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Friday, March 4 - Thursday, March 10
Nightly at 8:15. Additional Wed., Sat. & Sun. mats at (4:15).

Wong Kar Wai's
Days of Being Wild

In his first hypnotic backward glance at Hong Kong in 1960, Wong Kar Wai creates a post-modern LA RONDE set in a fluorescent labyrinth of cool desperation and unfulfilled need. Against the echoing rhythms of period rumbas, DAYS OF BEING WILD tracks a half dozen characters through their individual searches for intimate connection. Collaborating for the first time with cinematographer Christopher Doyle, Wong Kar Wai's restless visual imagination decorates this dreamlike fable with characteristic muted extravagance. DAYS OF BEING WILD offers an intoxicating cocktail of lush nostalgia and bitter alienation equaled only by Wong Kar Wai's subsequent films. Star crossed Asian film icon Leslie Cheung (FAREWELL MY CONCUBINE, HAPPY TOGETHER) plays Luddy, a devastatingly handsome Hong Kong lothario who seduces and forsakes women without compunction. Abandoned at birth, Luddy's self-destructive search for love is really a Quixotic quest for a feeling of permanence and a sense of identity. When Luddy beguiles lovely shop girl Su Lizen, he unknowingly sets in motion a sequence of broken hearts and unremembered promises that climaxes in naked obsession, inadvertent self-discovery and shocking violence. In possibly her most seminal performance, Maggie Cheung (IN THE MOOD FOR LOVE, AS TEARS GO BY) invests Su Lizen with ethereal beauty and street level vulnerability. With a supporting cast of Hong Kong cinema notables, including Andy Lau (FULLTIME KILLER, AS TEARS GO BY) as Su's policeman confessor, and frequent Wong collaborator Tony Leung (IN THE MOOD FOR LOVE, HAPPY TOGETHER), DAYS OF BEING WILD's visionary audacity and deep romantic conviction sustains and rewards multiple viewings. Written & Directed: Wong Kar-Wai. With Leslie Cheung, Maggie Cheung and Andy Lau. 1991. In Cantonese with English subtitles. 94 mins. Showtimes: Nightly at 8:15. Additional Wed., Sat. & Sun. mats at (4:15).

"Superb... Wong Kar-Wai makes movies of such visual accomplishment that most other filmmakers appear to loaf by comparison."
-- Carla Meyer, SF Chronicle


ALSO SHOWING
Friday, March 4 - Thursday, March 10 MUST END THURSDAY!
Nightly at 6:00. Additional Wed., Sat. & Sun. mats at (2:00).

Head On

After a heavy night of drinking, 40-year old Cahit, on a path of self-destruction, drives his car head-on into a building in Hamburg. He enters a psychiatric clinic where he is approached by the young, somewhat carefree Sibel, who asks him to marry her. Desperate to escape the constraints of her fanatic Muslim-Turkish-German family, Sibel had already attempted suicide and now she sees a culturally acceptable marriage as her only means of freedom. Reluctantly, he agrees to the union and the two move in together. Against the odds, the mismatch works; with regular meals and a clean apartment, Cahit starts to clean up his act, while Sibel relishes her new life, going clubbing and picking up guys as she wishes. But convenience and friendship soon turn to love, a complication that sends Cahit towards destruction, Sibel to Istanbul and the possibility of their relationship lasting problematic. GOLDEN BEAR AWARD WINNER! Winner of the European Film Award for Best Film and German Film Awards for Best Picture, Best Direction, Best Actress, Best Actor and Best Cinematography. Check out the German Website. Written & directed by Fatih Akin. With Birol Ünel and Sibel Kekilli. In German & Turkish with English subtitles. Runningtime: 123 mins. Showtimes: Nightly at 6:00. Additional Wed., Sat. & Sun. mats at (2:00).

"Impeccably made, uncompromising in its implacable vision of the deranging power of love, sex and controlled substances, this savage and staggering film knows how to take our breath away"
-- Kenneth Turan, LA Times.

"Love doesn't just hurt in the jagged German romance Head-On; it cuts and bleeds and even kills." -- Manohla Dargis, New York Times.

" In its breathlessly claustrophobic way the movie is vital and passionate, and lit with a lyric beauty that washes over love scenes and violent acts alike...the movie achieves a Romeo-and-Juliet romanticism that's hard to resist. " -- Ella Taylor, L.A. Weekly.


ALSO SHOWING
Friday, March 4 - Thursday, March 10 MUST END THURSDAY!
Nightly at 10:00 only.

Deep Throat

Generally considered the most profitable motion picture of all time, the 1972 adult film Deep Throat was more than a titillating curiosity and a huge moneymaker, Released at the very moment when the nation hunger for sexual liberation, equal rights and counter-cultural values were reaching a fever pitch, this sexually explicit film unexpectedly became the flashpoint for an unprecedented social and political firestorm – a major cultural phenomenon whose impact continues to affect us today. With Linda Lovelace, Harry Reems, Dolly Sharp. Directed by Gerald Damiano. Rated X. 61 minutes. 35mm (Newly Remastered!). Showtimes: Nightly at 10:00pm only.


ALSO SHOWING
Friday, March 4 - Thursday, March 10 MUST END THURSDAY!
Monday - Friday at 5:15 only. Sat. & Sun. matinee (12:00) noon only.

Filmmaker Jessica Yu's innovative documentary explores the parallel lives of legendary outsider artist Henry Darger. Reclusive janitor by day, visionary artist by night, Darger had virtually no friends but lived a rich imaginary life. Upon his death hundreds of watercolor paintings were discovered, along with a 15,000 page novel (bearing the same title as the film) detailing the exploits of seven angelic sisters who lead a rebellion against godless, child-enslaving men. Employing vivid animation and experimental elements, Yu immerses us in Darger's world and all its strange beauty, showing how he forged magic out of the bleakest of lives. USA. 2004. Running Time: 81 mins. Official Site. Mon - Fri Showtimes: Monday - Friday at 5:15. Sat. & Sun. matinee (12:00).


ALSO SHOWING
Friday, March 4 - Thursday, March 10
Parts 1&2: Nightly at 7:00. Additional Sat. & Sun. mats at 2:00.
Parts 3&4: Nightly at 9:10. Additional Sat. & Sun mats at 4:10.

Presents
THE CENTURY OF THE SELF

The San Francisco Independent Film Festival is proud to present THE CENTURY OF THE SELF, a four-hour British documentary which “ponders the impact Freud's theories had on 20th century culture, particularly the way psychological ideas muddied the distinctions between consumerism, politics, democracy and advertising.” -Dennis Harvey, Variety. We live today in a society dominated by the self and its feelings. To 'be oneself' is no longer considered selfish but healthy and virtuous. THE CENTURY OF THE SELF shows how this revolution in how we see ourselves happened over the past 100 years. It asks if this has really been a liberation of the self or if it has just made us more vulnerable to being manipulated and controlled by those in power? To many in both politics and business this triumph of the self is the ultimate expression of democracy – power has finally moved to the people. This series examines the validity of that idea while recounting the extraordinary role members of the Freud family have played in fostering and encouraging this irresistible rise of the self, from Sigmund to Matthew. This 4-part documentary will be shown as two programs. The admission for Parts 1 & 2 is $8:00, $4.00 for seniors. The admission for Parts 3 & 4 is $4.00 for everyone. Directed, written and produced by Adam Curtis. 2004 UK. DV. Runningtime: 240 minutes. Don't forget to check out SF Indie Fest. Showtimes: Parts 1&2: Nightly at 7:00. Additional Sat. & Sun. mats at 2:00. Parts 3&4: Nightly at 9:10. Additional Sat. & Sun mats at 4:10.

"Remarkable. This is four hours of sheer brilliance, a film with the insight into contemporary life that usually takes scholars a full century's distance to acquire."
-- Mick LaSalle, SF Chronicle

"A fascinating viewpoint...there's nary a dull moment between wonderful archival clips and an extraordinary interview roster that encompasses strategists Dick Morris and Philip Gould, actress Celeste Holm (who shared Marilyn Monroe's psychiatrist), est founder Werner Erhardt, Mario Cuomo, surviving relatives of Freud and Bernaise, and many others." - SF Bay Guardian.


Friday, March 11 - Thursday, March 17
Nightly at 6:30 & 8:15. Additional Sat., Sun. & Wed. matinees at 2:00.

Peace, Propaganda & The Promised Land
US Media and the Israeli-Palestinian Conflict

Americans rely on the news media for information about events occurring around the world. News, especially television news, exerts a powerful influence on our perceptions, telling us which events are important and shaping our understanding of the issues. The Israeli-Palestinian conflict currently dominates American news coverage of international issues. Given the central role played by the United States in the Middle East conflict, and thus the vital role played by American voters, it becomes important to examine the stories the news media are telling and to ask the question: Does the news coverage reflect the reality on the ground? From the director of Hijacking Catastrophe, Peace, Propaganda & the Promised Land provides a striking comparison of U.S. and international media coverage of the crisis in the Middle East, zeroing in on how structural distortions in U.S. coverage have reinforced false perceptions of the Israeli-Palestinian conflict. This pivotal documentary exposes how the foreign policy interests of American political elites-oil, and a need to have a secure military base in the region, among others-work in combination with Israeli public relations strategies to exercise a powerful influence over how news from the region is reported. Through voices of scholars, media critics, peace activists, religious figures, and Middle East experts, Peace, Propaganda, & the Promised Land carefully analyzes and explains how-through the use of language, framing, and context—the Israeli occupation of the West Bank and Gaza remains hidden in the news media, and Israeli colonization of the occupied territories appears to be a defensive move rather than an offensive one. At its core, the documentary raises questions about ethics and role of journalism, and the relationship between media and politics. Interviewees include Seth Ackerman, Mjr. Stav Adivi, Rabbi Arik Ascherman, Hanan Ashrawi, Noam Chomsky, Robert Fisk, Dr. Neve Gordon, Toufic Haddad, Sam Husseini, Hussein Ibish, Robert Jensen, Rabbi Michael Lerner, Karen Pfeifer, Alisa Solomon, and Gila Svirsky. Produced and directed by Bathsheba Ratzkoff & Sut Jhally. In English. 35mm. U.S.A. 2004. Running time: 80 minutes. Showtimes: Nightly at 6:30 & 8:15. Additional Saturday, Sunday & Wednesday matinees at 2:00.

"Thought provoking.... PEACE, PROPAGANDA & THE PROMISED LAND deserves attention." -- Jonathan Curiel, SF Chronicle.

"A powerful, right-minded indictment." -- Dennis Harvey, SF Bay Guardian.

"Wrenching... Brings to light a marginalized, intentionally silenced perspective."
-- Melissa Levine, SF Weekly.

"A thorough and intelligent primer... the film really hits the nail on the head."
-- Rob Blackwelder, SPLICEDwire.


ALSO SHOWING
Friday, March 11 - Thursday, March 17
Nightly at 9:45. Additional Wed., Sat. & Sun. matinees at (4:00)

Wong Kar Wai's
Days of Being Wild

In his first hypnotic backward glance at Hong Kong in 1960, Wong Kar Wai creates a post-modern LA RONDE set in a fluorescent labyrinth of cool desperation and unfulfilled need. Against the echoing rhythms of period rumbas, DAYS OF BEING WILD tracks a half dozen characters through their individual searches for intimate connection. Collaborating for the first time with cinematographer Christopher Doyle, Wong Kar Wai's restless visual imagination decorates this dreamlike fable with characteristic muted extravagance. DAYS OF BEING WILD offers an intoxicating cocktail of lush nostalgia and bitter alienation equaled only by Wong Kar Wai's subsequent films. Star crossed Asian film icon Leslie Cheung (FAREWELL MY CONCUBINE, HAPPY TOGETHER) plays Luddy, a devastatingly handsome Hong Kong lothario who seduces and forsakes women without compunction. Abandoned at birth, Luddy's self-destructive search for love is really a Quixotic quest for a feeling of permanence and a sense of identity. When Luddy beguiles lovely shop girl Su Lizen, he unknowingly sets in motion a sequence of broken hearts and unremembered promises that climaxes in naked obsession, inadvertent self-discovery and shocking violence. In possibly her most seminal performance, Maggie Cheung (IN THE MOOD FOR LOVE, AS TEARS GO BY) invests Su Lizen with ethereal beauty and street level vulnerability. With a supporting cast of Hong Kong cinema notables, including Andy Lau (FULLTIME KILLER, AS TEARS GO BY) as Su's policeman confessor, and frequent Wong collaborator Tony Leung (IN THE MOOD FOR LOVE, HAPPY TOGETHER), DAYS OF BEING WILD's visionary audacity and deep romantic conviction sustains and rewards multiple viewings. Written & Directed: Wong Kar-Wai. With Leslie Cheung, Maggie Cheung and Andy Lau. 1991. In Cantonese with English subtitles. 94 mins. Showtimes: Nightly at 9:45. Additional Wed., Sat. & Sun. matinees at (4:00)

"Superb... Wong Kar-Wai makes movies of such visual accomplishment that most other filmmakers appear to loaf by comparison."
-- Carla Meyer, SF Chronicle


ALSO SHOWING
Friday, March 11 - Thursday, March 17
Parts 1&2: Nightly at 7:00. Additional Sat. & Sun. mats at 2:00.
Parts 3&4: Nightly at 9:10. Additional Sat. & Sun mats at 4:10.

Presents
THE CENTURY OF THE SELF

The San Francisco Independent Film Festival is proud to present THE CENTURY OF THE SELF, a four-hour British documentary which “ponders the impact Freud's theories had on 20th century culture, particularly the way psychological ideas muddied the distinctions between consumerism, politics, democracy and advertising.” -Dennis Harvey, Variety. We live today in a society dominated by the self and its feelings. To 'be oneself' is no longer considered selfish but healthy and virtuous. THE CENTURY OF THE SELF shows how this revolution in how we see ourselves happened over the past 100 years. It asks if this has really been a liberation of the self or if it has just made us more vulnerable to being manipulated and controlled by those in power? To many in both politics and business this triumph of the self is the ultimate expression of democracy – power has finally moved to the people. This series examines the validity of that idea while recounting the extraordinary role members of the Freud family have played in fostering and encouraging this irresistible rise of the self, from Sigmund to Matthew. This 4-part documentary will be shown as two programs. The admission for Parts 1 & 2 is $8:00, $4.00 for seniors. The admission for Parts 3 & 4 is $4.00 for everyone. Directed, written and produced by Adam Curtis. 2004 UK. DV. Runningtime: 240 minutes. Don't forget to check out SF Indie Fest. Showtimes: Parts 1&2: Nightly at 7:00. Additional Sat. & Sun. mats at 2:00. Parts 3&4: Nightly at 9:10. Additional Sat. & Sun mats at 4:10.

"Remarkable. This is four hours of sheer brilliance, a film with the insight into contemporary life that usually takes scholars a full century's distance to acquire."
-- Mick LaSalle, SF Chronicle

"A fascinating viewpoint...there's nary a dull moment between wonderful archival clips and an extraordinary interview roster that encompasses strategists Dick Morris and Philip Gould, actress Celeste Holm (who shared Marilyn Monroe's psychiatrist), est founder Werner Erhardt, Mario Cuomo, surviving relatives of Freud and Bernaise, and many others." - SF Bay Guardian.


Friday, March 18 - Thursday, March 24
Showtimes: Nightly at 8:00 & 10:00. Wed., Sat., & Sun. matinees at (4:00).
NO 8:00pm SHOW THURS 3/24

Prozac Nation

"With the thriller INSOMNIA, Norwegian director Erik Skjoldbjaerg established himself as an acute observer of the human psyche. With PROZAC NATION, (based on Elizabeth Wurtzel’s best-seller), he ups the ante. In his first English-language film, Skjoldbjaerg ventures into uncharted territory, focusing on the nature of personality in an age when pharmaceutical products run rampant and the traditional anchors - family in particular - have disappeared. As the film opens, Elizabeth (Christina Ricci, who also produced), a prize-winning student, is headed for a prestigious college. As she’s packing to leave, her mother (Jessica Lange) harangues her about her choice of school, establishing the modus operandi for what will prove to be the turbulent core of the film: An ongoing game of emotional extortion. When Elizabeth arrives at university, she quickly befriends her roommate (Michelle Williams) and almost immediately recreates the same powder keg she has just left behind. The situation is exacerbated by her visits to a rather suspicious psychiatrist (Anne Heche). Matters deteriorate further when Elizabeth runs into her father (Nicholas Campbell) and when she decides that her most recent boyfriend (Jason Biggs) represents deliverance. Her only choice, ultimately, is Prozac-the wonder drug of the nineties-but before long, Elizabeth is wondering whether the drug is ruining her life. Driven by a gut- wrenching, intimate performances-Lange is astonishing, while Ricci obliterates our expectations-PROZAC NATION is a meditation on the nature of personality and responsibility. Elizabeth has the stability and volatility of nitroglycerine, capable of eviscerating anyone who disrupts her fragile reality. By the end of this uncompromising film, several uncomfortable questions are posited: Are we merely products of our parents? Do drugs determine personality? Can we demand responsibility from a person who has been victimized? Skjoldbjaerg directs with such a cautious tone that he imbues the film with a unique ferocity. PROZAC NATION may be the most daring independently produced American film in a long while." -- Steve Gravestock, Toronto Film Festival. Director: Erik Skjoldbjaefrg. Screenplay: Galt Neiderhoffer & Alex Orlovsky, based on the book by Elizabeth Wurtzel. With Christina Ricci, Anne Heche, Michelle Williams, Jason Biggs, Jonathan Rhys-Meyers, Jessica Lange. & Nicholas Campbell. In English. 35mm. U.S.A. 2001. Running time: 98 minutes. Showtimes: Nightly at 8:00 & 10:00. Wed., Sat., & Sun. matinees at (4:00). NO 8:00pm SHOW THURS 3/24


ALSO SHOWING
Friday, March 18 - Wednesday, March 23
Showtimes. Nightly at 6:20. Additional Wed., Sat. & Sun. mats at (2:00)
NO 6:20PM SHOW THURS., 3/24






Finally, there's an animation festival with the artists themselves at the helm! Kicking off in the fall of 2003 with its first North American tour, The Animation Show is a collection of the world's best animated short films, personally programmed by co-producers Mike Judge (Beavis and Butt-Head, King of the Hill, Office Space) and Academy Award nominated animator Don Hertzfeldt. This year's line-up spans eight countries and features everything from forgotten classics to the very latest in computer animation, with a trilogy of brand new cartoons by Don produced exclusively for the show, rare and never-before-seen animation by Mike, six Academy Award nominees, and plenty of surprises. Highlights include Bill Plympton's hilarious Academy Award nominee Guard Dog; the exciting and spectacular computer-generated Rock Fish; a hysterical encounter with mad doctors in Ward 13; the gorgeously-colored shape-shifting of Georges Schwizgebel's The Man With No Shadow; and Hertzfeldt's long-awaited epic The Meaning of Life. Wonderfully entertaining and imaginative, the program features award winners from many top film festivals (Cannes, Chicago, Melbourne, San Francisco).From more details, check out the Official Site. Run Time: 97mins. 2005. Showtimes. Nightly at 6:20. Additional Wed., Sat. & Sun. mats at (2:00). NO SHOW THURS., 3/24


ALSO SHOWING
Friday, March 18 - Thursday, March 24
Nightly at 6:30 & 8:15.

Peace, Propaganda & The Promised Land
US Media and the Israeli-Palestinian Conflict

Americans rely on the news media for information about events occurring around the world. News, especially television news, exerts a powerful influence on our perceptions, telling us which events are important and shaping our understanding of the issues. The Israeli-Palestinian conflict currently dominates American news coverage of international issues. Given the central role played by the United States in the Middle East conflict, and thus the vital role played by American voters, it becomes important to examine the stories the news media are telling and to ask the question: Does the news coverage reflect the reality on the ground? From the director of Hijacking Catastrophe, Peace, Propaganda & the Promised Land provides a striking comparison of U.S. and international media coverage of the crisis in the Middle East, zeroing in on how structural distortions in U.S. coverage have reinforced false perceptions of the Israeli-Palestinian conflict. This pivotal documentary exposes how the foreign policy interests of American political elites-oil, and a need to have a secure military base in the region, among others-work in combination with Israeli public relations strategies to exercise a powerful influence over how news from the region is reported. Through voices of scholars, media critics, peace activists, religious figures, and Middle East experts, Peace, Propaganda, & the Promised Land carefully analyzes and explains how-through the use of language, framing, and context—the Israeli occupation of the West Bank and Gaza remains hidden in the news media, and Israeli colonization of the occupied territories appears to be a defensive move rather than an offensive one. At its core, the documentary raises questions about ethics and role of journalism, and the relationship between media and politics. Interviewees include Seth Ackerman, Mjr. Stav Adivi, Rabbi Arik Ascherman, Hanan Ashrawi, Noam Chomsky, Robert Fisk, Dr. Neve Gordon, Toufic Haddad, Sam Husseini, Hussein Ibish, Robert Jensen, Rabbi Michael Lerner, Karen Pfeifer, Alisa Solomon, and Gila Svirsky. Produced and directed by Bathsheba Ratzkoff & Sut Jhally. In English. 35mm. U.S.A. 2004. Running time: 80 minutes. Showtimes: Nightly at 6:30 & 8:15.

"Thought provoking.... PEACE, PROPAGANDA & THE PROMISED LAND deserves attention." -- Jonathan Curiel, SF Chronicle.

"A powerful, right-minded indictment." -- Dennis Harvey, SF Bay Guardian.

"Wrenching... Brings to light a marginalized, intentionally silenced perspective."
-- Melissa Levine, SF Weekly.

"A thorough and intelligent primer... the film really hits the nail on the head."
-- Rob Blackwelder, SPLICEDwire.


ALSO SHOWING
Friday, March 18 - Thursday, March 24
Nightly at 9:45.

Wong Kar Wai's
Days of Being Wild

In his first hypnotic backward glance at Hong Kong in 1960, Wong Kar Wai creates a post-modern LA RONDE set in a fluorescent labyrinth of cool desperation and unfulfilled need. Against the echoing rhythms of period rumbas, DAYS OF BEING WILD tracks a half dozen characters through their individual searches for intimate connection. Collaborating for the first time with cinematographer Christopher Doyle, Wong Kar Wai's restless visual imagination decorates this dreamlike fable with characteristic muted extravagance. DAYS OF BEING WILD offers an intoxicating cocktail of lush nostalgia and bitter alienation equaled only by Wong Kar Wai's subsequent films. Star crossed Asian film icon Leslie Cheung (FAREWELL MY CONCUBINE, HAPPY TOGETHER) plays Luddy, a devastatingly handsome Hong Kong lothario who seduces and forsakes women without compunction. Abandoned at birth, Luddy's self-destructive search for love is really a Quixotic quest for a feeling of permanence and a sense of identity. When Luddy beguiles lovely shop girl Su Lizen, he unknowingly sets in motion a sequence of broken hearts and unremembered promises that climaxes in naked obsession, inadvertent self-discovery and shocking violence. In possibly her most seminal performance, Maggie Cheung (IN THE MOOD FOR LOVE, AS TEARS GO BY) invests Su Lizen with ethereal beauty and street level vulnerability. With a supporting cast of Hong Kong cinema notables, including Andy Lau (FULLTIME KILLER, AS TEARS GO BY) as Su's policeman confessor, and frequent Wong collaborator Tony Leung (IN THE MOOD FOR LOVE, HAPPY TOGETHER), DAYS OF BEING WILD's visionary audacity and deep romantic conviction sustains and rewards multiple viewings. Written & Directed: Wong Kar-Wai. With Leslie Cheung, Maggie Cheung and Andy Lau. 1991. In Cantonese with English subtitles. 94 mins. DIGITAL PROJECTION. Showtimes: Nightly at 9:45.

"Superb... Wong Kar-Wai makes movies of such visual accomplishment that most other filmmakers appear to loaf by comparison."
-- Carla Meyer, SF Chronicle


ALSO SHOWING
Saturday & Sunday, March 19 & 20 ONLY!
Parts 1&2: Sat. & Sun. only at 2:00.
Parts 3&4: Sat. & Sun. only at 4:10.

Presents
THE CENTURY OF THE SELF

The San Francisco Independent Film Festival is proud to present THE CENTURY OF THE SELF, a four-hour British documentary which “ponders the impact Freud's theories had on 20th century culture, particularly the way psychological ideas muddied the distinctions between consumerism, politics, democracy and advertising.” -Dennis Harvey, Variety. We live today in a society dominated by the self and its feelings. To 'be oneself' is no longer considered selfish but healthy and virtuous. THE CENTURY OF THE SELF shows how this revolution in how we see ourselves happened over the past 100 years. It asks if this has really been a liberation of the self or if it has just made us more vulnerable to being manipulated and controlled by those in power? To many in both politics and business this triumph of the self is the ultimate expression of democracy – power has finally moved to the people. This series examines the validity of that idea while recounting the extraordinary role members of the Freud family have played in fostering and encouraging this irresistible rise of the self, from Sigmund to Matthew. This 4-part documentary will be shown as two programs. The admission for Parts 1 & 2 is $8:00, $4.00 for seniors. The admission for Parts 3 & 4 is $4.00 for everyone. Directed, written and produced by Adam Curtis. 2004 UK. DV. Runningtime: 240 minutes. Don't forget to check out SF Indie Fest. Showtimes: Parts 1&2: Sat. & Sun. ONLY at 2:00. Parts 3&4: Sat. & Sun. ONLY at 4:10.

"Remarkable. This is four hours of sheer brilliance, a film with the insight into contemporary life that usually takes scholars a full century's distance to acquire."
-- Mick LaSalle, SF Chronicle

"A fascinating viewpoint...there's nary a dull moment between wonderful archival clips and an extraordinary interview roster that encompasses strategists Dick Morris and Philip Gould, actress Celeste Holm (who shared Marilyn Monroe's psychiatrist), est founder Werner Erhardt, Mario Cuomo, surviving relatives of Freud and Bernaise, and many others." - SF Bay Guardian.


Friday, March 25 - Thursday, March 31
Showtimes: Nightly at 6:15, 8:00 & 9:45. Wed., Sat. & Sun. mats at (2:00) and 4:00.

eating out

Caleb is a hunky poli-sci major with an affection for aggressive girls. Gwen is an aggressive girl who falls for gay acting boys. It's a match made in therapy. In a plan hatched by his crafty gay roommate Kyle, Caleb finds himself pretending to be gay to woo Gwen, but their scheme is thwarted when Gwen decides that Caleb would be the perfect catch for her own gay roommate, Marc—the object of Kyle’s affection. Caleb is faced with a confusing proposition. Gwen wonders if she'll ever find a straight guy. Marc can't tell why the new guy is so hot and cold. And Kyle watches the two loves of his life leave him behind. Written & directed by Q. Allan Brocka. Staring Scott Lunsford, Jim Verraros and Emily Stiles. Runningtime: 90 mins. Showtimes: Nightly at 6:15, 8:00 & 9:45. Wed., Sat. & Sun. mats at (2:00) and 4:00.

"... simply one of the funniest, sexiest gay films I've seen in a really long time"
-- Ryan James Kim, The Advocate

"This riotous, raucous, and racy debut feature is bound to please. Q. Allan Brocka is one of the new bloods of Queer Cinema... he may well be the next John Waters!" -- Paul Andrew, Melbourne Voice


ALSO SHOWING
Friday, March 25 - Thursday, March 31
Showtimes: Nightly at 8:00 & 10:00. Sat., & Sun. matinees at (4:00).
NO 8:00 show THURS, 3/31.

Prozac Nation

"With the thriller INSOMNIA, Norwegian director Erik Skjoldbjaerg established himself as an acute observer of the human psyche. With PROZAC NATION, (based on Elizabeth Wurtzel’s best-seller), he ups the ante. In his first English-language film, Skjoldbjaerg ventures into uncharted territory, focusing on the nature of personality in an age when pharmaceutical products run rampant and the traditional anchors - family in particular - have disappeared. As the film opens, Elizabeth (Christina Ricci, who also produced), a prize-winning student, is headed for a prestigious college. As she’s packing to leave, her mother (Jessica Lange) harangues her about her choice of school, establishing the modus operandi for what will prove to be the turbulent core of the film: An ongoing game of emotional extortion. When Elizabeth arrives at university, she quickly befriends her roommate (Michelle Williams) and almost immediately recreates the same powder keg she has just left behind. The situation is exacerbated by her visits to a rather suspicious psychiatrist (Anne Heche). Matters deteriorate further when Elizabeth runs into her father (Nicholas Campbell) and when she decides that her most recent boyfriend (Jason Biggs) represents deliverance. Her only choice, ultimately, is Prozac-the wonder drug of the nineties-but before long, Elizabeth is wondering whether the drug is ruining her life. Driven by a gut- wrenching, intimate performances-Lange is astonishing, while Ricci obliterates our expectations-PROZAC NATION is a meditation on the nature of personality and responsibility. Elizabeth has the stability and volatility of nitroglycerine, capable of eviscerating anyone who disrupts her fragile reality. By the end of this uncompromising film, several uncomfortable questions are posited: Are we merely products of our parents? Do drugs determine personality? Can we demand responsibility from a person who has been victimized? Skjoldbjaerg directs with such a cautious tone that he imbues the film with a unique ferocity. PROZAC NATION may be the most daring independently produced American film in a long while." -- Steve Gravestock, Toronto Film Festival. Director: Erik Skjoldbjaefrg. Screenplay: Galt Neiderhoffer & Alex Orlovsky, based on the book by Elizabeth Wurtzel. With Christina Ricci, Anne Heche, Michelle Williams, Jason Biggs, Jonathan Rhys-Meyers, Jessica Lange. & Nicholas Campbell. In English. 35mm. U.S.A. 2001. Running time: 98 minutes. Showtimes: Nightly at 6:15, 8:00 & 9:45. Sat. & Sun. mats at (2:00) and 4:00. NO 8:00 show THURS, 3/31.


ALSO SHOWING
Friday, March 25 - Wednesday, March 30
Showtimes. Nightly at 6:20. Additional Sat. & Sun. mats at (2:00)
NO SHOW THURS






Finally, there's an animation festival with the artists themselves at the helm! Kicking off in the fall of 2003 with its first North American tour, The Animation Show is a collection of the world's best animated short films, personally programmed by co-producers Mike Judge (Beavis and Butt-Head, King of the Hill, Office Space) and Academy Award nominated animator Don Hertzfeldt. This year's line-up spans eight countries and features everything from forgotten classics to the very latest in computer animation, with a trilogy of brand new cartoons by Don produced exclusively for the show, rare and never-before-seen animation by Mike, six Academy Award nominees, and plenty of surprises. Highlights include Bill Plympton's hilarious Academy Award nominee Guard Dog; the exciting and spectacular computer-generated Rock Fish; a hysterical encounter with mad doctors in Ward 13; the gorgeously-colored shape-shifting of Georges Schwizgebel's The Man With No Shadow; and Hertzfeldt's long-awaited epic The Meaning of Life. Wonderfully entertaining and imaginative, the program features award winners from many top film festivals (Cannes, Chicago, Melbourne, San Francisco).From more details, check out the Official Site. Run Time: 97mins. 2005. Showtimes. Nightly at 6:20. Additional Sat. & Sun. mats at (2:00). NO SHOW THURS., 3/31


Take a look at April at The Roxie

 
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