San Francisco International Film Festival 52
23 April to 7 May
films of 1 to 3 May

A really busy 15 days… besides the Festival, The American Institute of Architects National Convention was in San Francisco – I volunteered there three days – and we had tickets to a Giants game. I volunteered for two days of the Festival, but didn’t have enough time to cash in my freebie tickets. We took a different approach this year. Carol and I picked films and bought tickets using CineVouchers. We covered every day of the Festival except opening night which included a party and cost $60.
We saw more films than ever – 20 for me, 16 for Carol, including 14 together. Eric was in town for a week in the middle and joined us for 4 films. All in all, together we saw 22 different films. Good times, and we never really felt burned out. Carol bagged two films, but I sold her tickets to the Rush Line for a profit.
Reviews and ratings – I copied the film descriptions from the online Film Guide or the Daily Scoop – shown below in block quotes – and appended “my take.” Stills are from the Film Guide, pictures from my camera. I rated the films * to ***** mainly for my own reference. Films that have distribution are noted. Enjoy.
RUDO Y CURSI
Mexico 5/1
Distributed by Sony Classic
West Coast Premiere.
CREDITS
dir Carlos Cuarón
cast Diego Luna, Gael García Bernal, Guillermo Fracella

Longtime friends and Y Tu Mamá También costars Gael García Bernal and Diego Luna suit up for this much-anticipated Mexican soccer comedy from the Cha Cha Cha Films producing dream-team of Guillermo del Toro (Pan’s Labyrinth; Hellboy), Alejandro González Iñárritu (Amores Perros; Babel) and Alfonso Cuarón (Y Tu Mamá También).
Bernal and Luna are two unruly hick stepbrothers in rural Mexico, united by a mother with questionable taste in men and their shared love for beer, fútbol and outdoing one another. When a fast-talking agent discovers their talents on the soccer field, but insists he can only make one of them a star, a new path for their rivalry suddenly emerges, taking them from their dusty banana plantation to the big stadiums—and bigger temptations—of Mexico City. Surprisingly, it’s the quieter, more artistic Tato (Bernal) who’s chosen to be the star, but that won’t stop the aggressive, hot-tempered Beto (Luna) from succeeding too (even if he has to become a goalie to do it). Soon it’s not life on the field that’s the problem, but the nights off it: If they survive the gambling, floozies, drugs and gangsters, they’ve still got to survive one another. Assisted by a sly script from director Carlos Cuarón (who wrote Y Tu Mamá También and is Alfonso’s brother) and by the polished Hollywood/Mexico talents of the Cha Cha Cha group, the charismatic Bernal and Luna turn this made-in-Mexico concoction of love, brotherhood and fútbol into a rousing comedy of truly universal appeal.
my take **** – I attended this film with Eric on Friday afternoon. It was good and funny, well acted and scripted. But the story was fairly predictable; it had less scope and emotional breadth than Y Tu Mamma Tambien.
Though it fails the comparison test, I can still highly recommend it, and it will come to a theater near you.
AN EVENING WITH FRANCIS FORD COPPOLA
USA 5/1

Coppola and Cohorts_Perhaps the most intriguing and unpredictable item offered in this year’s Festival catalog was An Evening with Francis Ford Coppola & Friends. At the request of the fabled filmmaker accepting the Founder’s Directing Award, the program would center not on the usual one-on-one onstage interview, but instead on a “moderated discussion” with FFC and various “esteemed friends and collaborators” To Be Announced. Who would show up? Would they stick to Topic A (Coppola and his career) or digress? Would they offer genuine insight, or would it turn into a sort of testimonial dinner?

As it turned out, Friday’s Castro Theatre “evening” was problematic only in that it provided too little of a very, very good thing. The friends and collaborators turned out to be four of Coppola’s oldest and most enduring—editing/sound design genius Walter Murch, director Carroll Ballard, scenarist-turned-director Matthew Robbins and George Lucas, whose name might ring a bell. All were involved in the earliest days of American Zoetrope, Coppola’s S.F.–based production company.
Ergo, the Castro event was like being a fly on the wall at a dinner chez Coppola (complete with spouses and various children present if not heard from) in which old friends waxed nostalgic about their crazy youthful days of collective risk-taking. Which exploits it just happens we already know a thing or two about, as it encompasses movies like Lucas’s now-revered 1971 directorial debut THX-1138, The Godfather, American Graffiti and Apocalypse Now. Eavesdropping on such reminiscences, one could sense a fair share of the audience felt it had died and gone to heaven. —DH
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