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Several years ago, Courtney Stephenson was working for Terrence Malick The tree of lifeWhen she underwent a serious medical examination—especially for someone in her late 20s at the time. So she left that relatively mainstream film industry gig and started more personal projects. Mobility and mortality were on her mind, which were the ideals she finally reached. Tera SethShe brings it to SF Cinematic (near Mission Gray) on Wed/15. Narrated in person to a live audience, her 62-minute documentary/personal essay consists entirely of images captured (or at least depicted) from the first decade of mass media as they traveled the world.
This was entirely new: before the 20th century, men did the “exploration” and women acted as helpers, colonial wives, merchant relatives, missionaries under male supervision, etc. Women traveled “unaccompanied”, let alone for pleasure. Inconvenient but not impossible. But eventually technology made long-distance travel easier, then more affordable, though some of the subjects we glimpse here—like Mrs. Dixon of Philadelphia, who chartered a cruise to the Arctic Circle for friends nearly a century ago—clearly used great personal wealth.
Others we see from Peking to the Prairies include a globetrotting couple from Yonkers who screen their travelogues at private “cinema clubs.” Aloha Wanderwell Baker, “The World’s Most Traveled Girl,” was hired by the auto industry to promote driving (and ownership) to women. Also archaeologists, anthropologists, women’s climbing clubs and other happy invaders of what was previously a man’s land, geographical, hobbyist or professional. We watch clips of ordinary street life shot by Pullman Porter in various cities. Those reels captured the emergence of the black middle class in an era when African-American travel was cautious, requiring careful consultation of the “Green Book,” which dictated where non-whites could eat, sleep, and otherwise live.
In this collection of classic transfer images, Redwood City native Stephenson reflects on the shifting roles of subservient groups in progressive culture, as well as the values and biases that keep them “in place.” She also ponders the “female gaze”, the nature and meaning of images, the stories buried beneath them. Special images Tera Seth Excavations are retrospectively revealing and enigmatic, the latter quality largely due to the fact that we generally know little about the people who ‘took them’. Those amateur photographers-travellers at once discovered a mysterious type of immortality. For more information about the Cinematic program, go here.
Journey is also expanding—not necessarily in a good way—surprisingly for women with two new narrative features. By Mariana Bastos Brazilian Rachel 1:1 (Arrivals on major US distribution platforms Tue/14), Valentina Herszage’s titular teenager is forced to move back to her hometown by her widowed father (Emilio de Mello), whose financial prospects have dried up elsewhere. As a Christian, Raquel is willing to recruit her peers at the local youth ministry. Their queen bee, Anna Helena (Priscilla Bittencourt), is the daughter of the parent church’s theatrically talented pastor.
But after a mysterious experience (never fully revealed) during a visit to the swimming hole, Raquel begins to question patriarchal concepts and other biblical sticking points, as well as the weighty authority of Anna Helena and her mother. Needless to say, these women are not good at being “challenged”. 1:1 As these holy hypocrites dismiss their energy and newcomers as “God’s will,” it turns into the ultimate witch-hunt tale. In the end, a little pretentious and unsatisfying with its social commentary and perhaps supernatural elements, it is nonetheless a powerful drama about the kind of distorted religious belief we see at work every day: not the kind used more to punish the so-called apostates, but to many the “evangelical Christian tradition.” The word “observant” sounds very similar to “ash*le.”
In Pet Ouse JetikaAvailable on the streaming platform until Tue/14, Journey is also Unlicensed. Elena (Callie Hernandez) is surprised to run into her old friend Jessica (Ashley Denise Robinson), who she says is now gone, but agrees to stop at her old high school classmates’ desert RV home. It doesn’t take long for Jessica to uncover the reason for her “road trip”: she has a guardian named Kevin (Will Madden), who successfully chases her from California to Santa Fe. Soon he’ll be here too, strutting and muttering very annoyingly outside. There’s a simple, if brilliant, reason why it’s so hard to get rid of him: Kevin isn’t, well; alive.
Coming hot on the heels Civilian deadAnother very funny American independent feature 72 minutes about friends who refuse to look like corpses Jetika It is a little thin. It’s basically an extended story that could have been told about a third of the way through, and it’s basically a version of the memorable short “The Worst Day Ever” from 2008. A very slow killer with a very ineffective weapon. But it’s also smart, accomplished, and has a distinct sense of its own.
Also arriving this week are two new documentaries featuring male artists. Alisa Nahmia Art and criminal offenses It’s primarily a multi-year portrait of Jesse Krimes, who dropped out of an art school scholarship as a teenager, eventually landing in jail (for the second time) for selling coke. After his release, he decided to work in the art world, under the threat of a severe “third strike” penalty for any further offences—and actually worked in secret on various projects (including a large mural) while in the Underworld. He may be an eccentric, the kind of ex-con that Foucault cites, but that doesn’t make it any easier to make a living as a conceptual artist.
The director, the subject, and other formerly incarcerated artists Russell Craig, Jared Owens, and Gilberto Rivera will be available for Q&A at screenings in three locations this week: Wed/15 at the Stanford Anderson Collection in Palo Alto, Thu/16 at SF’s Roxie Theater. , and Friday/17th in San Quentin—though it may not be on the guest list for the last time.
If pictures and Goods Currently or released prisoners can be a kind of “foreign art”, a completely different kind was the late French director, whose life and work is considered in Dima Balin and Kat Ellinger. Orchestra of the Storm: The Fantastic World of Jean Rollin. Although he was a contemporary of European cult stars such as Mario Bava, Jose Larraz and Jess Franco, Rollin was far from the fringes and until recently was considered more marginal to work in his homeland, where he received little interest or respect. For horror cinema. (That tide did not turn until Alexander the Great. Haute tension(20 years ago) Nor did most of his true horror fans like his films: usually plotless, they are here described as more about “dreams and memories” than the usual horror stuff, their atmosphere “fantastic and poetic”. His main goal is to “take the beauty out of the wonderful.” Or as he puts it, “The images in my films are definitely more important than the story… and the images are real visuals.
However, as long as he at least provided exploitable elements—especially blood and nudity—Rollin received funding for a single series of low-budget features in the “lesbian vampire” mode of the 1968s. Rape of the vampire Until 1975 Bloody lips. Then hardcore porn was legalized in France, clearing the market for softcore titillation. So Rollins’ fortunes went from vulgar to depressing, including some unimaginable work on real sex films on such topics. Anal madness And Disco sex. Nevertheless, he caught occasional respites, and lived long enough to enjoy renewed (or perhaps for the first time) critical acclaim. This allowed him to deliver several concluding features before his declining health took his life in 2010.
Two full hours approaching Wave Orchestra As an introduction, it may be more than just a curiosity. But with several clips, both archival and new interviews (including frequent on-screen “muse” Brigitte LaHaye), fans of this strange, sometimes exhausting, sometimes hypnotic screen will be delighted. Ouvre. Launches this Tue/14 on the streaming service, along with the best of Rollin’ titles, If It’s Great (Full Game)A living girl, Two orphaned vampires) to “exciting” (Lost in New York Dracula’s Fianceeinvisible (Zombie Lakea film that even the normally unbiased Franco finished after he left).
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