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Film Reps List for 1-16-2002

Wednesday, Jan 16 2002
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Times compiled from information available Tuesday; it's always advisable to call for confirmation. Price given is standard adult admission; discounts often apply for students, seniors, and members. For additional Reps Etc. listings, go to sfweekly.com.

We're interested in your film or video event. Please send materials at least two weeks in advance to: Film Editor, SF Weekly, 185 Berry, Suite 3800, San Francisco, CA 94107.

ARTISTS' TELEVISION ACCESS
992 Valencia (at 21st Street), 824-3890, www.atasite.org. $5 save as noted. This venue offers all manner of strange and unusual video and film.

THURSDAY (Jan. 17): The ATA's monthly "Open Screening" for videos of all genres. $3; free for artistes. For more info or advance reservations, e-mail Meg at openscreening@hotmail.com. BYO video by 7 p.m., screenings at 8 p.m.

FRIDAY (Jan. 18): Eddie Lama, a construction worker, explains how his encounter with a kitten converted him into an animal activist and vegetarian in The Witness. Eddie hasn't met my cat - no vegetarian she 8 p.m.

SATURDAY (Jan. 19): Gerard Ungerman's Hidden Wars of Desert Storm offers interviews with Norman Schwarzkopf, Ramsey Clark, Scott Ritter, and others to present an anti-Iraq embargo view in its history of the Gulf War and its aftermath. For more info see http://hiddenwars.org 8 p.m.

CASTRO
429 Castro (at Market), 621-6120, www.thecastrotheatre.com. $7. Short-run rep in a spectacular 1922 Greco-Roman-themed palace - recently refurbished, with new seats installed - designed by Timothy L. Pflueger. Evening intermissions feature David Hegarty or Bill McCoy on the Mighty Wurlitzer.

WEDNESDAY: The annual Berlin & Beyond German-language film festival concludes today with Utopia Blues (Stefan Haupt, Switzerland, 2001) 1:30 p.m. The State I Am In (Christian Petzold, Germany, 2000) 4 p.m. Director Xavier Koller in person with the Closing Night film, with party to follow, Gripsholm (Germany, 2000) 7 p.m.

THURSDAY: The Castro begins its annual "Wide Wide Screen" series of CinemaScope and other ultra-wide formats. Nicholas Ray's two mid-1950s masterpieces of family melodrama, Rebel Without a Cause (1955; 7 p.m.) and Bigger Than Life (1956; 9:10 p.m.), gain much of their power from Ray's kinetic smearing of bright colors - like James Dean's red jacket in Rebel and a field of yellow cabs in Life - across that wide wide screen. Check out this outstanding double bill and be convinced.

FRIDAY: "Wide Wide Screen" - Robert Altman, Ray's heir as a genre-bender in the 1970s, also used the wide Panavision format to great effect in his melancholy western McCabe & Mrs. Miller (1971; 7 p.m.) and his dream film of wandering souls in the American Southwest, 3 Women (1977; 9:20 p.m.). Given their thematic similarities, one wonders if David Lynch ever saw 3 Women before dreaming up Mulholland Drive.

SATURDAY: "Wide Wide Screen" - Robert Altman's country music satire Nashville (1975), uncannily prescient about American politics in the quarter-century since its making 1, 4:15, 8 p.m.

SUNDAY: "Wide Wide Screen" - A pair of John Sturges' adventure epics, both featuring an angry young Steve McQueen: The Great Escape (1963; 12:30, 6:10 p.m.) and The Magnificent Seven (1960; 3:40, 9:20 p.m.).

MONDAY: "Wide Wide Screen" - Robert Wise and Jerome Robbins' miscast but still exciting version of the Leonard Bernstein-Stephen Sondheim musical West Side Story (1961) 1, 4:15, 8 p.m.

TUESDAY: "Wide Wide Screen" - A gangster melodrama, Party Girl (1958; 7 p.m.), is one of Nicholas Ray's weaker efforts but is beloved by buffs for its audacious color schemes. It screens with Daniel Mann's melo Butterfield 8 (1960; 9 p.m.), with Elizabeth Taylor.

FINE ARTS CINEMA
2451 Shattuck (at Haste), Berkeley, (510) 848-1143, www.fineartscinema.com. $8 save as noted. Berkeley's innovatively programmed art house puts on some of the most conceptually daring double bills in town.

WEDNESDAY: The antics of petty thug Jean-Paul Belmondo propel Jean-Luc Godard's Breathless (France, 1959; 7:15 p.m.), while Kirk Douglas' machinations keep a miner in the dark in Billy Wilder's Ace in the Hole (aka The Big Carnival, 1951; 9 p.m.).

THURSDAY THROUGH WEDNESDAY (Jan. 17-23): Capt. Irving Johnson's Around Cape Horn (filmed 1929, narrated 1980; 7:15 p.m.) is a filmed record of a dangerous trip narrated and edited many years later. It screens with the popular recent feature The Endurance (George Butler, 2000; 7:55 p.m.; also Sun 9:25 p.m.), about a doomed Antarctic voyage.

FOREIGN CINEMA
2534 Mission (between 21st and 22nd streets), 648-7600, www.foreigncinema.com. Free with meal. This restaurant screens foreign films, usually in 35mm, on the back wall of its outdoor patio, with drive-in speakers available for the tables of those who want to watch while they dine. Closed Mondays.

DAILY: The original Ocean's Eleven (Lewis Milestone, 1960) screens through Jan. 27. Sinatra and his pals can't be any smugger than George Clooney and ensemble in the recent remake 6, 8:30 p.m.; 11 p.m. show on weekends.

LUMIERE
1572 California (at Polk), 352-0810, www.landmarktheatres.com. This multiplex is only partly a "calendar house" rep theater; for the rest of the Lumiere schedule, see our Showtimes page. $7.50.

WEDNESDAY & THURSDAY: Marc Foster's Everything Put Together (1999); see Ongoing for review 5, 7:20, 9:40 p.m.

FRIDAY THROUGH THURSDAY (Jan. 18-24): Stephanie Black's Life and Debt (2001). See Opening for review 4:50, 7:10, 9:30 p.m.; also Fri-Sun 12:20, 2:40 p.m.

PACIFIC FILM ARCHIVE
2575 Bancroft (at Bowditch), Berkeley, (510) 642-1124, www.bampfa.berkeley.edu. $7, second show $1.50. The East Bay mecca for film scholars, part of UC's Berkeley Art Museum, thrives at its on-campus location, up the steps on Bancroft between Telegraph Avenue and the Hearst Gym.

WEDNESDAY: Language is the theme of Jacqueline Goss' video works, which include So to Speak (2000) - with actors portraying Helen Keller and Genie "the wild child" - and Slapstickers (1999), a spoof of Dian Fossey and her gorilla. Plus new works. Artist in person 7:30 p.m.

About The Author

Gregg Rickman

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