In his new and unusual documentary "100 Men," New Zealand filmmaker Paul Oremland, now in his 60s, looks back on 40 years of gay history by interviewing men he's had sex with over the years.

Is there a fitting new genre in which to toss "The China Hustle?"

April finds Castro Theatre programmers at no loss for offbeat and sometimes spine-chilling double bills and career retrospectives.

Warring factions turn out to be Padraig O'Malley's bread and butter, as you'll see in "Peacemaker," starting Friday at the Roxie.

The new film "Back to Burgundy" will best be appreciated by true wine-lovers, but even if you are, like me, a dedicated Diet Coke-head, there's a lot to savor in this melancholy comedy-drama from veteran French director Cedric Klapisch.

In 2007 John Kapellas, a gay man who lives in the Mission, was forced to permanently retreat to his apartment after his body began to develop painful rashes whenever he was exposed to natural or artificial light.

In "Keep the Change," New York City-based writer-director Rachel Israel expands an earlier short film, a sensitive but realistic portrait of a man and a woman dating along the autism spectrum.

"The Dark Side of the Dream: Subversive Cinema for Subversive Times, 1933-1964" is the provocative title of a mini-fest of old studio potboilers centered on the dangers of being employed.

"Oh Lucy!" is that rare foreign-language social comedy that one should not arrive late for.

A best-selling teen novel has become this spring's most charming gay film.

Israeli writer-director Samuel Maoz is diabolically clever in using the metaphor of an old-fashioned dance - the kind they used to teach in school before rock-n-roll - in his latest fiction feature "Foxtrot."

A couple married 48 years, skillfully brought to life by film veterans Helen Mirren and Donald Sutherland, are the best reason to catch Italian director Paolo Virzi's American film debut "The Leisure Seeker."

Even before she left her Nazi-threatened Austrian childhood home, it was clear that Hedy Lamarr (1914-2000) was not just another pretty face.

Although film is considered a director's medium, it's equally dependent on writers. Thus, from their inception, the Academy Awards honored screenplays.