 brings the nine of the ten most well-known pairings of the "Emperor" Akira Kurosawa and his "Wolf" Toshiro Mifune. They made sixteen films together, and I wish the selection included Red Beard or some of the rarely-screened early films like the Quiet Duel and the Idiot, but I'm glad for the opportunity to see any of these again on the Castro's mighty screen. I've never seen the Seven Samurai, for example, on anything larger than a regular television set, which is probably enough to send me to the cinephile stocks.

If you're concerned about how to fit the new cut of Blade Runner playing at the Embarcadero into your schedule this week, know that it will make a return appearance at the Castro for a week starting February 15th. The early-eighties revival I'm most excited about seeing in a Landmark theatre is one I've never seen in any cut before: Jean-Jacques Beniex's Diva, which opens at the Shattuck in Berkeley as well as somewhere in Frisco December 7th.

The Roxie has a pair of films from this past spring's SF International Film Festival on its upcoming slate. One I've seen and can recommend: Les Blank's new documentary All in This Tea. Not being particularly interested in gourmet tea varieties, I was skeptical going in, but I found the film to be a fun but serious peek into the blossoming of capitalism in China. It opens December 14th. The other is one I missed in May but won't in January, when it opens on the 11th: El Violin from Mexico.

The Red Vic has its full December (highlight: the Draughtsman's Contract on the 16th & 17th) and January (highlight: the Assassination of Jesse James By the Coward Robert Ford on the 15th & 16th) schedules online, but its paper copy extends a bit beyond that, revealing among other things that the Battle of Algiers will play February 3-4.

More time-sensitive news is that two programs of British experimental films from the 1960s and 1970s will play at at the SF Art Institute this coming Monday evening, December 3rd. This tip comes from Jim Flannery, who left it on the cinephile bulettin board that is girish's blog. More on the series here. It's the beginning of a busier-than-usual week of public screenings at SFAI, where a cellphone film event called mini-PAH will take place December 7-8.

SFMOMA, which is currently reprising the Joseph Cornell films it showed earlier this fall as part of its exhibition on the collagist, has also been running a fascinating film series I'm sorry I haven't really mentioned here before. In conjunction with a Jeff Wall exhibition, the museum will screen John Huston's Fat City this and next Saturday afternoon, R.W. Fassbinder's proto-emo-fest masterwork the Bitter Tears of Petra Von Kant December 13th and 15th, Ingmar Bergman's Persona December 20th and 22nd, and perhaps most exciting since I've never seen this legendary epic, Jean Eustache's the Mother and the Whore December 27th and 29th. Then, beginning January 5th with a screening of Point of Order, SFMOMA will run a retrospective of the films of Emile de Antonio. In the Year of the Pig plays January 19th and 24th.

The current Year of the Pig ends February 6th, 2008. You may know that the Japanese Zodiac is based on the Chinese Zodiac, though the Pig is replaced with the Wild Boar in Japan (in Thailand the Pig becomes an Elephant). But since Japan celebrates New Year January 1st like we in the West, not the Lunar New Year of the Chinese, the Year of the Boar will end sooner than the Year of the Pig. Have I lost you yet? Either way, the new 12-year Zodiac cycle will begin next year, on either January 1st or February 7th, with the Year of the Rat. Shortly after the latter there will be a Pacific Film Archive tribute to Japanese-American silent film actor Sessue Hayakawa, who was born in 1889 (the year of the Ox, like me only 84 years earlier). February 9th screens Hayakawa's star-making role in Cecil B. DeMille's the Cheat, and on February 10th the Devil's Claim and Forbidden Paths will be shown. All three will be accompanied by Judith Rosenberg on piano, and are presented in connection with a two-day conference on silent film called Border Crossings: Re-Thinking Early Cinema. Fascinating stuff, and I'm hopeful that there will be more Hayakawa films announced soon.