Natalie Baszile Pivots from Author to Filmmaker with Documentary ‘Harvest’

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By Noma Faingold

In the documentary, “Harvest,” co-directors Natalie Baszile and her daughter, Hyacinth Parker, let the four Nelson brothers tell and show the story of family farm life in rural Louisiana, revealing all the complexities, struggles, tragedy, resilience and togetherness.

From a stunning view, high above the acres of corn, soy and cotton, the uniformed lines of growth look harmonious. At ground level, the reality isn’t so pristine. “Harvest” opens with the four brothers, who are devoted to farming and to each other, hindered by outdated, faulty machinery. Continue reading →

Afterdeath Communication? — “This Bright Light” Opens A Fascinating Dialogue About Possibilities

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An Interview with Director Alex Lexton

by Geneva Anderson                   (October 9, 2026)

Alexandra Lexton, Photo: In Her Image Photography

An interest in the bonds that tie us to one another eternally and in afterdeath communication drives Sebastopol director Alexandra Lexton’s fascinating docudrama, “This Bright Light,” which has its world premiere at the Mill Valley Film Festival (MVFF49) on Saturday, October 10th.  Marking Lexton’s fourth film at MVFF, this mostly Bay Area-shot story traces the loving but turbulent sweep of Marin rhythmic gymnast Tamarin Luchessa’s life. Her Olympic dreams were crushed by the onset of increasingly debilitating health issues that plagued her for over two decades until her death at age 42.  Still, she managed to live life with extraordinary intensity.

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DEMOCRACY NOIR- A New Dawn

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By Connie Field                 (September 13, 2026)

In April, I watched Viktor Orbán ousted in Hungary by a landslide. I was amazed and ecstatic. This was personal for me. I had traveled there with my Hungarian husband every year since 1990. Over three decades we watched the country change through the eyes of people we loved — through the euphoria of the early post-Communist years and, eventually, through its disturbing turn to autocracy. We watched avidly last year as Péter Magyar, the man who would go on to oust Orbán, traveled all around Hungary drawing bigger and bigger crowds. But I always assumed Orbán would find a way to change the election laws yet again so he’d win no matter how strong the opposition was. He didn’t. Magyar won by a landslide. Continue reading →

You Don’t Have To Be………Jewish

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By Gary Meyer.  (updated August 1 ,2026)

Family dramas, Amazing Sea Monkeys, Hollywood censorship, Woody Guthrie, the Middle East conflicts, Berlin’s nightlife, uncomfortable secrets, teenage angst, many kinds of music, short films, Holocaust stories we never knew, New Yorker cartoonists, LBGTQ lives, inside the most famous Catskills summer resort, and family comedies.

These are some of the stories at the San Francisco Jewish Film Festival playing through Sunday, August 2. Continue reading →

Queer Love Triumphs Over Fear in “Minister Chucky”

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By Noma Faingold.       (June 11, 2026)

“Minister Chucky,” a short film about the unconventional Las Vegas wedding of a queer couple, officiated by a killer doll Chucky impersonator, from the eight-installment “Child’s Play” horror movie franchise, is funny until you consider the full context of the celebration and the subsequent plans for the pair to flee the United States under the bleak Donald Trump regime.

Filmmakers non-binary Graham Kolbeins and trans man Jonathan Andre Culliton documented their cheeky nuptials, along with their life choices before and after the festivities. The 11-minute film highlights love and resistance in times when the LGBTQ+ community is under attack.

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‘Yo (Love is a Rebellious Bird)’ directors Anna Fitch and Banker White

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by Claire Wu

(May 18, 2026)

Created over the span of 16 years, “Yo (Love is a Rebellious Bird)” is a stunning patchwork of vérité footage, handmade dioramas and puppets, animation sequences and collages. This is not simply a film about grief, but rather a piece of ritual art that continuously meditates on all the highs and lows of Yo’s vibrant life and the integral role she played throughout the filmmaker’s lives as their dear friend.

Photo by Andy Mitchell

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It’s Time to Meet Michelle Satter, the Sundance Labs’ Resident Angel

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By Geneva Anderson        (April 29, 2026)

Film Schools like to feature the successful alumni who attended their programs. But none have guided so many to success as the Sundance Labs program where new filmmakers are mentored by established cinema artists under the sensitive yet firm direction of one person.

Robert Redford and Michelle Satter at the Director’s Lab (2011). Photo by Fred Hayes.  Courtesy of Sundance.

Michelle Satter, one of the world’s most important and influential champions of independent film is the recipient of SFFILM’s 2026 Mel Novikoff Award and will be honored on Thursday, April 30, at a special evening that includes Satter in conversation with award-winning Oakland filmmaker Peter Nicks, followed by a screening of Benh Zeitlin’s 2012 film “Beasts of the Southern Wild,” a wildly successful project supported by both Sundance Institute and SFFILM. Continue reading →

10 Must-See World Cinema Films

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By Geneva Anderson                                                              (April 24, 2026)

The 69th San Francisco International Film Festival (SFFILM 69) returns to the Bay Area Friday, April 24, and runs 11 days through Monday, May 4, featuring 79 sharply-curated film programs from 40 countries screening in seven Bay Area theaters.   The world cinema line-up of 32 narratives and 11 docs is phenomenal, with original stories that crystalize into masterful portraits of individuals and place. Continue reading →

Clara Bow Runnin’ Wild- On Making “IT”

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By David Stenn

(Editor’s note:The San Francisco Silent Film Festival will return to the restored Castro Theatre on Sunday, March 22 at 7pm with Clara Bow in “IT” live accompaniment by the Mont Alto Motion Picture Orchestra. Information and tickets here.  Best selling author David Stenn shares his chapter on the making of “IT” and we have added a gallery of stunning images at the end.)

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