It’s hard to know where to start with a film as rich as A Christmas Tale (trailer), which opens tonight, November 21^st at the Bridge Theater for an exclusive one-week run. It’s under consideration for one of France’s top film honors, the Louis Delluc prize, and no wonder: in two and a half hours that never drag or bore, director Arnaud Desplechin explores every aspect of a crazy dysfunctional family, and takes us on a journey that, for all its length, almost feels a bit too short.

The heart of the story is Junon (Catherine Deneuve) and Abel (Jean-Paul Roussillon), whose three adult children have been locked for years into a state of passive-aggressive feuding. Overshadowing their lives is the fate of their oldest child Joseph, who died of leukemia forty years earlier at the age of seven. When Junon develops the same disease — and there is a chance that one of her children may be able to donate marrow to save her life — they all return to the family home to be tested, and for the holidays. Merry Christmas!

It sounds like a depressing film — as Desplechin himself said of it, everything “in the scenario should scare a producer half to death” — but in fact it’s often quite hilarious, and all the tragedy is treated with a light touch that somehow doesn’t trivialize it. But in the end that’s very true to life. Add in the wonderful cast — Mathieu Almaric, Emmanuelle Devos, Hippolyte Girardot, and Chiara Mastroianni (the only actress I can’t stop thinking about and Deneuve’s real-life daughter) — and it’s a film you just can’t miss.

Desplechin visited San Francisco back in October to attend a screening of the film at the San Francisco Film Society’s French Cinema Now festival. We chatted in his hotel suite; his accommodations delighted him so much that he took us out onto the balcony to share the amazing view he had of downtown and the bay. We enjoyed a rich, wide-ranging discussion about this and his other films, about his process, his opinions about various films ranging from Fanny and Alexander to The Royal Tenenbaums to The Outsiders, his plans to make a film about the birth of hip-hop in France, and why he refuses to think about casting while working on a script — even if, as with the case of Catherine Deneuve in this film, there’s really nobody else who could do the role.

It’s a lengthy interview but well worth your time, if you’d like to get a glimpse into the mind of one of the finest directors working in France today. Full text after the jump.

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I think the second (okay, well, third) weekend in November should be officially declared San Francisco’s Too Damn Many Film Festivals All At Once Weekend. Like a complete chump, I forgot to post about one of them in time for the opening: 3rd I South Asian Film Festival, which is pretty much how it sounds. This is their sixth time out. Check out the schedule here, and get your tickets here.

Tonight’s feature, screening at 8:30 PM, is called Kissing Cousins, and if I didn’t have a prior engagement, I’d drive out to the Brava tonight just to gaze at Rebecca Hazlewood on screen (pictured above with Samrat Chakrabarti at left) for 99 minutes. Although such devotion might be a little weird, since she’ll be there, along with producer Manish Goyal and director Amyn Caderali, one of the Bay Area’s own. Here’s the story, as told by Christopher Au:

Amir (Chakrabarti) is a professional heartbreaker. Except, he hasn’t dated any of the unfortunate souls with whom he breaks up—he’s just the hired messenger who bears the bad news. And for an additional fee, he can even get your stuff back! As his friends begin to couple up, get married and settle into new homes, they wonder if bachelor Amir will ever let his hardened heart fall in love.

When Amir’s gorgeous British cousin Zara (Rebecca Hazlewood, ER) visits him in Los Angeles, she fools his friends into thinking that she’s his girlfriend. But as Amir spends more time with Zara, she opens him up to feelings that have lay dormant for far too long. How long can they keep up this ruse of faux-love? Or will they become more than “just cousins”?

The rest of the schedule is pretty great too: it includes a wide range of documentaries; a screening of Om Shanti Om; A Throw of Dice, which is a 1929 silent film involving eastern splendor and torrid passions (what else?); and most irresistably, Hell’s Ground, which is best described as a Pakistani zombie flick: “They should have listened to the warnings of the creepy old guy at the chai stand a few miles back.” Yesssssss.

Oh yeah, they’re also playing the totally ignored, poorly covered Slumdog Millionaire on Sunday night at the Castro Theatre. Tickets are a bargain at $9 a show.

As I mentioned last week, this weekend is so stuffed full of book events — oddly enough, most of them on Thursday — that this post covers only the next three days. Highlights are Bizarro, Ben Ratliff, Chip Kidd, Opium’s Literary Death Match, and the final SF in SF event for the year. Get all the details after the jump.
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The 12th International Latino Film Festival is set to open tomorrow night at the Castro Theatre with Cachao: Uno Mas!, and it closes November 23rd. In between, the festival offers more than 50 films at four venues in San Francisco (plus one in Berkeley and 10 on the Peninsula).

The opening night film celebrates “the life of one of the most influential Afro-Cuban musicians,” Israel “Cachao” Lopez. The documentary “follows the legendary bassist from his early days in Cuba to worldwide recognition and features interviews with Andy Garca, John Santos, and more.” (As I recall, it was quite the favorite at SFIFF 51.) Naturally there will be a Noche Cubana to follow the film! (Nota bene: the party’s at the Hotel Kabuki.) If that’s not your style, you might stay on at the Castro to watch Los travestis tambien lloran, a French feature about two Ecuadorian transsexuals struggling to get by in Paris.

Other opening weekend highlights include Chevolution, which explores the life and legacy of Che Guevara; Children in No-Man’s Land, which documents the plight of the 100,000 unaccompanied minors who enter the US each year and are caught by immigration authorities; and the film that has, for my money, one of the best titles ever: Amor, dolor y viceversa, a “sexy thriller” featuring “the stunningly beautiful but forever single Chelo (Barbara Mori),” who is “haunted by recurring visions of a handsome lover (Leonardo Sbaraglia). But dreams turn to nightmares and nightmares to reality. As this tense and noirish jigsaw plot unfolds, truth, fantasy, and lies blur together, and a longing for love turns to unrelenting obsession.” Wow, sounds pretty good to me!

All films Saturday and Sunday are being screened at the Brava Theater for Women in the Arts (located at 24th & York, near Bryant, in Potrero Hill). There are several worthy films this weekend that I haven’t mentioned; for info on them and the other films in the weeks ahead, just check out the full schedule here.

In a Dream, which screens at SF DocFest over the next few days (details below), is a film about the mosaic artist Isaiah Zagar, who has become an icon in South Philadelphia for the massive scale and extent of the mosaics he has created there. They include, by his description, about “a hundred murals” and “seven buildings, top to bottom, inside and out.” His best-known work is Philadelphia’s Magic Gardens, which represents the transformation of two derelict buildings into a labyrinthine complex that covers half a city block with winding mosaic-covered passageways and sculptures.

Zagar’s mosaics are bright, colorful, and complex, rich with a celebratory spirit towards physicality and sensuality. But the surface cheerfulness of these mosaics belies the deeper obsession and the narcissism that makes such vast, intricate works possible in the first place, and Jeremiah Zagar — the director of the film and the artist’s younger son — uncovers that darkness here with unrelenting economy. All the father’s past secrets rapidly come out in the open, culminating when one of his most shameful episodes plays out right in front of the camera: his self-centered pursuit of “passion” with his assistant, which ends with a brief separation from his wife Julia, right when their oldest son is separated from his own wife and having drug problems.

Jeremiah describes the moment: “I went home to film my parents as they picked my brother up from rehab. The stress from the situation boiled over, and my father suddenly admitted [the affair] to my mother and me … that same night, my parents separated for the first time in 43 years.” Isaiah’s admission is made directly into the camera, and it’s a moment of remarkable drama. Amazingly, Jeremiah retains his composure — he coughs and the handheld camera shakes for an instant, but that is all — and he goes on to capture every instant of what ensues. “I shot 16 hours that day and hated myself for every minute of it,” he writes. Fortunately, Isaiah realizes he has made a big mistake quickly enough. Soon afterward, he goes to stay with his assistant and, as he confesses, “within minutes, my whole being started to rebel. My whole being.”

In the end, he reconciles with Julia, and the film has a brief epilogue, highly effective in its simplicity, that shows how, after a time of healing, the two simply picked up their life together and continued on into the next adventure.

For all the darkness that Jeremiah reveals, it’s an affectionate film. He shot his footage over the course of seven years, filming “whenever something significant happened,” and he describes the result like this: “what started as an exploration of my father’s life has exposed the secrets of our entire family. But I don’t think that’s a bad thing. … We know now how imperfect we really are, but also how much we need and love each other.”

The film is highly recommended. In a Dream screens at the Roxie this Sunday, October 26th at 2:45 PM, and Tuesday, October 28th at 9:30 PM. It will also screen at the Shattuck next Sunday, November 2nd at 2:45 PM.

I missed it this year, sadly, but just re-read Cormac’s (local writer, online novelist) version and it’s precious. Enjoy.

Note, try to give stuff away and people think that you are handing them the plague. To say it hurts when the junkie panhandlers get more respect and love just feet away from you, is an understatement.

I was sitting on a 45 Union with a writer friend during LitQuake, sharing stories of how we stalked potential agents and other antics, and how sometimes it’s nice to just avoid the scene altogether.

Lads and Jockeys, which screens at 9:15 tonight and 4:15 tomorrow at the Clay Theatre, is Benjamin Marquet’s first feature film. In this excellent documentary, he takes on an unusual subject: a 40-year-old boarding school in Chantilly, France, 30 miles north of Paris, whose sole purpose is to train young people to run stables and ride horses. It is the largest such school in France, possibly in Europe, and only a talented few will become the jockeys who ride in professional races. Just as most music students enter conservatories with aspirations to become soloists, most of the students who enter this equestrian school aspire to become jockeys, the most glamorous profession in horse racing. But those who don’t have the talent for it — that is, most of the students — will remain “lads,” short for “stable lads.” In his film, Marquet charts the progress of three students during their first year in the school. It’s not an easy path. They are apprenticed out to current or former professional jockeys, and those men have little patience with unprofessional behavior, even when it comes from a 15-year-old boy. The jockeys, by their example and often harsh instruction, seek to instill a respect for the horses and a love for their craft. And these three boys, at least, rise to the awesome challenge. We see them develop, almost despite themselves, a truly professional attitude towards both success and failure. And we do see a measure of each. It’s a very engaging documentary, and I highly recommend it. Yesterday I had a chance to sit down with Mr. Marquet and chat with him for half an hour about his film.

How did you end up doing a whole film on this subject? How did you find the school?
After I studied anthropology in Paris, I lived in Senegal for a year, and shot my first documentary over there. It was a 35-minute short, and I came back to Paris with the movie, and people seemed interested in it. Well, my father works in the movie business also, and he loves horses — for 40 years he has ridden horses in Chantilly, where this film takes place. And he saw my first film and suggested that I do something about the whole world of horse racing. At first I was like, maybe not, because horses are not really my stuff, and working with my father — same thing, maybe a little bit risky! But finally, I said, “okay, I studied anthropology and I love Africa, but there’s no reason I couldn’t do something in France.” So I said, “okay, let’s try it.” I had no idea what Chantilly really looked like, what the industry was all about. So I said, “first, I’ll just go see what is there, and second, if I do something, it won’t be about horses but about people. So I spent a couple of days, and really quickly I understood that there are tons of characters there, all involved in horse racing in some way, and I would just have my choice. I mean, they’re all really original people, with extraordinary backgrounds.
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Tomorrow night literary great Jonathan Lethem, author of many fine tomes (most of which I can vouch for), is going to appear in conversation with Greil Marcus, author of, seemingly, seven million equally wonderful words on American culture in general, rock music in particular. (Fun fact: Marcus wrote the preface to Luc Sante’s latest, which I just finished reading yesterday.) Their “convo” will take place 8:00 PM in Kanbar Hall at the Jewish Community Center, 3200 California Street. Tix $10-$18.

Kent Nagano is leaving his post as Music Director of the Berkeley Symphony, but not before conducting one last concert on Thursday, Sep. 18.

The program at Zellerbach Hall on the UC Berkeley campus features Mozart’s Symphony no. 41, Bruckner’s Symphony no. 7, and a tribute fanfare commissioned by the organization to honor Nagano’s service.

Nagano, who also has posts at the Orchestre Symphonique de Montréal and the Bavarian State Opera, remained with the Berkeley Symphony long after he had become a world-famous conductor. His production of Prokofiev’s The Love for Three Oranges with the Opéra National de Lyon came to San Francisco several years ago, and it remains the best single live performance I’ve seen in my life.

No Regret, promotional still

This morning, an interesting-looking film came to my attention: No Regret, by director Leesong Hee-il. The trailer can be viewed here. It first screened at the Frameline Festival earlier this year, and it’s being billed as “the first breakout gay film from Korea.” In addition, it is the director’s first full-length feature film. A whole lotta firsts going on with this one. Here’s the synopsis:

Set in Seoul, South Korea, “No Regret” centers on Sumin (Lee Young-Hoon), who leaves the orphanage where he grew up and heads to the city to study art design. After losing his job at a factory due to layoffs, he finds himself working as a prostitute in a gay bar. Initially Sumin resists the advances of Jaemin (Lee Han), who comes from a rich and conservative family that doesn’t accept his sexual identity. Eventually Sumin succumbs to Jaemin’s advances, after they briefly experience happiness as passionate lovers, Sumin and Jaemin’s relationship falls into heartache and tragedy.

Jaemin’s parents go on to arrange a marriage for him; sounds like a real tear-jerker. However, in a review on SF Gate today, David Wiegand says: “Despite the surface hokum of the plot, there are only a couple of moments when you just don’t believe that Su-Min would do what he’s doing or that Jae-Min would say what he is saying.”

Shows tonight at 7:15 and 9:30; screenings daily thereafter at 2:15, 4:45, 7:15, and 9:30. Tix are the usual $10.50 general.

NOTE: There has been some confusion over where the film is actually screening; I have verified that it will screen at the Lumiere and not the Embarcadero Center Cinema.