Category Archives: Showcase Series

CLOSET MONSTER

A fresh take on the coming-of-age story, this surreal tale follows the artistically driven Oscar (AMERICAN CRIME’s Connor Jessup) hovering on the brink of adulthood. Struggling to find his place in the world after a rough childhood and haunted by images of a tragic incident, Oscar dreams of escaping his small town. After he meets a mysterious and attractive new co-worker, Oscar follows the guidance of his pet hamster Buffy (voiced by Isabella Rossellini) and faces his demons to find the life he wants.

closet-monster

CLOSET MONSTER

Written & Directed

by

Stephen Dunn

Starring:

Connor Jessup, Aaron Abrams, Joanne Kelly, Aliocha Schneider,
Sofia Banzhaf, Jack Fulton, Mary Walsh, Isabella Rossellini

Country of Origin: Canada

 Running Time: 90 min

 

 

 

Screening at the Riviera Theater, 2044 Alameda Padre Serra, Santa Barbara, CA

Showtimes:

Sunday October 16 @ 2:00pm
Monday October 17 @ 7:30pm
Tuesday October 18 @ 5:00pm
Wednesday October 19 @ 7:30pm

Get Tickets Here

“An accomplished, courageous debut”
– Harry Windsor, The Hollywood Reporter

“A most auspicious debut.”
– Dennis Harvey, Variety

“A highly original spin on the coming-of-age drama”
– Wendy Ide, Screen Daily

“There’s always a new coming-of-age drama, but ‘Closet Monster’ is great, we swear.”
– Chuck Wilson, The Village Voice

(Source: sbiff.org)

Note from Roger – Command and Control

Dear Cinephiles,

Yes, COMMAND AND CONTROL is a documentary, yes it plays like a thriller – and I assure you will be at the edge of your seat.  It is also a history lesson of nuclear weapons from WWII through the Cold War and today.  It’s an extremely timely documentary – essential viewing.

Below is a review from LA Times.  It plays tonight at 5:00pm and tomorrow at 7:30pm at the Riviera Theatre.

See you at the movies!
Roger Durling

Click here for tickets.

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The thin line between safety and Armageddon is at the center of ‘Command and Control’ documentary
By Kenneth Turan – LA Times

Lots of documentaries these days will tell you to be afraid, to be very afraid, but few will scare you as coolly and as convincingly as “Command and Control.”

Directed by Robert Kenner, who co-wrote with book author Eric Schlosser (a key on-screen presence), “Command and Control” focuses on a Sept. 18, 1980, accident at a Titan II missile silo in Damascus, Ark., that came terrifyingly close to causing a nuclear explosion that would have devastated the entire East Coast.

But Kenner and Schlosser, who last collaborated on Kenner’s Oscar-nominated “Food, Inc.,” are also telling a larger story about the inherent dangers nuclear weapons pose not just for our enemies but for ourselves. No weapons advocate ever thought one of these behemoths might detonate right here at home, but the inevitable conclusion on seeing this film is that one very well might.

As Schlosser says quietly, harkening back to the first Trinity site nuclear test in New Mexico in 1945, “from the beginning there was the sense of this immense power just being on the verge of slipping out of our control.”

Though this kind of subject matter is by nature incendiary, Kenner and Schlosser have understood that handling the material as dispassionately as possible is the best way to make it completely unnerving.

Yet, paradoxically, the key people who lived through that 1980 event (almost all of whom are interviewed here) are, even nearly 40 years after the fact, nothing if not emotional about their memories, not surprising when you remember they thought a world-changing nuclear catastrophe was imminent.

Director Kenner has also been helped enormously by the existence, in Green Valley, Ariz., of the Titan Missile Museum, which is in essence an almost exact replica of the Titan missile silo in Arkansas where the accident and the drama took place.

The discreet re-creations of events Kenner and cinematographers Paul Goldsmith and Jay Redmond have filmed are essential in giving us an exact idea of how chilling the space in question was, how unnerving the looming presence of the enormous missile topped by a nine megaton thermonuclear warhead, three times as powerful as all the bombs detonated in World War II, nuclear weapons included.

“Command and Control” begins dramatically, with the deadly accident. It is 6:25 p.m. on that day, and a re-creation shows two members of the Air Force’s Propellant Transfer System team, nearing the end of their 12-hour shift, suiting up to service the behemoth.

“You’re counting on everything to work perfectly all the time,” says Jeffrey L. Plumb, who was 19 at the time. “And things just don’t work perfectly all the time.”

So it was that Plumb’s coworker David Powell used a ratchet instead of a torque wrench to remove a gasket, only to watch in horror (so much so that he didn’t tell his superiors the full story for half an hour) as the gasket fell and hit the side of the rocket, causing an immediate fuel leak that was a real threat to explode and perhaps detonate the warhead.

At this point “Command and Control” goes back and forth between the Air Force’s attempts to deal with this crisis and other past nuclear weapons accidents. The Air Force says there have been 32 of these, which is scary enough, but the film claims there have been more than one thousand.

Most terrifying of all, and gone into in some detail, was a 1961 event when a B-52 bomber broke apart in flight over Goldsboro, N.C. The resulting centripetal force actually armed the hydrogen bomb on board and when the weapon hit the ground, only one tiny switch prevented it from going off.

Off-site, Air Force higher-ups soon took over command of the Arkansas situation, but that didn’t stop the response from becoming chaotic and seat of the pants.

As related by the participants, the story became one of heroism and foolishness, of individual people who responded well and systems that did not. A nuclear explosion did not take place, but terrible things did happen, so embarrassing to the Air Force that even the people who acted heroically were shunned.

As terrifying as this particular event was, the back story is equally scary, including the realization that the United States and the Soviet Union at one time had between them close to 70,000 of these frightening weapons.

And it is very disturbing to hear the people who were in charge of using them, like Lt. Allan D. Childers, say that in the name of deterrence they were perfectly ready to push the launch button. “I had to be prepared to destroy an entire civilization,” he says, “and I had no problem with that.”

Most troubling of all, however, is the idea that nuclear weapons are machines, and every machine ever made has broken down at some point.

“It will happen,” says Sandia Laboratories engineer Bob Peurifoy, a former weapons builder. “Maybe tomorrow, maybe a million years from now, but it will happen.”

As I said, be very afraid.

(Source:www.sbiff.org)

SBIFF Showcase Film Series Presents Command and Control

A chilling nightmare plays out at a Titan II missile complex in Arkansas in September, 1980. A worker accidentally drops a socket, puncturing the fuel tank of an intercontinental ballistic missile carrying the most powerful nuclear warhead in our arsenal, an incident which ignites a series of feverish efforts to avoid a deadly disaster. Directed by RobertCommand and Control.jpg Kenner (FOOD, INC.) and based on the critically acclaimed book by Eric Schlosser (FAST FOOD NATION), COMMAND AND CONTROL is a minute-by-minute account of this long-hidden story. Putting a camera where there was no camera that night, Kenner brings this nonfiction thriller to life with stunning original footage shot in a decommissioned Titan II missile silo. Eyewitness accounts — from the man who dropped the socket, to the man who designed the warhead, to the Secretary of Defense— chronicle nine hours of terror that prevented an explosion 600 times more powerful than Hiroshima.

Here’s what critics are saying:

“Despite the high stakes, Command and Control is fun to watch, in the manner of good suspense thrillers and disaster films.”
– Chris Packham, Village Voice

“What gives Command and Control its urgency are both its wealth of information and the implications of its story.”
– Mark Jenkins, NPR

“The pace of the drama is riveting, as it jumps back through the decades to place the accident in the context of the nuclear arms race.”
– Joe McGovern, Entertainment Weekly

 

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Entry way of the Santa Barbara Riviera Theater. (Photo credit: sbmerge.com)

Screening at the Riviera Theatre

Sunday October 9 @ 2:00pm
Monday October 10 @ 7:30pm
Tuesday October 11 @ 5:00pm
Wednesday October 12 @ 7:30pm
The Riviera Theatre is located at
2044 Alameda Padre Serra, Santa Barbara, CA

Click here for tickets.

See you at the cinema!

COMMAND AND CONTROL
Directed by Robert Kenner
Written by Robert Kenner, Eric Schlosser
Country of Origin: USA
Running Time: 92 min

 

(Source:www.sbiff.org)

Note from Roger Durling

Dear Cinephiles,

L’Shana Tova!  This week we’re featuring SAND STORM – Israel’s official submission to this past year’s Academy Award.  The film takes place in a Bedouin village in Southern Israel – and it’s rich in cultural specifics.  But it’s themes are so universal.  It gives a powerful – clear–eyed look at the inequalities facing women in that part of the world.
Below is a review from Variety.  It plays tonight at 5:00pm and tomorrow at 7:30pm at the Riviera Theatre.

Get tickets here!

See you at the movies!
Roger Durling

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A sympathetic but clear-eyed look at the inequalities that entrap women (and the men they love and resent) in a Bedouin village.
By Ella Taylor – Variety

On the face of it, “Sand Storm” presents a familiar feminist tale of a teenaged girl trapped between her desire to control her destiny and the constraints of her traditional family. Yet this emotionally intelligent first feature offers a sympathetic but clear-eyed look at the tangled skein of inequalities that entrap women (and the men they love and resent) in a Bedouin village stranded between modernization and anachronistic patriarchy. Written and directed by a Jewish Israeli woman, Elite Zexer, and made with a Jewish-Arab crew, the film boasts alluring desert visuals, muscular acting and intricate psychology that should attract audiences for women’s movies, foreign art films and those who believe that melodrama still has a place in cinema.

Men are not permitted at a Bedouin celebration in Southern Israel to welcome (with variable enthusiasm) the arrival of a second wife. Instead the older women wear fake mustaches, one of many striking images in “Sand Storm” that address the crucible of anger and pain that simmers beneath the revelry. Jalila (Ruba Blal-Asfour), the man’s first wife, glowers magnificently, and not just because she’s going to have to share power with the younger newcomer. Discovering that her daughter, Layla (Lamis Ammar), has a secret lover at school, Jalila freaks out at first, then defends Layla to her father, Suliman (Haitham Omari), who has given his eldest child many modern advantages — a cell phone, driving lessons, an education — and yet, for his own murky reasons, shows willing to sacrifice her future to an arranged marriage to a village man she barely knows.

At once autocratic and weak, Suliman props up an archaic social structure in which men call the shots but women clean up the messes. Ammar makes a charmingly frisky Layla, but the energy of “Sand Storm” surely belongs to Blal-Asfour as her mother, a caged tiger who smolders and paces and deliver tongue-lashings to her hapless conformist of a husband as needed. Rail as they might, Jalila and Layla remain caught between loyalty to their disintegrating family and an emerging hunger for autonomy and experience that are prohibited by their medieval fate. Those fake mustaches signal both strength and vulnerability, and the movie captures the stark beauty of the Negev desert where this traditionally nomadic tribe has put down roots, marred by a pervasive sense of entrapment for the young woman who’s both deeply attached to her mother and sisters, and desperate to fly the coop.

The handheld camerawork can be rough at times, and here and there Zexer steps a little heavily on the pedal of metaphor: A long tunnel works a touch too hard to flag Layla’s struggle between freedom and family duty. But the director juggles different points of view with aplomb, and her strong script addresses with impressive subtlety the gap between what people say and what they do under extreme pressure.

The strands of her narrative come together to show how everyone is left the loser in polygamous marriage, a divide-and-rule institution that pits not only husband and wife against one another, but also women who would otherwise be inclined to mutual support. Mercifully there’s no Hollywood ending here, only a bracing touch of mordant humor about interior decor that has the discreet hum of groundwork being laid, and rebellions yet to come.

 

Sandstorm Unhinged

As wedding festivities get underway in a Bedouin village in Southern Israel, Jalila finds herself in the awkward position of hosting her husband Suliman’s marriage to a second, much younger wife. During the celebration, Jalila stumbles across her eldest daughter Layla’s involvement with a boy from her university—a strictly forbidden liaison that would shame the family. Burying the indignity of Suliman and his new bride living next door, Jalila also tries to contain Layla’s situation by clamping down on her. But Layla sees a different life for herself…

sand-storm

Written and Directed by Elite Zexer
Starring Khadija Alakel, Haitham Omari, Ruba Blal-Asfour, Lamis Ammar,
Jalal Masarwa
Country of Origin: Israel
Running Time: 87 min
Not Rated
Subtitled

Here’s what leading critics are saying:

“Critics’ Pick. Coursing with feeling – an ethnographic melodrama, rich in cultural specifics, but also universal longings.”
– Alan Scherstuhl, Village Voice

“One of the most-admired films at this year’s Sundance. A lovely, deeply affecting film.”
– Bilge Ebiri, New York Magazine

“A complex drama with characters to match. The choices (Zexer) makes in terms of visuals, tone and script establish her as a strong directorial presence.”
– Kimber Myers, The Playlist

Get SBIFF Showcase Series Tickets Here

Screening:
Sunday October 2 @ 2:00pm
Monday October 3 @ 7:30pm
Tuesday October 4 @ 5:00pm
Wednesday October 5 @ 7:30pm
at the Riviera Theatre
2044 Alameda Padre Serra

See you at the cinema!

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(Source: http://www.sbiff.org)

Note from Roger Durling – Fatima

Post by Larry Gleeson

Dear Cinephiles,

FATIMA was the “small miracle of a film” that won the Best Picture at this year’s Cesars – France’s equivalent of the Oscars.  It’s such a profoundly enriching experience watching this tale about mothers and daughters and immigrants in France.

It plays tonight at 7:30pm at the Riviera Theatre.

See you at the movies!
Roger Durling

 

Review: In ‘Fatima,’ a Muslim Mother Working in France Hits Her Limit

fatima

By Stephen Holden –  The New York Times

“If my daughter is a success, my happiness is complete,” declares the title character of “Fatima,” a small miracle of a film from the French director Philippe Faucon.

Divorced from her husband, whom she followed to France and with whom she is still friendly, Fatima (Soria Zeroual) is a 44-year-old North African woman raising two teenage girls in Lyon. The oldest, Nesrine (Zita Hanrot), 18, is a first-year medical student, and the younger, Souad (Kenza-Noah Aïche), is a sullen, sexy 15-year-old rebel ashamed of her mother for working as a housecleaner.

Souad sneers that Fatima is “a useless she-donkey” and “a living rag.” But her mother, however stung, endures the abuse and chooses her words carefully when firing back. Fatima loves her daughter despite her insolence. Steeped in North African Muslim culture, Fatima has traditional notions of what she calls “respectable” female behavior that don’t apply in France, and she is upset when Souad insists on baring her shoulders.

If the movie, loosely based on two books by Fatima Elayoubi, tells a familiar story of immigrants struggling to make something of themselves in an alien culture (Fatima speaks some French but reads only Arabic), it does so in a tone that is kindhearted but clearheaded, and the performances are low-key and believable. (Mr. Faucon picked Ms. Zeroual, a nonprofessional actress, to play Fatima.) It makes you feel the intense pressures facing Fatima and her family from all sides. When a young man flirts with Nesrine on a train, she politely but with a tinge of regret explains that she has to study.

Some of those pressures come from gossipy female neighbors who are envious, and judgmental. One Moroccan woman fumes that Nesrine didn’t greet her at a bus stop, an incident that Nesrine, lost in her thoughts of school, doesn’t recall. While on the job 12 or more hours a day, Fatima is treated with barely disguised contempt by female employers who brusquely order her around and who, she rightly senses, suspect her of petty theft.

Nesrine nearly cracks under the strain of her studies, which require her to absorb complex medical terminology. She worries most about not disappointing Fatima, who is sacrificing everything to pay for her schooling. Nesrine simply can’t afford to fail.

Eventually Fatima, exhausted, falls down stairs with her cleaning equipment and takes a paid five-month medical leave. But when the time is used up, she complains of continuing shoulder pains, although tests indicate she has recovered. She has simply reached her limit.

To bolster her morale, Fatima has been keeping a bedside journal, written in Arabic. As she reads aloud from it to a sympathetic doctor, her reflections on hardship, sacrifice and life’s unfairness have the tone of a humble manifesto.

“Be proud of all the Fatimas who clean working women’s houses,” she reads, and her words resound with the determination and quiet nobility of a woman who, however downtrodden, knows her own worth.

Fatima” is not rated. It is in French and Arabic, with English subtitles. Running time: 1 hour 19 minutes.

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(Source: http://www.sbiff.org)

Note from Santa Barbara International Film Festival’s Roger Durling #SBIFF

Dear Cinephiles,

Werner Herzog’s one of the most distinctive voices in Cinema – excelling both in fiction and documentaries. His latest, “Lo and Behold: Reveries of the Connected World” explores the internet – an incredibly timely topic – and the movie’s thought provoking as well as absorbing. It plays tonight at 5pm and tomorrow at 7:30pm at the Riviera Theatre. Below find a Washington Post review.

See you at the movies!
Roger Durling

Click here for information on tickets

 

In ‘Lo and Behold,’ Werner Herzog examines good, evil and the Internet
By Ann Hornaday – The Washington Post

Werner Herzog has explored the known world from the Amazon and Antarctica to the prehistoric cave of Chauvet. It seems only fitting that he would set his restless, perpetually questioning sights on the Internet, the ether where we spend increasingly more of our lives, at their most public and most intensely secret.

Herzog’s documentary “Lo and Behold: Reveries of the Connected World” is just what its title promises: A series of ruminations, each its own 10-to-15-minute chapter, on the origins, implications, moral ambiguities and latent possibilities of a medium we’ve absorbed readily, almost reflexively, without much consideration of the consequences.

Beginning at UCLA, where the first message was sent on what would become the Internet, and traveling the globe to interview engineers and astronomers, philosophers and hackers, robotics experts and refuseniks, Herzog creates an intriguing bookend to Alex Gibney’s “Zero Days,” which examined the looming dangers of cyberwarfare. Although Herzog touches briefly on the subject of security, he’s far more interested in how our online life has changed us and whether it’s allowed us to access the best parts of ourselves — such as when a huge community of gamers comes together to help find a cure for disease — or the worst, represented by a family who were sent horrific emails and graphic pictures following the death of their daughter in a car accident.

Is the technological ideal to be found in absolute transparency or absolute privacy? As one early pioneer observes, the founding irony of the Internet is that it was created by scientists with such idealism and mutual trust that they couldn’t comprehend the potential for anonymous cruelty and abuse that they were unleashing.

Formally, “Lo and Behold” breaks no new ground: It’s a collection of talking heads, archival footage and illustrations, punctuated by Herzog’s own queries and asides, delivered in the German accent that always conveys a tone of barely contained existential panic. Of course, that’s what makes the movie special, as when Herzog insists on bringing the conversation back to the mysteries of love and attraction, or when, during a speculative digression about video games, he intones the phrase “malevolent Druid dwarf.”

Thoughtful, searching and wonderfully moving in its wistful final moments, “Lo and Behold” may not be Herzog’s most artistically ambitious film, but it’s an intriguing, even important one nonetheless. Come for the engaging, reflective tutorial on technological progress, human nature and transformation; stay for the malevolent Druid dwarves.

 

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Miss Sharon Jones! Tonight at the #SBIFF Showcase Series

Two-time Academy Award winner Barbara Kopple (Harlan County, USA) shines a powerful, inspiring and entertaining spotlight on the legendary R&B queen Sharon Jones, whose wonder is a force to behold both on and off stage. Always told she was never good enough (“you’re too black, too short, too old”); Sharon finally broke-through as a renowned soul singer being hailed as a modern-day female James Brown. Now as she prepares for her most important tour, Sharon comes face-to-face with the most difficult adversity of her life: a diagnosis with cancer. Follow this tour de force over the course of an eventful year as she struggles to hold her band The Dap Kings together while battling her diagnosis with an unstoppable determination to come out triumphantly as a true soul survivor.

Miss Sharon Jones!

Directed by Barbara Kopple
Starring Sharon Jones, the Dap-Kings
Country of Origin: USA
Running Time: 94 min

Tonight, Tuesday August 9 @ 5:00pm
and Wednesday, August 10 @ 7:30pm
at the Riviera Theatre – 2044 Alameda Padre Serra

(Source: http://www.sbiff.org)

Schneider vs. Bax – a new film from Alex van Warmerdam

From writer/director Alex van Warmerdam (BORGMAN). Schneider, a hitman, gets a call from Mertens on the morning of his birthday. He has a last-minute assignment for Schneider. The target is Ramon Bax, a writer who lives alone in a secluded place. “It’s an easy job. With a little luck you’re back home before noon.” What was promised to be a simple hit turns out to be more than expected.

Here’s what other critics are saying:
“Putting the “dead” back in deadpan, the ninth feature of van Warmerdam is his most Coen brothers-like film yet, a western in the Dutch wetlands that’s as unpredictable as it is darkly funny.”
– Body van Hoeij, The Hollywood Reporter

 

“…the more absurd the circumstances, the more entertaining the movie gets.”
– Peter Debruge, Variety

 

“Van Warmerdam unfolds his rapidly escalating comedy of errors here with remarkable precision and craft.”
– Todd Brown, Twitch

 

Screening as a part of the Santa Barbara International Film Festival’s Showcase Series:
Sunday July 31 @ 2:00pm
Monday August 1 @ 7:30pm
Tuesday August 2 @ 5:00pm
Wednesday August 3 @ 7:30pm
at the Riviera Theatre
2044 Alameda Padre Serra

Get tickets here

 

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Check back for more on this new film! See you at the movies!

 

SCHNEIDER VS. BAX
Written and Directed by Alex van Warmerdam
Starring Tom Dewispelaere, Alex van Warmerdam, Maria Kraakman,
Pierre Bokma, Gene Bervoets
Countries of Origin: Netherlands
Running Time: 96 min
Not Rated
Subtitled