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    SF IndieFest 2014

    By | February 5, 2014


    The 16th San Francisco Independent Film Festival (SF IndieFest) features mind-blowing, enlightening, genre-bending independent films from around the world. Running February 6th thru 20 at the Roxie and Brava Theaters in San Francisco and at Oakland’s New Parkway Theater, SF IndieFest 2014 will open with director Ari Foleman’s The Congress. Other must see screenings at SF IndieFest 2014 include: Asphalt Watches, Baby Blues, Blue Ruin, Bluebird, Congratulations!, Doomsdays, A Field In England, Forty Years From Yesterday, Hide Your Smiling Faces, I Hate Myself :), Rezeta, See You Next Tuesday, and Teenage.

    SF IndieFest 2014 also offers a plethora of truly inspired parties — including the Big Lebowski Party and the Roller Disco Party. February 6th is the Opening Night Bash at the Brava Theater with live Music from Vokab Kompany (backed by Crush Effect) plus Gene Washington and the Ironsides.

    Check out the SF IndieFest website for more information on screenings, parties and tickets.

    Smells Like Screen Spirit loves San Francisco almost as much as we love cinema, so we are proud to have this opportunity to provide our readers with our thoughts on several of the fantastic (in more ways that one) films screening at SF IndieFest 2014. And, stay tuned as many more SF IndieFest 2014 reviews will be coming your way during the next two weeks!!!


    Asphalt Watches

    The fevered brainchild of producers/directors/writers/animators Shayne Ehman and Seth Scriver, Asphalt Watches is a crudely animated re-imagination of a trans-Canadian road trip that they took together. (Check out our 7 out of 10 review of Asphalt Watches.)


    Baby Blues

    Armed with the blunt sledgehammer of realism, Katarzyna Roslaniec’s film is a dour look — albeit through a candy-colored lens — at the negative influences of consumer culture on modern Polish teens. (Check out our 8 out of 10 review of Baby Blues.)


    Blue Ruin

    Not afraid to infuse some playfulness into the narrative, Jeremy Saulnier utilizes some classic narrative tropes — some more preposterous than others — from thrillers and horror flicks. All the while, with Macon Blair as his muse, Saulnier studiously re-imagines the revenge fantasy genre. (Check out our 9 out of 10 review of Blue Ruin.)



    Captured with a frigid blue and green color palate by cinematographer Jody Lee Lipes, Bluebird is similar in mood and tone to Atom Egoyan’s The Sweet Hereafter — yes, and both films deal with the passing of guilt, blame and responsibility associated with a school bus. (Check out our 8 out of 10 review of Bluebird.)



    Not quite as wackadoodle as Quentin Dupieux’s Wrong — which also deals with the search for a missing character named Paul — Congratulations! is grounded in some semblance of reality, allowing for some real authentic drama to seep through the walls of yellow missing person flyers. (Check out our 7 out of 10 review of Congratulations!.)



    Constructed with a series of long takes, framed in a precise and profound manner, writer-director Eddie Mullins’ Doomsdays is an artfully orchestrated black comedy, armed with adroitly choreographed layers of details. (Check out our 8 out of 10 review of Doomsdays.)


    A Field In England

    A Field In England could indeed end up a cult classic simply because Hollywood lacks a great 17th-century drama/comedy, shot in black and white, featuring characters tripping on mushrooms in a field—while digging a hole for treasure. (Check out our 9 out of 10 review of A Field In England.)


    Forty Years From Yesterday

    Forty Years from Yesterday is a transcendental experience that plays to the inherent — yet, woefully underused — strengths of the cinematic medium. (Check out our 8 out of 10 review of Forty Years from Yesterday.)


    Hide Your Smiling Faces

    It is this prevailing air of uncertainty regarding which direction(s) Daniel Patrick Carbone will take the story that makes Hide Your Smiling Faces something unique and worthwhile. It is extremely rare that a minimalist production can pack such anticipation. (Check out our 8 out of 10 review of Hide Your Smiling Faces.)


    i hate myself :)

    In our modern age of over-sharing via social media, Joanna Arnow smartly takes a cue from Lena Dunham in presenting a devastatingly honest self-portrait that could be incredibly beneficial to other young women who may find themselves in similarly dysfunctional relationships. (Check out our 7 out of 10 review of i hate myself :).)



    Winner of the Jury Award for Narrative Feature at Slamdance, Rezeta benefits greatly from the inherent naturalism of the non-actors who populate the screen. Like Joe Swanberg’s early films, Rezeta might seem a bit rough around the edges, but that ends up actually contributing to its allure. (Check out our 7 out of 10 review of Rezeta.)


    See You Next Tuesday

    See You Next Tuesday presents a very real picture of how life’s individual burdens clash with those we love, with every argument distancing us further, our psyche refusing or unable to take on more than our own pain. (Check out our 9 out of 10 review of See You Next Tuesday.)



    A loose adaptation of Jon Savage’s Teenage: The Creation of Youth 1875-1945, Matt Wolf’s cleverly constructed documentary is told by way of archival footage, seamlessly rendered reenactments and voiceover readings from diaries (by Jena Malone, Ben Whishaw, Julia Hummer, Jessie Usher). (Check out our 8 out of 10 review of Teenage.)


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