"The Exorcist" Director William Friedkin Brings Balls and Brio to the SF Presentation of "Killer Joe"
William Friedkin is a director who's never failed to ruffle a few feathers. Best known as the director of The Exorcist, The French Connection, the imperiled Sorceror, and the contested Cruising (protested by gay rights groups everywhere), he's also one of the last "great" directors of his generation to be producing work that still feels alive and exciting. Killer Joe, arguably the most chilling of his films since The Exorcist, opens Friday around the Bay Area.
Inspired by the free beer garden hosted on the SFAI campus this weekend (RSVP here), for this week's picks and drinks I decided to take a detour from the usual cocktails and travel to the cozy Haight Street standby Magnolia Gastropub and Brewery and give this week's picks the cicerone treatment.
Welcome to "On Location," a micro-feature taking you to little-known cinematic locations of SF and taking a look at the films shot in the city by the bay over the years.
Hewing to its diasporic theme, the Jewish Film Festival hosts screenings all around the Bay for the next three weeks, doing duty for it's first week at the hallowed Castro Theatre before stops in Berkeley, San Rafael and points south. We've chosen five can't-miss picks from the 63 films screening in this year's fest:
San Francisco is blessed–or cursed, depending on your view of things–this weekend with two very different showcases of classic film, moving along two surprisingly entwined pathways. The first, the San Francisco Silent Film festival, is a spectacular celebration of nostalgia which, though outstanding, is in the way of all nostalgia mostly expected. The second, YBCA and Goethe-Institut's PhotoFilm series, nurses a similar nostalgia for the great works of the experimental film avant-garde.
"[The] body was always naked… because of 70s. In 70s all artists was (sic) all naked--all of us dress in dirty white or dirty black; that was it." Humorously minimalising one of the more serious aspects of her earlier work in a speech at The Smithsonian, transgressive Serbian performance artist Marina Abramovic seems so entrancing and well calibrated that it's nearly impossible to tell whether she's performing a character or not. Part cypher and part siren, for almost 50 years Abramovic has been building a body of work that is nearly impossible to look away from. Matthew Ackers and Jeff Dupre's new doc The Artist is Present, built around Abramovic's 2010 MoMA retrospective of the same name, is, like its subject, too compelling to ignore.
This week's drink recommendations come from Richard, the hard-surfing, fast-talking barman at Chambers Eat + Drink at the Phoenix Hotel. Having been to The Phoenix Hotel for many great outdoor events in the past, I recall eyeing the construction of Chambers with interest, but somehow I never made the time to stop by for a drink once it finally opened. Secretly congratulating myself on finding a good excuse to spend some time in to their sexy, record-lined lounge, I headed in for this week's indie theater picks:
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