A brief pause from the movie reviews while I geek out and set up my tentative East Bay-biased big-screen schedule for the next two months:
Shattuck Cinemas in Berkeley will be premiering Che and Waltz with Bashir on Jan. 16; Scott Walker: 30 Century Man and Wendy and Lucy follow the weeks after with one-week engagements each.
Jean-Pierre Gorin is curating a film series at the Pacific Film Archive (one of the best reasons to live in the East Bay) called “The Way of the Termite: The Essay in Cinema”, and bubbling up to the top of my list are Chris Marker’s Sans Soleil (Jan. 22), Dziga Vertov’s The Man with a Movie Camera (Jan. 29), and Kidlat Tahimik’s Mababangong Bangungot (Feb. 10). [EDIT: Just got replaced with Japan Dance Now at the Yerba Buena Center.)
If, by any chance, a Godard weekend is something you crave, the cinema stars have aligned and scheduled La Chinoise at the Yerba Buena Center on Jan. 30 (also showing on the 29th), and Godard and Gorin's Letter to Jane: An Investigation of a Still at the PFA the following evening on Jan. 31. [UPDATE: Also at YBC -- and it's sad that I won't be able to make it -- is Lav Diaz's Death in the Land of Encantos.]
On Feb. 1st, the Castro Theater is presenting, as part of its Noir City series, an unbeatable double bill: Robert Siodmak’s The Killers and Alexander Mackendrick’s Sweet Smell of Success.
Okay, maybe not “unbeatable”, because the Feb. 12 Shanghai Express / Blonde Venus double-header at the PFA (as part of their “Josef von Sternberg: Eros and Abstraction” series) looks damn good too. The one I really want to see, though, is The Saga of Anatahan, on Feb. 22.
[EDIT: I also just discovered -- thanks to Hell on Frisco Bay for linking to my site! -- that Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is playing on Feb. 26 and 28.]
And lastly, in an act of what might well be monumental folly, I (and two other movie buddies — thanks Barb and Oscar) have purchased tickets to see almost ten hours of Masaki Kobayashi’s The Human Condition on Feb. 15 — just the day before I see all four hours of Philip Glass’s Music in Twelve Parts.
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