Before the regular round up, it's an exciting weekend of niche festivals in the Bay: Georgian Cinema Now: Part 1 takes over BAMPFA with a nearly a dozen Georgian films from the last decade and a symposium featuring several of the filmmakers in person (plus some travel down to Stanford), the Brazilian Film Festival takes over the Vogue with nearly a dozen films new and old, including Oscar and Cannes winners, and at the Roxie—a festival we're so excited about we'll be bringing you special bonus coverage this week—Re:Vision, the San Francisco Film Preserve's inaugural film festival celebrating the work of archives and archivists, with 34 films from 11 decades and 18 countries across 14 programs (programs with an asterisk feature a short from our feature article this week).
Monday, Chronovisor (repeats Tuesday) is at the Alamo Drafthouses New Mission (NM) and Mountain View (MV), FiliKula presents a new restoration of Mike de Leon's 1982 small-scale take on fascism via a college fraternity, Batch '81, at the Roxie, where Filipiñana and Barbara Forever continue, director Rustin Thompson i in person to present The Last Picture Shows at the Balboa, and The Parent Trap and Bird are at the Lark.
Tuesday, Sam Green is in person for The Oldest Person In The World at the Roxie, Event Horizon is at the Drafthouse NM, Batman: Mask of the Phantasm (repeats Wed.) is at the Drafthouse MV, a restoration of Korean romcom My Sassy Girl is at the Alamo Drafthouse Valley Fair (VF), and Ghost Dog: Way of the Samurai is at the Balboa.
Wednesday, It Will Be Better Before and Temo Re kick off BAMPFA's Georgian Cinema Now series with both films' director's in person, Seijun Suzuki's Capone Cries a Lot is at the Drafthouse NM, Basic Instinct is at the Drafthouses NM and MV, La Notte is at the Vogue, Gregg Araki's Mysterious Skin continues at the Roxie, Mālama Mākua, a doc about the struggle to restore US Military-occupied Hawaiian land, is at Artists' Television Access, Miss Congeniality is at the Landmark Opera Plaza, and F. W. Murnau's Nosferatu with live score is at the Landmark Piedmont.
Thursday, the Orinda's Certain Woman series continues with Ida Lupino's The Trouble with Angels (plus two shorts by Janie Geiser and Daina Krumins on 16mm), the Brazilian Film Festival opens at the Vogue with I Only Rest in the Storm, for which Cleo Diara won best actress at last year's Cannes, Georgian director Elene Naveriani presents Blackbird Blackbird Blackberry at BAMPFA, Ghost Dog: Way of the Samurai is at the Drafthouses NM and MV, and Re:Vision kicks off at the Roxie with the Shaw Brothers brothel drama My Name Ain't Suzie*
Friday, Re:Vision continues at the Roxie with The Valley of the Bees, a knightly period drama from the Czech director of Marketa Lazarová, Dakan*, the first West African film to deal with homosexuality, and The Outcasts, an Irish folk horror written and directed by the writer of Blood on Satan's Claw, at BAMPFA, two Georgian docs about small communities resisting explotation with directors Nino Orjonikidze and Vano Arsenishvili presenting A Tunnel and Salomé Jashi presenting Taming the Garden, John Wilson's The History of Concrete opens at the Balboa (also at the Smith Rafael), a mystery pick from the AGFA archives is at all three Drafthouses, The Beastmaster (repeats Sat.) is at the Lark, A Portrait of a Human is at Artists' Television Access, and the Stanford's Fox Musical mini-series wraps up with a Glen Miller double feature of Sun Valley Serenade and Orchestra Wives.
Saturday, Levan Akin's Crossing is at BAMPFA, Give It a Shot (with director Vaishali Sinha) in person at the Drafthouse NM, director Kenji Yamamoto and producer Nancy Kelly present The Dreamers and I at the Roxie, where Re:Vision continues with Thai actioner I Am With a Monk* (also paired with the most recent restoration on the program, an Apichatpong Weerasethakul short film), an harshly poetic doc on salt harvesting communities in Venezuela, Araya (on 35mm), a surreal Sudanese masterpiece meditation on the life of a city, The Dislocation of Amber*, the first Sri Lankan feature directed by a woman, about two girls' coming of age, Gehenu Lamai (with a Satyajit Ray short), and Lepers & Sex AKA Santo vs The Riders of Terror*, the premiere of a long-thought-lost international "sexy version" of a gonzo Mexican genre mashup, Hong Sang-soo's Yourself and Yours is at the YBCA, Other Cinema presents Post-Kolonial Spectres at Artists' Television Access, and the Niles Essanay Silent FIlm Museum screens Laughing at Danger.
Sunday, the Brazilian Film Festival's penultimate film is a restoration of Oscar winner Walter Salles's Central Station, Re:Vision continues at the Roxie with a Yugoslavia Black Wave war triptych, Tri; a long-unseen avant-garde psychiatric melodrama with director Karen Sperling introducing, The Waiting Room; a proto-screwball silent from Lewis Milestone with live music, The Garden of Eden (on 35mm); a pre-code girls school pregnancy drama, 8 Girls in a Boat (on 35mm); and, finally, a Danish serial killer noir filmed under Nazi occupation, Melody of Murder*, BAMPFA has a pair of Georgian mid-length docs, English Teacher and Bakhmaro 2050, with directors in person, and Salomé Jashi's archival doc, An Incomplete Day in the History of Georgia 10.06.93., Jeremiah Johnson is at the Lark, Destroy All Monsters is at all three Drafthouses, Samurai Rebellion is at the Balboa, Center Stage and Bottoms are at the New Parkway, and Burt Lancaster-starring anti-Nazi art heist thriller The Train is at the Orinda.
