It’s podcast week here at Way Too Indie as we have not one, not two, but THREE episodes of the Way Too Indiecast for your listening pleasure between now and Friday! With too many special guests to handle this week, we were forced to split them up into a trilogy of movie-talk goodness. From indie up-and-comers to festival programmers to Australian A-list actors (get me, bub?), we’ve got so many amazing interviews from across the entire movie spectrum for you in the coming days that you’d do yourself a disservice to not tune in to your favorite movie podcast EVER!

For today’s show, Bernard is joined by WTI’s own Ananda Dillon to review period-horror breakout The Witch, and we’ll also hear from director Robert Eggers to cap off the conversation. Closing out the show is longtime San Francisco movie-series programmer and organizer Elliot Lavine, whose new series “Hollywood Before the Code: SEX! CRIME!! HORROR!!!” is playing for six consecutive Wednesdays at the Castro Theater starting tomorrow night. It’s an insightful, unapologetic, entertaining conversation with one of the most knowledgeable, charismatic programmers in the country and it’s one true cinephiles won’t want to miss.

Be sure to come back tomorrow night for our interview with the folks behind the new film Eddie the Eagle, out in theaters this Friday. We’ll be chatting it up with director Dexter Fletcher, star Taron Egerton (Kingsman: The Secret Service) and his dashing co-star, the one and only Hugh Jackman! See you then!

Topics

• The Witch (7:34)
• Elliot Lavine (36:30)

Articles Referenced

• The Witch Review
• Robert Eggers Interview

Subscribe to the Way Too Indiecast

• Subscribe to our podcast on iTunes
• Subscribe on Stitcher

The most renowned Jewish film festival in the world, the 34th San Francisco Jewish Film Festival, kicks off tomorrow night at the Castro Theater for a three-week run of stunning, independent films from across the globe. Through every genre of cinema–from action, to documentary, to comedy, to romance–the festival’s line-up celebrates Jewish-ness for people from all walks of life to enjoy and embrace.

18 countries are represented in the festival’s 70-film line-up, which includes 7 world premieres. Housing the screenings are several theaters across the Bay Area, including Oakland’s Grand Lake Theater and New Parkway, the Smith Rafael Film Center in San Rafael, CinéArts in Palo Alto, and more.

Opening the festival is The Green Prince, a poignant docu by Nadav Schirman that follows the journey of Mosab Hasaan Yousef, a young Palestinian who grew up hating Israelites. Following being captured by the Israeli security service, the Shin Bet, he comes to realize the true brutality of his own people’s tactics, from suicide bombings to needless torture, compelling him to work for Israel as a spy, the greatest shame known to Palestinians. Pepe Danquart’s sweeping narrative drama Run Boy Run, the festival’s centerpiece narrative picture, tells the story of a young boy struggling to survive in the fields and forests of wartime Poland, evading Nazis and scrounging for food and meeting strangers–both helpful and harmful–along the way.

Diversity is a key theme throughout the festival, exploring subjects that reach beyond the Jewish community, but viewing them from a Jewish perspective. Hannah Espia’s Transit, which screens this Friday at the Castro, follows the hard lives of Filipino workers in Tel Aviv who are under constant threat of deportation. The Village of Peace, a docu by filmmakers Ben Schuder and Niko Philipides, takes us inside the titular community in the Negev Desert, founded by African Americans from Chicago in the ’60s who journeyed a great distance to make a place for themselves in the Promised Land.

On the lighter side of the festival are several comedic films. In Arlo and Julie , by director Steve Mims, a quirky couple in Austin begin receiving a series of envelopes in the mail, with each containing puzzle pieces to a larger jigsaw. Part romance, mystery, and comedy, the film is a lighthearted affair with a great cast and a charming vintage soundtrack. Capturing comedy as a tool for healing is Comedy Warriors, a documentary about military veterans who cope with their injuries by facing their fears in front of an audience and doing stand-up comedy. Seasoned comedians like Lewis Black, B.J. Novak, and Bob Saget act as the soldiers’ mentors, guiding them on their journey to becoming successful comedians.

A personal favorite for me, Julie Cohen’s tight docu The Sturgeon Queens outlines the history of Russ & Daughters, one of New York’s best Jewish smoked fish shops, celebrating its 100-year anniversary this year. Narrated by long-time customers, the film tempts us with delicious-looking food and glowing endorsements by celebrity R&D devotees (Maggie Gyllenhaal, Mario Batali), creating a loving portrait of one of the city’s most charming old-school institutions.

Receiving the 2014 Freedom of Expression Award is Theodore Bikel, who will be in attendance for the July 31st screening of Theodore Bikel: In the Shoes of Sholem Aleichem at the Castro.

For tickets and more info, visit sfjff.org. Stay tuned for interviews and reviews from the festival.

How to Fight in Six Inch Heels

Last Thursday night at San Francisco’s beautiful Castro theater, CAAMFest 2014 kicked with a silly-fun romantic comedy to set the tone for the rest of the 11-day fest. With a ritzy red carpet and droves of sharply-dressed attendees, there was ample excitement in the air for what is one of the most important film festivals in the country for the Asian American community.

CAAM executive director Stephen Gong and festival director Masashi Niwano thanked the packed house of festival-goers and prepped them for what this year’s festival has in store (check out our festival preview for more). They then introduced director Ham Tran to the stage, a long time friend of CAAMFest who’s been showing his films at the festival for over a decade. This year he brought How to Fight in Six Inch Heels, an Asian-American production that was a box office hit in Vietnam, where the majority of the movie is set. With him were his cast and crew, who participated in a Q&A following the film.

Following a short film centered on the evolution of the real-life career of  How to Fight star Kathy Uyen, the feature film got underway. It follows a pretty, neurotic Vietnamese American girl working as an assistant to a domineering French designer in the New York fashion industry. With her fiancé working abroad in Vietnam, she begins to suspect he’s cheating with one of three models working with him when she spies a pair of red heels in his apartment during a Skype call. Determined to smoke out the would be skank, she flies out to Saigon, leaving her best friend George to cover her ass at work. When she arrives, her fashion-god friend Danny glams her up with a makeover and shoves her into the Saigon fashion world where she inadvertently becomes a bit of a runway phenomenon. Now in close proximity to the models in suspect, she’s surprised when she finds herself developing friendships with each of them.

This is light material with cutesy humor running throughout. The film is well crafted and should please general audiences, bouncing between Vietnamese and English dialogue smoothly. Uyen is strong, but it feels like we’ve seen this same quirky, romantically naive character before (The Devil Wears Prada being the obvious example). Every note she hits, while in tune, feels too familiar, which points to the film’s biggest weakness. How to Fight in Six Inch Heels derives too much from American cinema, hitting every rom-com trope and story beat in the book. Many of the characters feel overblown (the gay men especially), but most of the performances hit the mark.

American Revolutionary: The Evolution of Grace Lee Boggs

A documentary that matches its subject’s witty, piercing intellect in its style and form, American Revolutionary: The Evolution of Grace Lee Boggs chronicles the philosophies and staggering accomplishments of Boggs, a Chinese American who dedicated most of her 95 years on this earth to empowering and inspiring the African American community. Director Grace Lee (no relation) uses archival footage, interviews with Boggs and several of her colleagues and friends, and clever vignettes explaining the core principles of two of her major influences, Hegel and Marx, to bring to light not just Boggs’ lifetime milestones, but her tendencies and complexities as a person.

Detroit is the setting, as Boggs calls it home and has played a big part in working to restore the city in the wake of the industrial fallout. Boggs’ most defining characteristic is her hunger to challenge and open the minds of everyone she meets. In the film’s most memorable moment, she sits with Danny Glover in her home and poses that when people talk about “quality education”, what they’re really talking about is black students aspiring to be more like white students. Glover is floored, rendered speechless, and it’s at once hilarious and inspirational. Though Detroit is a shell of its former self, activists like Boggs help to remind us of where its fallen from, why it fell, and where we can take it, if we’re willing to put in the effort and thought. A terrific film.

Cold Eyes

A remake of Yau Nai Hoi’s Eye in the Sky, Cold Eyes, by co-directors Ui-seok Jo and Byung-seo Kim, is a crime thriller set in Seoul that pits a group of undercover surveillance cops against a gaggle of gangsters, with the good guys trying to smoke out the criminals’ mysterious leader. Our hero is Yoon Joo (Han Hyo Ju), a new recruit who has a prodigious photographic memory (if she can clear her head enough to access it) who’s brought in and mentored by veteran Detective Hwang (Sol Kyung Gu). Earning the codename “Piglet”, she joins the team in identifying suspects on the street (while retaining their anonymity, of course). Leading the baddies is the cerebral, deadly James (Jung Woo Sung), who overseas the heists from tall rooftops and viciously dispatches of weak links in the operation without hesitation. The two parties are on a collision course, and as Piglet’s skills help the team close in on James and his crew, he begins to fight back, showing them exactly what he’s capable of.

Jo and Kim have crafted a worthy remake, a tense, riveting look at the classic cops vs. robbers scenario with a focus on advanced technology and modern stratagems. Watching Hwang maneuver his team through the Seoul streets like a chess mastermind is a treat, but it can wear thin. Sometimes the film gets carried away with using video game-like CG street maps that lay out the team’s positions in the city, which serves its function but feels like a bit of a cheat at times. Still, the on-foot, shadowy pursuits are heightened by the public arena, with each of the players moving through the environments swiftly but without looking suspicious. It’s incredibly gripping stuff, and the surprisingly deep character arcs for the mains (the supporting players seem half-baked) makes Cold Eyes’ characters more relatable than those in your average Hollywood heist picture.

CAAMFest, formerly known as the San Francisco International Asian Film Festival, kicks off tomorrow night, Thursday, March 13th, and runs through March 23rd. Presented by the Center for Asian American Media, the festival pays tribute to pioneers of Asian cinema while also providing a platform for emerging Asian filmmakers to showcase their new projects. With Asians and Asian Americans being woefully underrepresented in all forms of media, the festival gives much needed exposure to the Asian cinematic perspective.

Opening Night, Centerpiece, Closing Night, and Special Presentations

The fest kicks off at the Castro Theater with the North American premiere of How to Fight in Six Inch Heels, a Vietnamese box office hit that’s been compared to The Devil Wears Prada. After a post-screening Q&A with director Ham Tran and his cast and crew, the festivities will continue at the Asian Art Museum for the Opening Night Gala.

The festival has not one, but two centerpiece films this year. American Revolutionary: The Evolution of Grace Lee Boggs, by director Grace Lee, chronicles the life of Grace Lee Boggs, the 98-year-0ld feminist and social activist. Also being highlighted is a film on the other side of the spectrum entirely: Cold Eyes is a South Korean crime thriller that had great success overseas.

Closing out the festival is Delano Manongs, which will be screening in the East Bay at the New Parkway theater in Oakland, a first for the festival. The doc follows the story of Larry Itliong, a Filipino American labor organizer who spearheaded strikes for farmers on the west coast.

Other festival highlights:

• Spotlight on Grace Lee
• Retrospective on filmmakers and Dharamshala International Film Festival directors Ritu and Tenzing
• A Run Run Shaw tribute
• Out of the Vaults, a showcase of two films from Joseph Sunn Jue’s Grandview Film Company
• Memories to Light 2.0, an exploration of Asian America through home movies

Directions In Sound and Superawesome Launch

The folks at CAAMFest has always been known to throw the biggest, coolest festival parties and events around, and they aren’t slouching this year. Directions in Sound is a live music program showcasing music acts from Korea, Vietnam, and the Bay Area, and this year CAAM is presenting two live concerts: “Here Comes Treble”, an all-female show, and “Korean Showcase”, consisting of all Korean bands.

My most anticipated event is the “Superawesome Launch Featuring Awesome Asian Bad Guys”, which will be held at the Oakland Museum of California. Featuring live music, an Asian-focused Off the Grid, the event also includes a screening of Awesome Asian Bad Guys, an action-comedy by Patrick Epino and Stephen Dypiangco that stars old Asian actors who you’ve seen play evil dudes in movies for years.

For more info, visit caamfest.com 

This Saturday, January 11th at San Francisco’s Castro Theater, there’s going to be an all-day, 100-Year Anniversary celebration of one of the most essential, irreplaceable, and beloved characters in the history of film, Charlie Chaplin’s “The Tramp”. The bumbling, infectiously good-hearted fellow has been a prototype for comic protagonists to this day, and anyone who’s familiar with him has fond memories of watching him evade the authorities with hilarious, cartoonish flair.

The program will include classic shorts and full-length features starring the comic idol set to live music accompaniment. There’s no better place to experience Chaplin in the Bay Area than the silent-era Castro Theater, and whether you’re a long-time Chaplin devotee or a silent film beginner, it’s sure to be a blast.

Here’s the program, via silentfilm.org :

Our Mutual Friend: Three Chaplin Shorts at 1PM 
Charlie Chaplain made some of his greatest comedies at the Mutual Film Corporation. Chaplin acknowledged his time at Mutual as the most inventive and liberating period of his career. Approximately 90 minutes total. The shorts program includes:

• The Vagabond (1916, with Chaplin, Edna Purviance, Eric Campbell). Charlie Chaplin plays is a musician who rescues a girl from a band of gypsies.
• The Cure (1917, with Chaplin, Edna Purviance, Eric Campbell, Henry Bergman). An inebriated Charlie Chaplin checks into a sanitarium to take the cure, but brings a cabinet of liquor with him.
• Easy Street (1917, with Chaplin, Edna Purviance, Eric Campbell). Blending comedy and social commentary Charlie Chaplin’s character goes from tramp to police constable.

Accompanied by Jon Mirsalis on piano.

THE KID at 4PM 
Chaplin’s Little Tramp character becomes a surrogate father to an abandoned child in this eloquent marriage of comedy and sentiment. One of his most personal films, Chaplin himself was placed in a home for destitute children at age seven, THE KID is considered by many to be his most perfect. Additionally, celebrate the centennial of with Kid Auto Races at Venice (1914), the first appearance of Chaplin’s Tramp character. Approximately 70 minutes total.
Accompanied by San Francisco Chamber Orchestra with Timothy Brock conducting Chaplin’s score. 

Preceding THE KID, there will be Charlie Chaplin Look-Alike contest. Come dressed as the Little Tramp and win a prize!

THE GOLD RUSH at 7:30PM 
Charlie Chaplin, inspired by images of the 1896 Klondike gold rush and the Donner Party disaster of 1846 (in which snowbound immigrants resorted to eating their shoes—and their dead companions—to survive), manages to turn a story of cold, hunger, and loneliness into a sublime comedy. The Little Tramp becomes a prospector who sets out for the Klondike to strike it rich, battling starvation, bears, and other prospectors along the way. THE GOLD RUSH contains some of the most iconic images in cinema, including the famous scene in which Charlie makes a gourmet feast of his boot! Georgia Hale plays the beautiful dance hall entertainer who steals Charlie’s heart. Approximately 80 minutes.
Accompanied by San Francisco Chamber Orchestra with Timothy Brock conducting Chaplin’s score.