Ken Schneider and Marcia Jarmel premiere their new film HAVANA CURVE BALL next week at the San Francisco Jewish Film Festival.
Havana Curveball is a hero’s journey, a young man’s rite of passage in the transmission of menschkeit over generations, at least three in this story.
The hero’s quest is to heal the world a bit by bringing first world wealth in the manner of baseball equipment to third world impoverished lovers of the game in Cuba.
Happy endings are not assured. Epiphanies are.
Ken is also the editor of Abby Ginzberg’s “Soft Vengeance: Albie Sachs and the New South Africa” also on screens in the festival.
This is also another opportunity for Bay Area audiences to see Nancy Kates’s “REGARDING SUSAN SONTAG” on a big screen at the Castro Theater and other locations.
See you in the movies!
Nancy Kates’s feature documentary REGARDING SUSAN SONTAG sold out the Victoria Theater in the San Francisco Frameline Film Festival last night.
Bay Area filmgoers get another opportunity to see this brilliant film at the San Francisco Jewish Film Festival, Castro Theater, August 2.
Director Kates enlisted great local talent for a hard-to-make film but especially benefited from Director of Photography Sophie Constantinou and editor John Haptas.
Thanks to Zoetrope Aubry Productions for including me in on the post production finishing team, grading in DaVinci Resolve in their office at the San Francisco Film Center in the Presidio National Park.
San Francisco’s LGBT film festival FRAMELINE opens this week and will include the local premieres of two films made by my clients.
Tuesday 6/24 at 630PM at the Castro Theater:
“To Be Takei” directed by Jennifer Kroot and edited and co-directed by Bill Weber
Wednesday 6/25 700PM at The Victoria Theater:
“Regarding Susan Sontag” directed by Nancy Kates
IMPOSSIBLE LIGHT, Jeremy Ambers’s documentary about the art light installation on the Bay Bridge screens at the San Francisco International Film Festival Wednesday, the Roxie Cinema on Thursday and a theatrical run at the Grand Lake Theater in Oakland.
Theatrical opportunities have opened up for the independent filmmaker with the advent of the DCP (Digital Cinema Package) file drive delivery method and the conversion of cinemas to the digital cinema initiative.
Samantha Grant of the UC Berkeley School of Journalism addresses a difficult topic in the profession: plagiarism.
In A FRAGILE TRUST the subject is New York Times reporter Jayson Blair. Grant’s film unwinds a documentary thriller and it is as painful an examination of Mr. Blair’s deeds as it is the state of large institutional newspapers in a time when the unsinkable fourth estate is sailing in a sea of icebergs. Color edit by self.
San Francisco Cinema may have a hit on its hands.
Directors Dayna Goldfine and Dan Geller spun gold out of the scattered straw of archival film and out-of-print memories by way of their own Rumplestiltskin alchemist, the film editor Bill Weber.
THE GALAPAGOS AFFAIR: SATAN CAME TO EDEN is in the opening weeks of a theatrical run and the local opening met with exuberant praise from newspaper film critic Mick LaSalle, a repository of inertia not easily moved. LaSalle’s review earned for the film the icon of the San Francisco Chronicle Mini Man launched from his chair, the ecstatic phase of our Muybridge animation of several stages of arousal from comatose by boredom to elated levitation. The great film critics Siskel and Ebert were reduced to symbolic digital on and off with the thumb of Caesar erect or downcast, a feeble summary of the richly contoured thumbprint of their written reviews.
But it is only a credible triumph when the local film gets outside the province and gets proper attention from another critic and community.
So thank you, Ken Turan of The Los Angeles Times, for being that critic who aptly describes the virtues of this film and helps it along the way to a larger audience and maybe one of those statues Southern Californians hand out midwinter.
Ken Turan reviews the film.