The festival closes on May 8 with another directorial debut, this one from actor Chris Messina (who I had to IMDb because I obviously don't watch enough television). His film is called Alex of Venice and it stars Mary Elizabeth Winstead (had to look her up as well) as an attorney whose life changes when her stay-at-home husband (Messina) decides to take a break from it all. Both Messina and Winstead are expected to attend the screening. Alex of Venice arrives in San Francisco very soon after its world premiere at Tribeca. SFIFF57's closing night party takes place at The Chapel club, in the heart of the Mission District.
This year's Founder's Directing Award goes to none other than the fabulously eclectic and talented Richard Linklater, whose debut feature Slackers played the festival in 1991 and whose most recent film, Before Midnight, closed last year's fest with the director in attendance. Linklater's tribute takes place at the Castro Theatre on Friday, May 2, with an on-stage interview, career clips reel and a screening of his 18th and most recent feature, the wildly acclaimed Boyhood. This event is destined to be a huge highlight of SFIFF57—I arranged to take the night off from work the minute I heard about it.
|Artist: Zach Bellissimo|
Eleven films will compete for 2014's SFIFF New Directors Prize. I'm especially excited they've programmed Salvation Army, Abdellah Taïa's adaptation of his autobiographical novel about a gay Moroccan boy who later immigrates to Europe. It's a critically acclaimed film I wasn't expecting to see until June's Frameline LGBT festival. The other New Directors Prize contender I'm hot to see is Benjamín Naishtat's History of Fear, a dystopian nightmare set in the Buenos Aires suburbs, which has drawn comparisons to the early works of Michael Haneke since its Berlin premiere. I've also heard terrific things about the Icelandic film, Of Horses and Men, and Mexico's The Amazing Catfish. Both the latter film, as well as Taïa's Salvation Army, boasts cinematography by renowned DP Agnès Godard.
We Come as Friends, which examines the human cost of neo-colonialism in the newly formed nation of South Sudan. To this day, Sauper's 2004 Oscar®-nominated Darwin's Nightmare remains the most disturbing and dispiriting doc I've ever seen. Perhaps his latest will make me feel even worse.
Cross-published (in an expanded version) at film-415.