About Ana Pines

Founder/Writer/Photographer/Entrepreneur. Often the only queer person of color at media events. You can't miss me! Want a different perspective, feel free to reach out and I'll be there.

REVIEW – WE ARE LADY PARTS

Posted on June 17, 2021 by Ana Pines

By: Mohamed Sidki

It is no secret that Western media has refused to present Muslims, and Brown-skinned Peoples in general, as anything but terrorists (“Back to the Future,” “24,” “Homeland”) or your average, generic evil henchmen (the first THREE “Indiana Jones” movies). Growing up as an Arab Muslim in America in the 1980s and 1990s, there were hardly any characters who looked like me in the movies or on T.V. that anyone could’ve consider a positive role model, so I ended up looking forward to whenever Brown-centric movies like “La Bamba” or “Stand and Deliver” aired on HBO, and any scene featuring Mario Lopez was in “Saved by the Bell.” (It’s not like the Latinx communities have had an easier time navigating showbiz either, and it is a subject that will be explored many times on this site.)

There has been some progress over the last couple of years but, it’s been excruciatingly slow. And unfortunately, that progress is still beholden to “The White Gaze,” so we end up with projects by writer-performers such as Aziz Ansari and Kumail Nanjiani who center their material around mocking Muslim women for being, in their eyes, “backwards” and “unassimulated,” while they themselves lust after white women. Media gate keeping has prevented a diverse array of Brown Peoples and Muslims from presenting all forms of our true selves. The fact that, “We Are Lady Parts” even exists is a miracle from Allah.

“We are Lady Parts” is a British half-hour comedy series written and directed by Nida Monzoor (“Doctor Who”) about members of an all-female, all-Muslim punk rock (Sarah Kameela Impey, Juliette Motamed, Faith Omole) and their nakab-wearing, vape-smoking manager (Lucie Shorthouse) who search for a lead guitarist in order to enter a Battle of the Bands-style competition, which could be the jumpstart the group needs to have a sustainable music career. So, enter: Amina Hussein, our main protagonist and narrator (Anjana Vasan, in what is one of the best comedic performances ever to stream or air on television).

Amina is a killer guitarist but she suffers from a crippling stage fright that leads to vomiting and the occasional uncontrollable “pooing.” She is also a square who has put a lot of pressure on herself to live a life that she thinks is worthy of a model Muslim, from becoming a world-renowned scientist to marrying the “right” man. It is in her Jane Austen-esque quest to find a husband — a quest that neither of her British Indian parents are in a rush for her to undertake — that she ends up in Lady Parts, after falling head over heels for the brother of one of her future bandmates.

The series does not shortchange the other members of Lady Parts. We get to know the British Iraqi drummer Ayesha (Motamed) who has the personality of a soccer hooligan; Afro-British bassist Bisma (Omole) who is not only a mother who teachers her pre-teen daughter fourth-wave feminist philosophies but is also a struggling comic book writer and artist who recently self-published a tale of young women who become “homicidal maniacs on their periods;” the black nakab-clad band manager Momtaz (Shorthouse) who makes ends meet by selling “shag me hard” lingerie to middle aged Muslim women; and British Pakistani lead singer Saira (Impley) who works in a halal butcher shop and has a battle-earned chip on her shoulder. Together, these five young Brown and Black Muslim women from different backgrounds and distinctly different personalities take on anyone and everyone who strips them, other Muslim women, and Muslims in general, of their agency and humanity in the best way they can: through music.

(Some of the songs, like “Bashir with the Good Beard” are original tunes co-written by Manzoor and her musician siblings, and are catchy as hell.)

And what is truly refreshing about “We Are Lady Parts” is that it is not told through “The White Gaze.” There are no instances of these young women feeling torn between the “traditional” and “oppressive” Muslim world, and white, “freedom-loving” Britain. No Muslim man is bashed for believing in a “backwards” religion, though a couple of the male characters get occasionally called out for their misogyny but only in the context that they are your typical dumb guys saying dumb things in a sitcom. (There is a wonderful spoof of a sequence from Kumail Nanjiani’s “The Big Sick” where it is Amina, a Brown Muslim woman, who this time is the one meeting ridiculous potential mates but it occurs only AFTER she tries to move on from the young Muslim man she has a crush on. And it’s never Islam or some secret want she has to fit into white society that makes these men awful. They just suck.)

The members of Lady Parts are proud Muslims, proud women, proud of their Black and Brown heritages, and proud musicians. And that’s what makes “We are Lady Parts” one of the best shows of 2021. A must-watch!

All 6 episodes of “We are Lady Parts” Season 1 are currently streaming on Peacock.

Brilliant Mind – Marin Theatre Company

Posted on June 2, 2021 by Ana Pines

WE’RE BACK AFTER A PANDEMIC HIATUS! WE LOOK FORWARD TO BEING YOUR GO TO FOR ENTERTAINMENT NEWS AND REVIEWS AGAIN!

If you’re looking for an entertaining live and interactive experience, look no further than Brilliant Mind, created and written by Egyptian American playwright Denmo Ibrahim. Co-produced and presented by the Marin Theatre Company from now until June 13, 2021. There is a live segment, pre-recorded footage, live text messaging, and a choose the next story path option at certain points in the play.

The play tells the story of Dina (Denmo Ibrahim) and Yusef (Ramiz Monsef) after they learn of their estranged father’s death. The audience gets to meet their dad in the afterlife, Samir (Kal Naga), he is the only live performer, streamed via Youtube. The scene is integrated onto another platform that mixes the streamed live performance with pre-recorded footage of his children dealing with funeral arrangements. Samir is often making comments on his children’s conversations about him, their past, and family secrets finally revealed. The heart of the story is that of the siblings making sense of their past, present, and where they are headed.

The siblings were not treated equally due to their birth genders and Arab traditions. In many ways, it’s your typical immigrant story of battling dual identities when you’re a first generation American. Do you assimilate just to please your neighbors and protect yourself from violence and judgement? When you can’t shed your skin, it sometimes doesn’t matter. And when you have an opportunity to break traditions that limit you, do you keep them to please your family? When the answer is no, the distance you must sometimes create or are forced into, leads to a lonely place. Deep down, you do all you can to be successful, to be a good person, with the hope that you’ll come home one day and be accepted as you are.

Denmo Ibrahim as Dina and Ramiz Monsef as Yusef in Marin Theatre Company and Storykrapht’s live and interactive premiere of *Brilliant Mind* by Denmo Ibrahim.

Dina is a super busy and successful lawyer. She’s often texting and writing work emails while Yusef is trying to connect with her in kid ways. When they finally have a moment of laughter together, frustrations start to come out. Dina recalls how she didn’t have the same freedoms as her brother Yusef, and he constantly dismisses her experiences. Besides not being allowed to go out, she was also policed on the clothing she wore and given less useful gifts than her brother. For example, for his sixteenth birthday he got a car and she got jewelry. She also finds out that in her mother’s will, she went with tradition, having her son inherit two times more than her because female children get less than males. The will is a lingering storyline because her mother and brother keep avoiding the topic knowing she will be upset but, don’t necessarily think it’s wrong.

Yusef, although the spoiled one, is also a bit older than Dina. He remembers how his family tried to hide their true selves to protect themselves. He also knew about his dad’s other family. Despite Dina being a lawyer, he’s also entrusted with knowing the legal aspects of his family’s affairs. Yusef, also goes through bouts of depression. Mental health is oftened dismissed in immigrant families and in this Arab American family, the response from mom is no different. She tells him to appreciate what he has, family, a good wife, a job, a house, a car. Old school parents rarely had time to stop their routine even if they themselves were going through depression. This is also a good example in which gender norms are harmful to men, they’re not supposed to express their feelings let alone be depressed, often seen as a weakness.

Playbill photo for Storykrapht’s live and interactive premiere of
*Brilliant Mind* by Denmo Ibrahim.

Ibrahim and Monsef had good chemistry as siblings. However, Ibrahim’s portrayal was felt more. Her frustration really comes through in her mannerisms and facial expressions. Naga also showed a good range of emotions for his character. He had a serious demeanor and came off as someone who didn’t have many regrets. If he did I missed it, as I was more enthralled in the siblings emotional turmoil.

The only downside of this multifaceted presentation is that you wonder about the other choices you didn’t make during the “what do you want to happen” next opportunities. Another lingering thought when it comes to the immigrant experience. What if I didn’t take the path I did take?

May 22–Jun 13
by Denmo Ibrahim
Co-produced by
Marin Theatre Company & Storykrapht

AN ORIGINATING PREMIERE
Tickets: $30 For more information, go to: https://www.brilliantmindshow.com

The Victorian Ladies’ Detective Collective – Is Jack the Ripper Back?

Posted on May 14, 2019 by Ana Pines

Another day, another body, could Jack the Ripper be back? In The Victorian Ladies’ Detective Collective sisters Loveday (Stacy Ross) and Valeria (Jan Zvaifler) run a boarding house in which many of the neighborhoods theater actresses live. One by one they turn up dead. The fear results in less patrons, and inevitably a cut in pay for the actors which leads Katie (Chelsea Bearce), an American actress and lodger, to ask Valeria for a break from her rent.

Loveday who was once an actress herself, is alone when Katie arrives. She notices Katie’s curiosity over the research she’s been doing to find the murderer. Loveday tries to reach out to police to no avail. as the Constable (Alan Coyne), spends more time pointing out the supposed inadequacies of the female gender than solving anything. Loveday and Katie have no choice but to take matters into their own hands with some financial help from Valeria.

As the show progresses the audience is taken on a whodunnit roller coaster. Was it Jasper, the butcher, the police themselves (all played by Alan Coyne)? Jasper is exceptionally triggering as he’s not only sexist, but also a rapist. Ladies being able to take care of themselves and having their own thoughts is too much for the men to handle. They constantly belittle women physically and mentally. This only strengthens the women and their goal of finding the murderer, to protect themselves and future victims.

All the actors are wonderful and Chelsea Bearce as Katie often steals the show. She has multiple types of martial arts training including Tessen, based on the use of the solid iron fan or the folding iron fan. There is a serious tone to many parts of the show given the storyline, but not without some humor at the outrageousness of the men and their small egos. The show is written by the local award-winning playwright Patricia Milton and directed by Gary Graves. This is their fifth writer/director comic collaboration.

Update on May 16th: The show has been extended for 4 more performances!

May 4–Jun 9
World Premiere #63: from the Central Works Writers Workshop

Advance tickets are $22-$38 online or $38–$15 sliding scale at the door. For information, extended dates and tickets, visit http://centralworks.org.

Weightless at A.C.T.’s Strand Theater

Posted on May 4, 2019 by Ana Pines

Weightless, a rock opera by local Bay Area band, The Kilbanes (Kate Kilbane and Dan Moses), and directed by Becca Wolff, returns home following sold-out shows at The Public Theater’s Under the Radar Festival at BRIC in Brooklyn. Produced by Z Space and piece by piece productions – the show will play a limited engagement at A.C.T.’s Strand Theater (1127 Market St., San Francisco) April 30—May 12, 2019.

The story is a retelling of the love that exists between sisters Procne (Kate Kilbane) and Philomela (Lila Blue) from Ovid’s Metamorphoses. It is described as “part concert, part play, and part dream”. Procne’s father is about to marry her off , the sisters are not having it and run away. The darkness they encounter causes some hesitation to continue, but God (Julia Brothers) takes an interest in the sisters, and brightens up the moon to help them find their way. They end up at a cabin on the ocean where they live freely until a hunter named Tereus (Josh Pollock) shows up. Procne’s curiosity is peaked and she leaves with him to an isolated island. She promises Philomela she will return but never does.

Philomela gets an urgent feeling to get to her sister when she senses new life growing inside Procne. She must see her sister and creates wings to take her to her. She successfully flies to the island, unbeknownst to Procne as Tereus finds her first and locks her up in a shed.

The Kilbanes did a great job at weaving in this mythical story with their music. The joy of being able to bring this rendition of Metamorphosis to the stage is evident when they thank the audience at the end. However, it still feels like more can be done.

The introduction to the sisters is a laid back musical performance, similar to what you would experience in a small coffee shop venue. They are dressed plainly, one in a blue jumper (different from production photos) and the other in a dress. At one point, lights beam down on the stage, and it makes you think, this is it, time to rock and then, it goes back to the previous tone. This story of sisterhood, love, betrayal and rebirth has moments that make you laugh and moments that make you gasp but the in between makes the show feel a little stuck in comfort.

It’s enjoyable and a great addition to the Bay Area stage as it was born and nurtured here. However, it can use a little more creative direction when it comes to the costumes and lighting. God in her tailored suite and boa at the end is the only character that had a part rock, part dream feel to her.

Playing at The Strand Theater the tickets range from $15–$70 and are available at the A.C.T. Box Office at 415.749.2228 or online at act-sf.org. Prices are subject to change without notice. Running time: 70 minutes, no intermission

Come Celebrate at this year’s Beer Mitzvah!

Posted on April 20, 2019 by Ana Pines

Did you know that most beer can be considered “kosher-style” when it does not contain lactose, gelatin, spices, fruit or fruit syrups! Come celebrate this new knowledge (unless you knew already, then come celebrate this old knowledge) and Temple Israel on April 28 at 1pm, at their first Beer Mitzvah celebration.

The event comes from the partnership of Oscar Delgado, Jr., who owns CA Draft Tech and is the founder of the CA Beer Society and Kimberlee MacVicar. We wanted to find out more about this unique event and got a chance to speak with Kimberlee.

Oh, and just in case someone is wondering, no, you do not need to be Jewish to attend!

Is this the first time you’re doing a beer fundraiser?

This will be the third time Oscar and I are partnering up to throw a beer fest, but it will be the first time at Temple Israel. We’re excited about this unique angle and to expand these breweries’ fan bases even more.

How long has the temple been in Alameda?

Since 1920. It was founded by a dozen couples, including my great-grandparents, David & Diana Garfinkle. 2020 marks our 100th anniversary.

Who came up with the idea and why beer?

I was the Fundraising Chair or Co-Chair for 10 years at the temple before “retiring” and returned to the role for this fiscal year. Knowing how much fun beer fests are and how great it is to work with Oscar, I wanted to bring one to the temple. Oscar came up with the awesome name. Beer creates a casual, fun setting to hang out with friends. It’s a positive vibe and culture that I wanted to bring to the temple and open the way for more people to visit and know/remember we’re here and a part of the East Bay Community.

I hear most beer is kosher. What makes a beer kosher?

I stumbled onto an article one day that beer is technically kosher, but only the large corporations can afford certification. There isn’t really a demand for kosher beer, so it’s not an expense many start-up or micro breweries can afford to add to their budgets. It’s a shame kosher certification is financially unattainable or not sustainable for many businesses, particularly restaurants, as those kosher certifying agencies are just limiting their own choices, but don’t get me started!

The four main ingredients in beer – water, hops, wheat and yeast – are kosher, so beer not certified is “kosher-style.” They are not kosher or kosher-style when ingredients like gelatin, lactose, fruit and fruit syrups are added. For example, no stouts, bummer. For this event, we’ve asked the breweries to bring beer that would fit this kosher-style list of ingredients. While Maui Brewing Company is participating and will be pouring beer of those ingredients, we can encourage folks to hit the stores later to buy their Pineapple Mana one, which is super yummy.

What’s included in the ticket?

Ticket is $36 and comes with unlimited pours. No need to get in line to buy more beer tickets or possibly be left with unused ones. A chance to interact directly with these breweries and just have fun hanging out. Food is separate as we have two pop-ups coming to help them promote their businesses.

Where do the proceeds go to? What kind of programs will it support?

The event will benefit Temple Israel. Programs supported will include primarily, our religious and Hebrew School, called Beit Bina, holiday celebrations, and gearing up for our 100th celebration next year. Lots to do to prepare for such a big milestone.

Will there be activities for non-beer drinkers who want to support? Are kids allowed?

Kids are absolutely allowed and can come for free. Beer festivals are very family friendly despite the name. Admiral Malting will have a demo about malts used in many beers, cornhole boards will be out and the band, The Vinyl 4, will be performing twice.

A big piece will be for people to vote their favorite beer as “The Chosen One.” We look to grow this inaugural event into an annual one making it larger and larger, with a larger footprint for more activities.

[button link=”https://www.eventbrite.com/e/beer-mitzvah-fest-celebrating-craft-beer-coming-of-age-tickets-59209619566″ color=”lightblue” newwindow=”yes”] Get Your Tickets! [/button]

#BeerMitzvah

*** Free parking
*** No refunds
*** Must be 21 and over to receive a wristband.
*** Children can attend for free as festivals are family friendly.
*** Food and soft drinks available for purchase.

The Jungle at the Curran

Posted on April 9, 2019 by Ana Pines

The Curran has brought “The Jungle” to the Bay Area after having sold out shows in New York and London. The play is based on a self made refugee camp that was located on the outskirts of the French city, Calais, from January 2015 to October 2016. Calais’s proximity to the UK, the desired final destination, is why many refugees continue to arrive there today.

The show was written by British playwrights Joe Murphy and Joe Robertson whom lived at “The Jungle” for seven months, by choice. They created Good Chance theater in the middle of the camp. At the time of their arrival, there were already thousands of people from 25 different countries who had built restaurants, churches, and small living spaces on top of an old landfill. These great feats existing in terrible conditions made them want to get people to tell their stories.

The show is set in an Afghan restaurant located in “The Jungle”. It took over three weeks for the Curran to transform itself into the final intimate space. Seats have been pulled out and the floor has been leveled with dirt. There are wood beams set up, small tables and benches. Due to the limited space to create the atmosphere, the audience is limited to 600 per show. Those with tickets near the stage area, will find themselves in the middle of the action, as actors go up and down aisles during intense meetings, protests, celebrations, and the final destruction of the location.

The powerful performances bring to light the humanity behind the faces of many of the refugees, often just seen as pictures in the media, statistics, or charitable cases. It touches on the background of a few personal stories but, mostly revolves around the story behind the arrival and building of “The Jungle”. As everyone is desperately trying to hold on to hope, tensions arise. The countries each person represents also have political conflicts that fuel some incidents, but circumstances force them to acknowledge that they now have more in common. They need to get along to survive, and they do. It’s that unity, drive, hope and creativity that attracts the authorities, ultimately leading them to destroy the camp. Their public reasoning, it was getting too established and would attract more refugees. A falsehood similar to the situation here in the United States at the Mexican border. People do and will continue to arrive despite harsh conditions as they’re often not as bad as the situation the refugees are fleeing from. Also, They. Have. No. Where. Else. To. Go.

The play also gave voice to some of the uninvited volunteers that started to arrive after “The Jungle” started getting media attention. There is a discussion about wether they should be allowed. Most welcomed the potential help and exposure, while others hesitated. They stayed one night, two nights, and then they didn’t leave.

In a poignant moment in the play, these two entities confront each other. Okot (John Pfumojena) a 17-year old refugee, gives a speech to 18-year old volunteer, Beth (Rachel Redford). He takes off his shirt exposing a multitude of scars. She is asked why is she there. She speaks through tears and confusion. He tells her some of the reasons he had to flee his home, his family, and how each tragedy takes a toll on a person, on your identity. How parts of you die with each trauma. This is one of the most revealing parts of the play. Giving someone a few clothing items is not going to bring humanity back to a person. What’s legal is not always moral. Sometimes, the only choice, is to survive.

The show is very emotional and honest. Those who consider themselves an “Ally” in these situations, should definitely see this play. A volunteer’s “help” can remind someone that there is good in the world. It can provide a temporary comfort. However, good intentions don’t often lead to progress. Understanding what leads people into these circumstances, not thinking you know a person’s situation better than they do, and speaking up before it happens does, as the countries often being fled too, are often part of the cause that created these unfortunate circumstances.

Playing until May 19th

Tickets and Location: https://sfcurran.com/shows/the-jungle/

Runtime: 2.5 Hours, 1 15 minute intermission

SPECIAL PERFORMANCES:

Open Caption: Sunday, April 28, 1pm

ASL: Saturday, May 11, 2pm

Audio Described: Saturday, May 18, 2pm

Watch the stage transformation

SF – SEAN DORSEY DANCE Launches 15th Anniversary Season

Posted on March 9, 2019 by Ana Pines

SEAN DORSEY DANCE celebrates 15 years of award-winning dance performances, cultural activism and history-making achievements with a return engagement of, “Boys in Trouble” at Z Space (March 14-16) – along with a 20-city U.S. tour, a full-length documentary, the 18th annual “Fresh Meat Festival” of transgender and queer performance (June 20-22, San Francisco), and other celebratory achievements.

“Fifteen years ago, I never could have imagined that I would become the first U.S. transgender artist to be presented by The Joyce Theater, or that Sean Dorsey Dance would tour with such warm reception to 30 other leading venues across the country” said Sean Dorsey. “Our home season in San Francisco launches not only a celebration of our artistic legacy, but it is a look forward to the radical expansion of our national trans-supportive education, engagement and advocacy work that Bay Area audiences have embraced since day one.” Dorsey continued, “Our mission for the next 15 years begins in 2019 – a critical time when trans communities are facing escalating attacks across the nation.”

SEAN DORSEY (founder and artistic director, Sean Dorsey Dance) is an award-winning San Francisco-based choreographer, dancer, writer and trans activist. Recognized as the nation’s first critically-acclaimed transgender choreographer in modern dance, Dorsey has toured his work to 30 U.S. cities and abroad.

You don’t want to miss your chance to catch these exciting events!

“BOYS IN TROUBLE”

“Boys in Trouble” is a timely and urgent commentary on contemporary masculinity. The work places a trans and queer lens onto intersectional questions of embodiment, violence, Black queer love, whiteness, shame and posturing. The award-winning, multi-generational SEAN DORSEY DANCE ensemble (Sean Dorsey, Brian Fisher, ArVejon Jones, Nol Simonse, Will Woodward) performs this intensely athletic work with gusto – moving seamlessly between full-throttle dancing, live speaking and intimate storytelling.

Performances: March 14-16, Z Space (450 Florida Street, SF), four performances only.

(Thursday evening 8 PM; Friday evening 8 PM; Saturday 4 PM matinee with ASL interpretation; Saturday evening 8 PM – gala performance followed by champagne toast and reception with SEAN DORSEY DANCE.)

Tickets: $15-$30.

More Info: http://SeanDorseyDance.com/Boys-in-Trouble/

“Boys in Trouble” was recently nominated for two regional 2019 Isadora Duncan Dance Awards (Best Company Performance; Best Music/Sound/Text).

18th ANNUAL “FRESH MEAT FESTIVAL” (June 20-22)

Sean Dorsey curates the highly-anticipated “Fresh Meat Festival” of transgender and queer performance in San Francisco, performing June 20-22. Now in its 18th year with an international following, the annual three-day festival of live dance, theater, spoken word and music will present 12 gender-nonconforming, transgender and queer artists and ensembles from across the U.S. (SEAN DORSEY DANCE performs at the festival each night.)

Performances: June 20-22, Z Space (450 Florida Street, SF).
*ASL interpretation provided on 6/21 & 6/22 *
* Gala Performance & Reception Sat June 22*

Tickets: $15+ sliding scale.

More Info: http://freshmeatproductions.org/

Upcoming – Documentary

Sean Dorsey himself is the subject of an upcoming documentary directed by Annalise Ophelian and StormMiguel Florez. Annalise is also the director of the documentary “MAJOR!” about Miss Major, the pioneering elder black transwoman and activist. It was an official selection at 60 film festivals worldwide and garnered more than 20 awards for best documentary. We’re looking forward to seeing the result of this collaboration.

26th Annual San Diego Latino Film Festival

Posted on March 1, 2019 by Ana Pines

This year’s San Diego Latino Film Festival (SDLFF) from March 14 – 24, 2019 marks its 26th year. It will take place at the AMC 18 Fashion Valley theaters and Digital Gym CINEMA in North Park.

Started as a student film festival by Ethan van Thillo (SDLFF’s Executive Director), it is now one of the largest celebrations of Latino film in the world. It’s not rare to run into names like Edward James Olmos and Kate del Castillo. “I am confident that through the power of cinema and storytelling, we can continue to break down walls and create a more just and equitable world for future generations” said van Thillo. SDLFF was born out of a desire to challenge the negative stereotypes about the Latino experience in movies and to give Latino filmmakers a chance to show the world the realities and richness behind the Latino identity.

This year’s celebrations will include a special screening of the 15 finalists of the Migrant Voices FilmCompetition highlighting the current humanitarian crisis unfolding along the San Diego-Baja California Border. Also, a tribute to iconic Mexican actor Damián Alcázar, a 26th Annual ‘Classics Film Showcase’, 75 + guest filmmakers/celebrities, and the 26th Annual Awards Ceremony Gala to be held March 23rd at Music Box. Plus, over 160 films from Latin America, the United States, and Spain, celebrity appearances, live concerts & performances at the Sonido Latino stage, and the 4th Annual Sabor Latino – Food, Beer & Wine Fest.

Highlight films include:

Soccer documentary (Mexico) Chivas, La Película; romantic comedy (Mexico) La Boda De Mi Mejor Amigo; music documentary (Panamá / Argentina / Colombia) Yo No Me Llamo Rubén Blades; boxing drama (Mexico/Finland) Bayoneta; sports comedy (Spain) Campeones; drama(Paraguay / Germany / Brazil / Uruguay / Norway /France) Las Herederas; adventure drama (Mexico/Colombia) Cómprame Un Revólver; mystery drama (Mexico) Dos Veces Tú.

Tickets and Festival Passes are now on sale. An all-access special *VIP Pass* can be purchased for $300. A Festival Pass; which includes Media Arts Membership can be purchased for $225 (includes over 160 films, front of the line access, entrance to Opening and Closing Night celebrations and more. Film Pass can be purchased for $120 (includes entrance to 11 films, + priority access). Passes are non-transferable. Individual ticket sale prices are: $12.00 General Audience, $10.00 Students/Seniors, $9.00 Members.

For festival and ticket information visit the festival’s website at www.sdlatinofilm.com or call 619-230-1938.

Dear Evan Hansen – You’re Not Alone

Posted on December 8, 2018 by Ana Pines

Dear Dear Evan Hansen Potential Theatre Patron,

You may cry some tears as the show deals with tough topics like suicide, depression, anxiety, and divorce. Multiple characters explore the feeling of not belonging regardless of their situation and the everyday persona they present to the world. A great show for parents to watch with their teenagers, if you can get them to be seen in public with you. That was a joke.

The story centers around Evan Hansen (Ben Levi Ross), he has social anxiety and can’t help but act awkward around his peers. He’s from a single mom home and one of the feelings explored is his desire to spend more time with her. As young people, we often forget that our parents are human beings. They taught us all that we know so we expect them to be perfect sometimes, they’re not.

When Evan gets an assignment where he has to write a letter to himself, it’s full of feelings of isolation. It also introduces us to his crush, Zoe (Maggie McKenna), the thought of her is what keeps him going. He pins his hopes on her in this letter. Her brother Connor (Marrick Smith), who also has issues of his own that no one knows about, finds it and gets upset. Connor’s parents find Evan’s note after he commits suicide. This leads them to believe that Evan and Connor were friends. Evan sees how happy this makes them given that Connor was a loner, and the lie spirals out of control from there on out.

Besides dealing with feelings of isolation, it also delves into social media and the validation that people can become addicted to. It can never be enough since you’re still physically isolated. When things spread mouth to mouth, they often tone down after a week. With the internet, things can be explored further and spread to people outside of your zone. In this case, a lie spreads that brings good, but still, it’s a lie. Although, it can help prolong a cause, story, or provide someone with a few more minutes of recognition, it will also eventually be forgotten.

It touches a lot of elements that will strike a chord with many. It also has a catchy soundtrack reminiscent of Rent. The stage set and how they present social media is intriguing. They have multiple screens representing different online networks with voice overs for posts that you will see scrolling through.

So, does Evan get found out for lying? You have until December 30th to find out. If you leave the show with anything, may it be knowing that no matter what you’re going through, you’re not alone. You Will Be Found.

Sincerely,

Details:

Where: Curran Theatre, 445 Geary St., San Francisco
When: 7 p.m. most Tuesdays and Thursdays, 1 and 7 p.m. most Wednesdays and Sundays; 8 p.m. Fridays, 2 and 8 p.m. Saturdays; closes Dec. 30
Tickets: (415) 358-1220 or sfcurran.com

*There is a digital lottery offering fans the chance to purchase a limited number of $25 tickets. For details and to enter, go to: www.luckyseat.com/dearevanhansen. Good Luck!

Cirque Du Soleil’s Volta – Finding Freedom in You

Posted on November 16, 2018 by Ana Pines

Cirque Du Soleil’s Volta is the 17th show presented under the Big Top at AT&T park in San Francisco. This rendition has a more urban feel than previous shows due to its inclusion of stunts with BMX bikes and a game of double dutch. These are things that some of us have seen in our own neighborhoods and are always impressive. It triggered many in the audience to rise in applause.

The story revolves around Waz, a young blue-haired teenager who doesn’t seem to fit in with his peers. They walk around in unison with drab gray outfits, taking selfies, oblivious of their surroundings. Although, he also wears the same outfit, he can’t help but stick out because of his blue hair.

After entering a contest where he shows off his bike skills, Waz ends up not only being mocked by them but also as a punchline in the newspaper. A critique in the lack of differentiation between mainstream media and viral content. He goes into a depression and we see him in his bedroom reminiscing of more innocent times with his mother, who encouraged and cultivated his free spirit.

Waz eventually breaks out of his funk when he meets a roller skater and her friends, bringing color to his drab life with their free spirits and human connection. He finds himself, that person he was with his mother, in them.

One of the things that stands out at each Cirque show is the sheer joy that emanates from the stage from the performers. This certainly contributes to their success beyond the incredible stunts and costumes, and a reflection of this show’s story line. Being around joy can cultivate joy within oneself. Another hit that’s great for the whole family with an important message about judgement and self-awareness.

Cirque du Soleil

VOLTA is Cirque du Soleil’s 41st original production since 1984, and its 18th show presented under the Big Top. The company has brought wonder and delight to more than 190 million spectators in more than 450 cities on six continents. Cirque du Soleil Entertainment Group has close to 4,000 employees, including 1,400 performing artists from close to 60 different countries.

Performances are scheduled under the Big Top at AT&T Park in San Francisco from Thursday, November 15, 2018 through Sunday, February 3, 2019.

Tickets (starting at $54) by visiting cirquedusoleil.com/volta or calling 1-877-9CIRQUE (1-877-924-7783).

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Author Archives: Ana Pines