Calendar

February – March 2015

Feb
14
Sat
SF Indie Fest: POWER BALLAD SING A LONG
February 14, 2015

Anti-Valentine’s Day Mass Karaoke Party

08_EdpSome of us just can’t stand Valentine’s Day. Fortunately, there’s an entire genre of music made just for our pain, and it happens to be the most badass music ever: POWER BALLADS! This Valentine’s Day we’ll sing, we’ll hold lighters in the air and sway, we’ll pound our fists at the sky in defiance of those who would dare not love us. This new playlist for 2015 features the music of Journey, Guns ‘n Roses, Bon Jovi, Warrant and more. -JR

This year’s event kicks off with a live performance by sketch comedy troupe The Mess followed by a new playlist featuring the music of Journey, Guns ‘n Roses, Def Leppard, Bon Jovi, Warrant, and much, much more. – Jeff Ross

Includes live performance by sketch comedy troupe THE MESS.

1NSQdtxFrom the people who brought you HOT MESS comes THE MESS, a sketch comedy troupe based in California’s East Bay with writers, dancers, singers, actors, and mischief makers from all over the globe. This collective of rabble-rousers create original scripted shows from the ground up with a focus on performances that celebrate the Bay Area and all it’s ridiculousness.

Feb
20
Fri
2015 Noise Pop Film Series: Ollies, Dollies & Drones: A Survey of Spike Jonze’s Skate Videos
February 20, 2015

NOISE POP EXCLUSIVE PREMIERE!

Q&A with special guests

Spike Jonze PosterOne of the best filmmakers of his generation (and indisputably the greatest music video director ever) Spike Jonze learned his craft in the last remaining Wild West for filmmakers growing up in the ‘80s and ‘90s – skateboard videos. From early work with World Industries through his contemporary contributions to Lakai and Girl (of which he is a co-owner) Spike’s grasp on the formal restraints of the genre – namely, a loose interpretation of trespass and copyright laws – were immediate, and the boundary shattering imagination he applied to his skate videos changed the game forever. As skate videos, they’re thrilling and hilarious and super cool; viewed as a sort of sketchbook for a restlessly creative artist sharpening his craft, they’re invaluable. Join us for a survey of Spike’s skateboard videos.

Director: Spike Jonze. 2014. Digital. 90 minutes.

 

 

 

Mar
10
Tue
Nippon Nights #7: Branded to Kill by Seijun Suzuki
March 10, 2015

“Reputedly one of Seijun Suzuki’s finest works and unquestionably very stylish in its ‘Scope framings (Jim Jarmusch copied a few shots from it in his Ghost Dog: The Way of the Samurai)”

-Jonathan Rosenbaum,  Chicago Reader

Unknown-5A hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, putting him into conflict with his treacherous wife, with a mysterious woman eager for death and with the phantom-like hit-man known only as Number One.

Directed by Seijun Suzuki, 91min, 1967, Japan

Branded to Kill review – genuinely bizarre Japanese thriller

Seijun Suzuki’s Branded to Kill is a very 1960s metaphysical thriller, a cult item treasured by connoisseurs as the kind of film that – for all its delirious craziness – could even be a truer product of Japan than the higher artefacts of Ozu and Kurosawa. It is an erotic and dreamlike pulp noir, and its disdain for any sort of conventional plot infuriated the director’s employers at the Nikkatsu studio. Jô Shishido is Hanada, a hired killer with a sexual fetish for the smell of boiled rice; a bungled job brings him into mysterious contact with Misako (Anne Mari), a woman who hires him for three hits. He becomes obsessed with her, and finds himself in a duel with the legendary top killer, the No 1 (Kôji Nanbara). The obvious comparisons are with Melville’s Le Samouraï or Godard’s Pierrot le Fou – this film holds up against these perfectly well – with hints of John Boorman’s Point Blank and Patrick McGoohan’s The Prisoner. It is, however, closer to Luis Buñuel in its gleefully disquieting insistence on sudden horrific closeups: the glass eye removed from the skull, the bullet hole, the bleeding head in the toilet bowl. Where Godard had his jump-cut, Suzuki has his disorientating ellipses, his sudden dreamlike time-slips. Genuinely fascinating and bizarre.

Peter Bradshaw, The Gurdian