Rather than wandering from one overcrowded bar to the next this New Year's Eve, risking obnoxious run-ins with lightweight boozers and wasting your cash on inflated cover charges, head to the Clay Theatre this Saturday for a special midnight screening of The Rocky Horror Picture Show to ring in 2012.
Built in 1910, San Francisco's Clay Theatre, a single-screen cultural institution on Fillmore Street in Pacific Heights, will close its doors, presumably for the last time, this weekend.
Though the San Francisco Film Society offered to buy the theater or to pay for the lease that Landmark Theatres has held since 1991, their overtures were rebuffed by the Clay's landlord, Balgobind Jaiswal. The future of the space remains unclear.
Those wishing to pay their last respects can do so Sunday evening, when the theater will bow out with an 8 p.m. screening of Radu Mihaileanu's romantic comedy The Concert.
So often cinema holds up the female artist’s life as the stuff tragedy. One can’t help but look back to 1988’s Camille Claudel and begin to believe that women (albeit of a certain time and place) who choose art over hearth, home and convention are doomed to obscurity, madness and misery. Mercifully, France’s latest history of a lost woman painter, Seraphine, which opens Friday, July 17, doesn’t dwell on the martyrdom of Seraphine Louis (1864-1942), otherwise known as Seraphine de Senlis, a servant, cleaning woman, and laundress born long before her time and driven to make art in a society that treated women of her class as little better than dogs.