When you freshmen realize the Stanford Calling Center is really just pimping you out, maybe you, too, will have the sense or the entrepreneurial spirit to start your own phone sex line out of Larkin or wherever else it is you live. Write a script about it with your roommate and you’ll be the next Katie Anne Naylon.
From what might certainly be one of the best-spliced trailers of 2012/the summer/all time, moviegoers might expect from director Rian Johnson’s latest, “Looper,” a mind-bending, time-traveling bounty hunt wherein a Bruce Willis version of a main character aims to kill a Joseph Gordon-Levitt version of said main character (or vice versa?). Mix in some Emily Blunt, Jeff Daniels, club scenes and dub-step, and the stage of cinematic expectations has been set.
Following in the dense intellectual style of last year’s “A Dangerous Method,” David Cronenberg’s “Cosmopolis” is heavily dialogue- and theory-driven, only this time the psychoanalysis has been replaced with economic and financial jargon in an eerily dystopian retelling of James Joyce’s “Ulysses.” Adapted from Don DeLillo’s novel of the same name, this riveting commentary on capitalism could not have come at a more appropriate time.
When the performance begins, three people—two women (Rene Augesen and Annie Purcell) and one man (Anthony Fusco) in the middle—are on stage in a row, facing the audience, and they are each completely submerged, except for their heads, in a large urn.
One of the most exciting and avant-garde events at this year’s San Francisco International Film Festival was the live documentary presentation of director Sam Green’s “The Love Song for R. Buckminster Fuller.” It screened twice at the SFMOMA on May 1, a presentation facilitated in tandem with the SFMOMA, which has a current exhibit on Buckminster Fuller in the Bay Area.