FOGCUTTER FILM SERIES VOLUME 25

STOP MAKING SENSE (1984)

The Fogcutter Film Series
hosted by Robert Mailer Anderson
(Extra Special DJ GrampaPhone Dance Party Edition!)

6:00 PM: “Happy Hour Gramophone Concert” by DJ GrampaPhone spinning a set of rare and iconic 78 shellacs on his 1906 gramophone.

with FREE Champagne & Signature Cocktails while supplies last!

7:00 PM: Stop Making Sense (1984) – Academy Award-winning director Jonathan Demme (Silence of the Lambs, Philadelphia) makes possibly “the greatest concert film of all-time” documenting Rock and Roll HOF band Talking Heads at the height of their popularity on tour for their 1983 album “Speaking in Tongues” which included the smash hit “Burning Down the House” and classic “Naive Melody.” Filmed over three nights at the Pantages Theater in Hollywood, the band– David Byrne in his iconic “Big Suit,” Tina Weymouth, Chris Frantz, and Jerry Harrison –take the stage one by one as they are joined by a cadre of guest musicians including Rock and Roll HOF Bernie Worrell (Parliament-Funkadelic) and Alex Weir (Brothers Johnson) and Tom Tom Club for an incredibly artistic and energetic set including “Psycho Killer,” “Life During Wartime,” and “Once In A Lifetime.” Caught by Oscar nominated cinematographer Jordan Croneweth (Blade Runner) it was included into The National Film Registry in 2021.

Get ready to dance in the aisles!

ROBERT MAILER ANDERSON: Anderson is a native San Franciscan, 9th generation Californian, writer, producer, filmmaker (Windows on The World, Pig Hunt) activist, author of the bestselling novel Boonville, and nominated for 3 Grammys as a music producer. His most recent work is the graphic novel My Fairy Godfather (Fantagraphics) - dedicated to The Castro Theater. He is also known as "DJ GrampaPhone” - spinning 78 records on his 120-year-old gramophone.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

DOORS at 5:30 PM | MUSIC at 6:00 PM | FILM at 7:00 PM

TRASH & TREASURES presents:
FUGS FILM!
(with Live Opening Fugs Tribute from Michael Mouse & DJ Set from Paul Costuros)

In the 1960’s radical culture breeding ground of downtown New York City, there were two hometown bands – The Velvet Underground and The Fugs. It took time, but today Lou Reed and The Velvets are internationally revered rock & roll legends; The Fugs – not so much. And yet, both bands pushed boundaries with radical sounds and iconic attitudes that influenced rock music more than and other ‘60’s bands. Through interviews with head Fug Ed Sanders and elusive drummer Ken Weaver, as well as underground legends such as Aline & R. Crumb, Lenny Kaye (Patti Smith Group), Chris Stein (Blondie), and others, “FUGS FILM!” recounts the short but highly influential career of The Fugs. A band that fused poetry and Rock and Roll and put the “punk” into folk music. The film also documents the band’s anti-authoritarian political actions defying censorship rules and protesting the Vietnam War - including their famous levitation of the Pentagon in 1967. “FUGS FILM!” is more than just a music doc about an irreverent band, it’s an emotional call for citizens of the world to stand-up for freedom, democracy, and just the right amount of crazy.

DOORS at 7:00 PM | MUSIC at 7:30 PM | FILM at 8:15 PM

Filmmaker Q&A with Director Chuck Smith to follow the screening.

Throwin’ Bo’s presents:

Gordi

“Being surrounded by death made me think about how beautiful life is.”

As a final-year medical student, Sophie Payten (aka Gordi) learned to certify death. Beyond just what we see in the movies – checking for a pulse, hearing the monotone of a flatline, announcing the time – the process involves observing a person who's no longer responding. As she looked at their still, waxy skin, Payten says “It made me think of plasticine - that soft, malleable substance, that we can shape and mould in our hands, until we leave it to set in place. I thought about all the ways we are like plasticine in life - how forces we can’t control, contort us into shapes, stretch us thin, and test our resilience. But sometimes, heart-wrenching change can be a thing of beauty.”

These moments of transition - the anguish and the ecstasy of change - are captured on her new album, ‘Like Plasticine’, which opens with the gritty, entirely iPhone-recorded GD (Goddamn), a reminder of the things we do to carry on and endure – Look around. Slow down. Call your mum. Over sparse, distorted synths, Payten sounds like she's trapped underwater or pressed against a window, looking in on the lives she is wondering how to step back into.

Writing the album was a process of intense excavation. Payten took herself to Sydney for a pair of week-long residencies six months apart – first at Phoenix Central Park and the other at a church, both operated by arts patron Judith Nielson. "I think that whole first week I felt like an exposed nerve, because I was facing everything I'd been really actively not thinking about for a long time. I was like, alright, it's time. I'm ready for it to explode."

Inside the vault, along with the tender, cerebral pop that's become a Gordi trademark, a surprising amount of joy sprang out. She'd written Peripheral Lover in Nashville a little while earlier, imagining she might give the song to another artist. It was so celebratory and effusive, she says, "it just really didn't feel like me on the last record". But time changed that, and the pop anthem, one that blends yearning, sensitive lyrics with a contagious synth beat, positions Payten alongside Robyn, Róisín Murphy, and other masters of the craft

Bandcamp | IG

Gracie and Rachel

If We Could, Would We is the latest effort from Brooklyn-based duo Gracie and Rachel (Gracie Coates and Rachel Ruggles), who have become known for their innovative brand of elevated indie-pop, complete with baroque string work and piercingly spare song structures. After releasing their self-titled debut to critical acclaim in 2017, Gracie and Rachel have been seen on stages opening for Ani DiFranco, Tori Amos, Julien Baker, Lucy Dacus, and others. They have performed two NPR Tiny Desk Concerts and been praised by the outlet to “mix pop and classical in stark, infectious ways and make unforgettable, surprising music.” Their 2025 single “WTF” earned praise from The Line of Best Fit who raved, “Gracie and Rachel Deliver Folk-Pop for the Future on “WTF,”’” and Rolling Stone which named it a “Song You Need To Know.”

The most personal and daring album of their career thus far, If We Could, Would We asks important questions about potential regret and openness, ultimately concluding that the only way out is through. It also finds Gracie and Rachel sharing space again after coming to a crossroads in their personal and professional lives. After the release of their 2023 EP Nowhere Now Here, Gracie spent part of the next year working on solo material, a journey that eventually led her back to Rachel, who was working through the end of a long-term relationship.

Even as their paths diverged, Gracie and Rachel always found their way back to each other. Once reunited, they pushed themselves to keep growing. Sonically, If We Could, Would We expands their instrumentation, with Rachel incorporating the guitar on record for the first time and adding in a diverse array of other instruments and textures across tracks. Meanwhile, as a piece of art, If We Could, Would We symbolizes the duo’s ebbs and poses the existential question many ponder; If they could go back and do it all over again, knowing what they do now, would they? Rachel says, “We may never know, but here we are. I still have hope and belief. I just want to keep telling the story.”

Website | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

KEXP & Tunnel Records present:

Vinelands Live at the 4 Star
KEXP's Local Music Showcase & Live Radio Broadcast Series

Vinelands is a cross-genre exploration of music of the Bay Area and Northern California, hosted by Kelley Stoltz and Gabriel Lopez, airing Saturday nights 6-9 PM Pacific on 92.7 FM and live streaming via KEXP.ORG. For one night only, they will broadcast live from the 4 Star, featuring live on-air and on-stage performances from Mild Universe and Camellia Boutros.

Mild Universe

Mild Universe is a San Francisco based indie-dance collective that fuses 90s house influence with disco, soul, and post-punk, creating an eclectic live performance that's impossible to resist. Percussionist and songwriter Sam Jones crafts catchy indie-psych tracks with a dancefloor twist, complemented by effortless, soulful vocals.

The band is a six-piece ensemble, known for their lush synth textures, and horn arrangements. Mild Universe has become a standout in the Bay Area music scene, sharing the stage with artists like Say She She, Sugar Candy Mountain, Harvey Sutherland, and Automatic. Their debut LP "Everything Must Change" is a reflection on shifting relationships, love, and the ever-changing landscape of San Francisco. Mild Universe blends psychedelic pop, house, and jazz improvisation to create kaleidoscopic anthems that unite people through the shared joy of music and dance.

Bandcamp | IG

Camellia Boutros

Camellia Boutros is a Lebanese Palestinian composer and multi-instrumentalist based in San Francisco. After years of experience performing with a diverse array of Arab, Balkan, and Latin music groups on trumpet, oud, and bass, she developed a fretless 12-string electric guitar as a vehicle for composing her own brand of Arab experimental rock. Naming her instrument the “electric oud-guitar,” Camellia writes music rooted in both Arabic Maqam and the Bay Area sound, which reflects her own experience growing up between California and the Levant. An energetic blend of Arab traditional, psychedelia, folk, jazz, hip hop, and experimentalism, her music and lyrics defy genre definition.

Bandcamp | IG

DOORS at 6:00 PM | MUSIC at 6:30 PM

(Made possible in part by Monterra Credit Union & Standard Deviant Brewing)

An ordinary LEGO figurine Emmet who always follows the rules, is mistakenly identified as an extraordinary being and the key to saving the world. He finds himself drafted into a fellowship of strangers who are on a mission to stop an evil tyrant's plans to conquer the world. Unfortunately for Emmet, he is hopelessly and hilariously unprepared for such a task, but he'll give it his all nonetheless.

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. We look forward to seeing you at the movies!

DOLLY PARTON CELEBRATION:

9 to 5
(Shown as a Double Feature with The Best Little Whorehouse in Texas)

Office satire about three female secretaries who decide to get revenge on their tyrannical, sexist boss by abducting him and running the business themselves. The trio, one of whom has been passed over for promotion because she is a woman, spend a night together having drug-induced fantasies of killing the slave-driving chauvinist. One of them panics the following day when she suspects she really has poisoned the tyrant.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

DOLLY PARTON CELEBRATION:

The Best Little Whorehouse in Texas
(Shown as a Double Feature with 9 to 5)

Miss Mona (Dolly Parton) runs the Chicken Ranch, a brothel with a long history in a small Texas town. The locals have a good relationship with the institution, and Mona is respected in the community. The sheriff, Ed Earl Dodd (Burt Reynolds), also looks out for the Chicken Ranch due to his past with Miss Mona. However, when pious reporter Melvin Thorpe (Dom DeLuise) exposes the brothel, outside interests want it shut down, putting the governor (Charles Durning) in a tough spot.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

DOLLY PARTON CELEBRATION:

9 to 5
with a Live Dolly Parton Tribute Set from Sadie Alan
(Shown as a Double Feature with The Best Little Whorehouse in Texas)

Office satire about three female secretaries who decide to get revenge on their tyrannical, sexist boss by abducting him and running the business themselves. The trio, one of whom has been passed over for promotion because she is a woman, spend a night together having drug-induced fantasies of killing the slave-driving chauvinist. One of them panics the following day when she suspects she really has poisoned the tyrant.

DOORS at 6:30 PM | MUSIC at 7:00 PM | FILM at 7:45 PM

(((folkYEAH!))) presents:

Croz Boyce
(Avey Tare and Geologist of Animal Collective)

What if 40 minutes of instrumental music made by two friends passing files across state lines could capture the range of human experience, or at least a disproportionate chunk of it—worry and camaraderie, hope and frustration, tenderness and absurdity? That is the question that steadily emerges across the nine tracks of the self-titled debut from Croz Boyce, the duo of two musicians who have made some of the last quarter-century’s most inquisitive music, Dave Portner (Avey Tare) and Brian Weitz (Geologist) of Animal Collective. Buds and collaborators for so long that it seems they can have deep exchanges without a word or, in this case, a shared physical space, Portner and Weitz cry and hug and crack up (good) and crack up (bad) as a pair here. A record of sweet or fretful acoustic strums and electronics that give every scene color and depth, Croz Boyce feels like a celebration of friendship, of the chance to share a lifetime together even if from a distance.

Here is some requisite biographical information for the first or third paragraph of your record review, depending on the kind of outline you prefer: Five years ago, Animal Collective released a track called “Brown Thrasher,” part of a massive charitable compendium called For the Birds. It was a curious little drift, single acoustic notes acting like opened windows for rays of electronic sunshine. To divulge a little liner notes data, that was just Portner and Weitz, working through their mutual adoration for a springtime idyll. The two liked the partnership, and, as the rest of their main quartet was busy with other projects, decided to keep going. Starting in early 2023, and almost without exception, Portner would write a guitar theme in his Blue Ridge redoubt and send it to Weitz in the heart of D.C. He’d react to each instrumental and send it back. Aside from a shared mixing session in rural North Carolina and another in Baltimore with Animal Collective’s Josh Dibb, that’s how easily Croz Boyce came together—two longtime pals, passing the time by making music together.

But the best way to hear Croz Boyce, really, is to forget the backstory for 40 minutes, to discard notions of why this guitar tone or that rhythmic relationship might sound familiar. Instead, simply listen and feel: What do these songs remind you of or make you aspire to? Here are some possible interpretations, all but certainly incorrect in the merged mind of Weitz and Portner but valid nevertheless. Opener “Hanging Out with a Blueberry Pop” first feels like lounging on a riverbank with your crew, maybe laughing as you pass a joint around, baking in the sun; the midsection is the splish-splash of finally jumping, too giddy to care about the current. Maybe it’s just the name at work, but “Towson Acid” maps the edge of oblivion where even the plainest of facts don’t seem certain, where reality refracts into a dozen different images, where even the drums you hear in the distance are maybe hallucinatory phantoms. And is closer “Banana Pudding” only these two homies fucking with each other, the space between the slow strums and the wildly teasing electronics intended to make one another (and, hey, us) chuckle? It works.

But it’s not all laughs and lounging by the water. At least half of Croz Boyce feels like a wordless meditation on these anxious times, on the endless bubbling up of bad headlines and counting down of the doomsday clock. “Father Karras,” which Weitz actually started, suggests two hands nervously rubbed together, its string scrapes and warped synthesizer lines and Derek Bailey guitar staking out a landscape of uncertainty. And “Steven’s Sunshine Rejected” is kind of a beautiful bummer, isn’t it? Portner’s down-tuned guitar and forlorn slide lines shape a gray playground for Weitz’s electronics, which move this way and that like gusts of wind. When the pace picks up in the back half, though, it feels like two people who simply trust one another, reaching together for something a little better. To reiterate, this could of course all be wrong. Take this music on a hike or a walk or a lazy riverside day. Listen. Decide for yourself.

Back before Animal Collective was really called Animal Collective, the goal was for that loose confederation of close friends to make music together as time and personnel and circumstance allowed. Like jazz musicians showing up for sessions, they’d slap the name of whoever played on the cover. Branding needs intervened, and, well, we have been blessed with approximately a quarter-century of Animal Collective. But the idea remains, as every member of that band has always moved as a perpetual free agent. Weitz and Portner were going to call this music Geologist and Avey Tare, but they began this project around the time that David Crosby died. A Dropbox folder named “Croz Boys” mutated into the handle Croz Boyce—not a tribute to the Croz’s music at all but maybe an unintentional tribute to the idea that there are lots of worse ways to pass your life than making music with buds. Again, though, that could all be wrong.

Bandcamp | Website

Jas Stade

Drawing upon her background in classical guitar & art rock (as part of Oakland's Gumby's Junk), Jas Stade blends whimsy & technicality into an ever-shifting sonic landscape of experimental instrumental folk music.

Jas' style explores a kaleidoscope of tones - fluidly moving from wobbly, surreal walls of sound to crisp fingerpicked ditties. Smoke & Mirrors, Jas’ debut album released in 2025, is a textural delight for the world of guitar music. Recorded to analog tape, Smoke & Mirrors is meditative, tongue in cheek, and best enjoyed late at night. "This electric fingerstyle guitar album weaves inventive melodic lines and subtle harmonic shifts, channeling those in-between emotions that are hard to name. With a sound all its own it evokes a nighttime pastoral that feels both mysterious and beautiful.”

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

This show is partially seated, with standing room in front of and behind the seats. All space is general admission, first-come-first-served.

SF CritterFest presents:
SECOND NATURE
(Opening Night Film)

Did you know that clownfish change sex from male to female? (So if Nemo’s mom had died in real life, his dad would have become his mom!) Did you know that albatross, penguins and swans parent in same sex pairs? Or that bonobos, who are just as closely related to us as chimps, are matriarchal and have same-sex sex every day?!

Turns out Darwin wasn’t right about everything. He nailed that theory of evolution, but his understanding of gender and sexual diversity in the animal kingdom was more than a little misguided. Turns out the natural world is way more diverse and complex than he — or your high school biology teacher — may have led you to believe. Meanwhile, many unsung contemporary scientists, like evolutionary biologists Joan Roughgarden and Patricia Brennan and primatologist Amy Parish, have been zealously studying animal behavior and anatomy and exposing the myth of the gender binary for decades, despite ongoing resistance to their findings from the research establishment.

Q&A with producer and editor Jennifer Steinman to follow the feature screening.

DUCKS

A perfectly normal day in the park.

SF IndieFest's latest festival is CritterFest, September 17 - 20, 2026, a series of films about animals, pets, wildlife. CritterFest is interested in exploring the profound resonance and interaction between humans and the animal kingdom with an eye towards the animal-human relationship.

Spike Einbinder and Honey Pluton hit the west coast from NYC to split an hour of stand up comedy! Expect transsexual musing, tales of lore and hilarity ensuing. 

Honey Pluton

Honey Pluton is a stand-up comedian and theatrical performer with 8 years of experience spanning stage, film and screen. He’s creatively inspired by disruption, risk-taking, and the liminal thresholds that blur states of consciousness. He is nationally touring his solo show ‘I’ve Always Been Like This’ to sold out crowds across the country and is also host of the weekly podcast ‘Up Good with Honey Pluton’

Spike Einbinder

Spike Einbinder is a comedian, actor, writer, drag performer and 6,000 year old shapeshifting demon from Los Angeles. His work combines body horror, surrealism and dark comedy. He has featured roles in HBO's "Los Espookys", as well as A24's "You Hurt My Feelings" and "Problemista". He has performed his live solo comedy hours "Visions" and “I’m Not Scared & I’m Not Insane” to sold-out crowds.

DOORS at 8:30PM | SHOW at 9:00 PM

Spencer Noble
(Record Release Show)

Spencer Noble is a local musician who has been seen on stage supporting Mayya, Juicebumps, Mae Powell and many others. Now he brings his own songs to the scene, channeling his love for songwriters like Paul McCartney, Harry Nilsson, Todd Rungren and Brian May. He is joined by his band of Super Stars who all have their own bands and are pillars in the scene.

Bandcamp | IG

Peña

Peña is the dynamic musical project led by Nico Peña, a Chilean-American artist celebrated for his eclectic blend of influences and prolific output. Originally from New Jersey and now based in San Francisco, Nico's music is a fusion of his East Coast roots and the vibrant cultural melting pot of his West Coast home.

Singing in both Spanish and English, his unique sound is a rich tapestry of genres. Seamlessly weaving together Latin jazz rhythms, soulful vocals, introspective emo themes, sun-soaked surf rock vibes, the smooth allure of bossa nova, dreamy textures of shoegaze, and the intimate, raw aesthetic of lo-fi pop.

Bandcamp | IG

Cilantro

Cilantro is a alt-indie rockband from San Francisco formed around the songs of singer/guitarist Mars Wagner. Her songs are requiems of memory, drawing upon experiences with love, beach cliffs, and magnolias. With heart-on-sleeve lyrics and swooning melodies, Cilantro offers its neck for the relentless romantic. 

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

This weekend, the 4-Star offers up a specially curated block of Pokemon episodes! And as with every Popcorn Palace show, seating is totally free.

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. We look forward to seeing you at the movies!

SF CritterFest presents:
FLAMINGOS: LIFE AFTER THE METEORITE

This is a story about life — stubborn, fragile and fleeting — that began 66 million years ago, when a giant meteorite crashed in what is now the Yucatán Peninsula, wiping out the dinosaurs from existence. Millennia later, tens of thousands of Caribbean flamingos flock to the region for a grand display of courtship, turning the muddy banks into a vast maternity ward for the next generation. This incredible undertaking by phoenicopterus ruber to breed — building mud nests in a prominent flood zone, finding a mate among a horde of competitors, evading scores of hungry predators — was captured over a two-year period in partnership with the esteemed Cornell Lab of Ornithology. Humorous, offbeat narration by Mexican singer Julieta Venegas, an engrossing score by Bryce Dessner and breathtaking natural photography combine to create a singular wildlife documentary that will make you appreciate the hardy flamingo and the preciousness of life itself. —Javier Chavez, AFI

TALKING TO OWLS

Deep in the Davis Mountains of West Texas, a rare sky island forest comes alive after dusk with a chorus of owls. Biologists and graduate students move through the night, following calls and fleeting silhouettes to uncover surprising adaptations, curious behaviors, and the vital roles these birds play in the mountain’s food web. Their discoveries highlight the resilience of wildlife while underscoring the quiet urgency of protecting this fragile habitat.

SF IndieFest's latest festival is CritterFest, September 17 - 20, 2026, a series of films about animals, pets, wildlife. CritterFest is interested in exploring the profound resonance and interaction between humans and the animal kingdom with an eye towards the animal-human relationship.

SF CritterFest presents:
BETTER CALL BABS

BETTER CALL BABS takes you on a ride-along with Babs Fry, exploring both her renowned work as a vigilante pet detective and the personal struggles that have made her the inspiration she is today. From high-stakes rescue missions to intimate moments of reflection, this documentary captures the chaos she embraces daily as a recovering addict turned hero.

If you’ve ever posted about a lost dog in San Diego, chances are you’ve heard the words echoed back to you time and time again: “Call Babs.”

That phrase exists for a reason.

Babs Fry — a Red Cross Award recipient, local legend, and undeniable badass — has become the face of pet recovery in San Diego because she shows up when others don’t know what to do next.

The BETTER CALL BABS Film takes you into the passenger seat of her iconic van and along for the ride — not just through the field work, but through the personal challenges, grit, and determination that shaped the woman behind the mission.

Q&A with filmmakers to follow the feature screening.

LIGHTS OUT

Each year, one billion birds perish crashing into North American buildings. In Chicago, the towering glass skyline intersects a major migration route. The Chicago Bird Collision Monitors work tirelessly before sunrise to rescue injured birds. Their mission is to protect these remarkable creatures caught between urban development and their ancient flyway.

'Lights Out' follows these dedicated volunteers as they patrol downtown streets, saving stunned survivors and collecting fallen birds for research. Through their work, rehabilitated birds continue their amazing spring and fall migrations while those lost to window strikes help scientists find solutions to preserve future generations of migrating birds.

AUSTIN BAT REFUGE

Austin Texas is home to the largest urban bat colony in the world with one and a half million Mexican free-tailed bats living under the South Congress Avenue bridge. It’s also home to the Austin Bat Refuge where orphaned and injured bats are rehabilitated in a safe environment until they’re ready to be released back into the wild.

FOR THE LOVE OF CATS

In the small mountain town of Barga, Italy, a group of four filmmakers speak with local cat lovers and immerse themselves in the unique world of street-trotting felines and Gattaras. Experience firsthand the connection between the people of Italy and the furry friends that walk alongside them.

SF IndieFest's latest festival is CritterFest, September 17 - 20, 2026, a series of films about animals, pets, wildlife. CritterFest is interested in exploring the profound resonance and interaction between humans and the animal kingdom with an eye towards the animal-human relationship.

8 award-winning short films from all over Mexico, Peru, Brazil, Argentina—spanning LGBTQ+ dramas, documentaries, monologues, and experimental animation. From amateur filmmakers, film students, and professional artists, this program celebrates the full spectrum of independent cinema.

Once censored, now celebrated—Los Video Nasties returns as a celebration of artistic freedom, bold storytelling, and uncensored expression.

LOS VIDEO NASTIES TOUR 2026 OFFICIAL PROGRAM

REGIONAL SHORT FILMS (BAJA, CALIFORNIA):

• La H también suena (Tijuana, México, 2025)

  • AWARD: BEST VIDEO NASTIE & BEST SCREENPLAY

  • Dir. Alejandra Anzorena

  • Synopsis: The H Also Sounds is a letter to neurotypical society, showing that there are other ways to see and feel life. Ahbel shares his perspective and the challenges of entering adulthood as someone with Asperger’s. Falling in love, finding a job, dealing with death are events everyone faces, but not everyone experiences them the same way. Ahbel raises several questions throughout the short film, but the most important one is: Do we live in an inclusive society? 

NATIONAL SHORT FILMS (MEXICO):

• Callejeras (Hermosillo, Sonora, Mexico, 2026)

  • NOT A WINNER, HONORABLE TOUR SELECTION

  • Dir. Aurora Duarte & Regina Grijalva

  • Synopsis: When a teenage girl and a black cat are forced to live on the streets, they must set aside their rivalry to escape a dangerous situation

• CRISANTEMO (Mexico & Brazil, 2024)

  • AWARD: BEST CINEMATOGRAPHY

  • Dir. Yuri Matoszko & Kane Kwik

  • Synopsis: Matías and Itaii, two young men from completely different worlds, are drawn to each other. In their quest to know each other better, they embark on a journey that leads them to share their most intimate stories. All, except one.

• DIME RO (Mexico City, Mexico, 2024)

  • AWARD: BEST PERFORMANCE

  • Dir. Carolina Meza

  • Synopsis: Romelia, a young queer woman, begins a journey of identity search and transition that puts her romantic relationship with “El Flako” at risk.

• HOYO EN DOS (Coahuila, Mexico, 2024)

  • AWARD: BEST DIRECTION. 

  • Dir. Bayron Norman

  • Synopsis: During an innocent picnic, Emiliano accidentally hits Diego, his mother’s boyfriend, with a golf club, causing him to lose an eye. Emiliano is overwhelmed by guilt, and his mother’s attempts to help only fracture their relationship further, deepening the distance between Milo and Diego, the only father figure he knows.

• Los Angeles, California (Mexico City, Mexico, 2025)

  • AWARD: JURY RECOGNITION

  • Dir. Nadia Chavez & Oscar Palacios

  • Synopsis: The two oldest dance halls in Mexico City, Salón Los Ángeles and California Dancing Club, have resisted closure throughout their history; largely thanks to their community, which has not allowed time to erode the union and dance that happens within them.

INTERNATIONAL SHORT FILMS:

• ACICALADO (Argentina, 2024)

  • AWARD: BEST EDITING

  • Dir. Denise Umaschi

  • Synopsis: Gloria sneaks into a stranger’s house and examines every corner until she finds what she’s looking for. The thrill of the dirt and chaos around her produces a rhythmic orgasm.

• LA MUDANZA (Peru, 2025)

  • AWARD: ‘OUR’ VIDEO NASTIE (AUDIENCE AWARD)

  • Dir. Ariana Castro

  • Synopsis: In a life marked by routine, an elderly couple’s tranquility is interrupted by the passionate noises of their new neighbors. What begins as a simple annoyance unleashes an unexpected shake-up in their intimate world.

Los Video Nasties is an independent and self-managed cultural project developed from Tijuana, Baja California by La Casa Norte.

La Casa Norte is an independent cultural collective originating from Tijuana, Baja California, created and initially sustained through the direct effort and self-financing of two siblings interested in building alternative spaces for cinema, art, and emerging expression outside of institutional dynamics traditionally limiting for many independent cultural projects.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Framline co-presents:

Live improv! Classic movies! Joan Mother-effing Chen! Come hear the legendary actress Joan Chen recount the first time she saw BODY HEAT in a theater, and see a short set inspired by her stories from some of San Francisco’s favorite improvisers— from shows like Your Fucked Up Relationship (Endgames), Bad Art (All-Out), and Forever Improv! Then we’ll all watch the movie together—just you, us, and a packed house of your new trauma-bonded best friends.

I LOST IT OVER…
is a new series hosted by filmmaker Alice Wu (Saving Face, The Half of It) where a Bay Area luminary picks a cult/classic film they saw in a theater that blew their mind. Combining the magic of cinema and improv, I LOST IT OVER… is a love letter to cinemas, live theater, and a reminder that some of life’s most memorable experiences can only be had in a dark room with total strangers.

with special guest
Joan Chen

Joan Chen began her film career at the age of 14 in Shanghai. Her performance in Little Flower (小花) catapulted her to fame in China. For her performance in the title role, Chen became the youngest recipient of the Best Actress Award at the One Hundred Flowers Awards. In 1981 Chen left China to study filmmaking in the United States. She has since acted or directed in over forty film and television roles, with some of the most notable ones being in Bernardo Bertolucci’s The Last Emperor, David Lynch’s Twin Peaks, Oliver Stone’s Heaven and Earth, Alice Wu's Saving Face, and Sean Wang's Didi.

BODY HEAT

With his debut feature, acclaimed writer-director Lawrence Kasdan brilliantly updated the conventions of 1940s film noir for the 1980s, resulting in one of the steamiest and most influential erotic thrillers ever made. On the sultry South Florida coast, lawyer Ned Racine (William Hurt) is drawn into a torrid affair with unhappily married housewife Matty Walker (Kathleen Turner, in a star-making performance)—and it’s not long before they’ve hatched a scheme to murder her wealthy husband. Featuring ingenious plot twists, memorable hard-boiled dialogue, and an atmosphere so evocative you can practically feel the humidity, Body Heat is a languorously seductive tale of greed and desire, one that paved a new path for American crime cinema.

DOORS at 7:30 PM | SHOW at 8:00 PM | MOVIE at 9:00 PM

This weekend, the 4-Star offers up a specially curated block of Pokemon episodes! And as with every Popcorn Palace show, seating is totally free.

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. We look forward to seeing you at the movies!

SF CritterFest presents:
WILD ASIA: LIFE AT EXTREMES

Atop the world’s tallest peaks of the Himalayas, get an intimate look at elusive Snow Leopards and Tiger moms in Nepal raising their young. Witness a Tibetan Fox ‘hide-and-seek hunting’ amongst yaks on an ancient plateau, catch glimpses of the secretive red panda in its remote forest stronghold, meet the remarkable long-eared jumping Jerboa in the harsh Gobi Desert, and fly alongside beautiful songbirds feeding on “sapcicles” in northern Japan. In the world’s richest coral seas of the Pacific, discover the cute-yet-deadly Sea Bunny and be immersed in an unbelievable shark feeding frenzy, that’s never been filmed before. Each story reveals the incredible ways in which wildlife has adapted to thrive in these challenging habitats.

Produced by the world-renowned wildlife storytellers at the BBC Studios Natural History Unit, Wild Asia - Life at Extremes is an experience for all ages featuring amazing biodiversity, never-seen-before animals and heartwarming behaviors across spectacular landscapes and mesmerizing seas.

THE WESTERN SNOWY PLOVER

This is a short documentary about the Western Snowy Plovers at Ocean Beach in San Francisco, CA, that explores the lives of a small shorebird with close proximity to humans. By adopting dueling perspectives: how humans perceive these birds, and how the Plovers may perceive their own lives to create a film that challenges the standard approach to nature filmmaking.

Q&A with director Danny Roberts to follow the feature screening.

RISKY ROUTES

Every year, thousands of toads make the arduous journey back to the waters of their birth to reproduce. They have to overcome numerous dangers along the way - from dangerous roads to other obstacles that turn their journey into a fight for survival.

THE LEAP BENEATH

Narrated by Coyote Peterson, this film dives into the hidden world beneath the forest floor. Follow a springtail’s clumsy quest for food through a bustling ecosystem where mites, beetles, and other tiny creatures keep the forest alive.

BEARS IN HOT TUBS

Bears in Hot Tubs is a tender, emotionally resonant short film co-created with Maddie Bear and her wild kin, who move through the suburban landscapes of Los Angeles with curiosity, intelligence, and quiet grace. From soaking in backyard tubs to wandering garden paths, these black bears are not intruders; they are neighbors, navigating a world remade by human presence.

SAND CASTLE: THE SECRET LIVES OF POTTER WASPS

Join a courageous potter wasp on an enthralling journey! Witness this fascinating insect's tenacity and perseverance as it navigates its dangerous realm teeming with challenges and predators.

The secrets of its hidden world are revealed in this short documentary.

SF IndieFest's latest festival is CritterFest, September 17 - 20, 2026, a series of films about animals, pets, wildlife. CritterFest is interested in exploring the profound resonance and interaction between humans and the animal kingdom with an eye towards the animal-human relationship.

SF CritterFest presents:
THE ARK

The Ark is an improbable tale of the transcendent relationship between a people and their land, as amid constant danger, a Ukrainian family’s home transforms into a refuge for chickens, donkeys, horses, emus and hundreds of displaced animals abandoned by war.

Zhenye and Anatoly Pilipenko’s dream of a quiet place in the country is shattered overnight as a Russian missile explodes over their house on the first night of war. As rockets fall and fires rage, they face an impossible choice: flee the violence at their doorstep or stay and protect the home they dreamed of building for years. When a soldier on his way to the frontline asks the couple if they could care for his goats - all 37 of them - while he fights in the trenches; Practically overnight, Anatoly an Zhenye’s home transforms into the largest animal sanctuary in Eastern Ukraine. From rescued chickens, displaced donkeys, wandering horses and even emus, Anatoly and Zhenye risk their lives and livelihoods to rescue any part of Ukraine they can - including the wounded and defenseless animals scattered across the country from the war.

Told primarily through verité, amidst constant danger, heartbreaking loss and improbably an inextinguishable reservoir of hope, Zhenye and Anatoly’s sanctuary stands as a defiant testament to the unbreakable bond between a nation, its people, and the land they refuse to surrender.

SF IndieFest's latest festival is CritterFest, September 17 - 20, 2026, a series of films about animals, pets, wildlife. CritterFest is interested in exploring the profound resonance and interaction between humans and the animal kingdom with an eye towards the animal-human relationship.

SF CritterFest presents:
UNSPOKEN BOND

Unspoken Bond is a feature documentary that explores the deep connection between humans and animals through three touching stories demonstrating how animals enrich our lives beyond measure.

Shannon Dueck, a top dressage rider, grieves deeply after losing her Olympic-hopeful horse Angel to a severe injury. Yet, she gradually finds her way back, supported by her community and new equine friendships.

Nicole Navarro overcame 18 years of addiction to establish Pawsitive Beginnings Fox Sanctuary in the Florida Keys, where rescued foxes from fur farms and the exotic pet trade now aid trauma survivors in their healing journey.

Jason Gaver, a veteran dealing with PTSD and significant loss, reconnects through Woodrow, his service dog, who helps him be present for his young daughter and reintegrate into everyday life.

Guided by top experts, the film delves into the science and soul of the human-animal bond — a relationship that provides unconditional acceptance, healing, and happiness.

Q&A with director Don Hardy to follow the feature screening.

GIANNA & ANNE: SIGNIFICANT OTHERNESS

Anne and her cow Gianna can be described as what philosopher Donna Haraway terms a "companion species." They communicate in their own language and are connected in "significant otherness."

SF IndieFest's latest festival is CritterFest, September 17 - 20, 2026, a series of films about animals, pets, wildlife. CritterFest is interested in exploring the profound resonance and interaction between humans and the animal kingdom with an eye towards the animal-human relationship.

ACE ATTORNEY

Consider yourself served because this month, Movie Madhouse is headed to court with Ace Attorney! From iconic director Takashi Miike (Audition; Ichi the Killer), this 2012 adaptation of the 2001 Capcom release Phoenix Wright:  Ace Attorney has been dubbed by some as “the best video game movie ever” yet remains criminally under-seen. Guilty as charged! 

Following the murder of his mentor, rookie defense attorney Phoenix Wright is launched into his first major trial as he squares off against his childhood friend, prosecutor Miles Edgeworth, in a case where his mentor’s sister, spirit medium Maya Fey, is unjustly accused of the crime. And that’s just the beginning as things ramp off from there into more law & order that dips into the realm of the supernatural! So what’s the verdict? You get to watch this incredible film full of murder, ghosts, lake monsters, homoerotic courtroom drama, and some insane lace front wig game! Court is adjourned.

MEDIA MELTDOWN MOVIE MADHOUSE

Gender jesters Piranha Psychotronica and Kafka X bring you a new experience in cinematic depravity… Media Meltdown Movie Madhouse! Prepare yourself to enter into a world of face-flaying forgotten and forsaken films… Made-for-TV, Direct-to-Video, VCR games, underground cinema, and more wiley weirdness than your minds can handle! In a world dominated by AI, CGI, mega streaming platforms, and cinematic universes, Media Meltdown celebrates the amateur, the low-budget, the handmade, the experimental, and the weird! Commit yourself every 3rd Sunday to … MEDIA MELTDOWN MOVIE MADHOUSE!

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Marlon Magnée
(of La Femme)

After fifteen years touring the world with La Femme, the band he co-founded (numerous gold records, Victoire de la Musique award, over 600 million streams, over 400,000 albums sold) and performed on the biggest stages in France and internationally (Accor Arena, Zéniths, Glastonbury, Austin City Limits, Lollapalooza Chicago, Osheaga Montreal, etc.), Marlon is now returning as a solo artist with a debut album that reconnects him with his early passions.

It showcases his taste for unexpected combinations and his unique style: a mix of rockabilly, punk, cold wave, and psychedelic psychobilly. The tracks, in French and English, feature sixties guitars, an eighties “synth orgy,” powerful drum machines, analog delays, and a deliberately raw energy.

His influences are evident throughout the album: Velvet Underground, The Stranglers, Motörhead, The Cure, The Stray Cats, JJ Cale, the Nuggets compilations, but also French-speaking artists such as Gainsbourg, Les Rita Mitsouko, Métal Urbain, Plastic Bertrand, and Marc Charlan. The result is a fast-paced, edgy album (with tempos of up to 240 bpm) that is sometimes radical, designed “for those whose hearts are bleeding and who want to fight.”

Co-produced with Renaud Letang (Feist, Manu Chao, Peaches) at the legendary Ferber studio, this album marks a true return to Marlon's roots and powerfully heralds the return of rock to the current music scene.

Spotify | IG

Future Twin

Hailing from San Francisco, California, Future Twin gets by on "soul gayze" and "avant pop," feeding sonic ideas to generative musician Jean Jeanie, a social theorist, multi-instrumentalist composer, producer, singer and dancer. Future Twin often performs rogue/solo and other times is joined by dear friend-musicians.

Music for the frontlines, in a time when the word revolution is alternatively mocked, pimped, played-out and ignored, Jean Jeanie makes it like another world is still possible. She evokes just about everything great in the pantheon of rock-and-roll. Patti Smith’s poetics, the art-drenched cool of St. Vincent and X-Ray Specs. The harmonies of the Wilson Sisters. The gospel according to Saints Strummer and Miriam Makeba. According to Jeanie, “Giving a shit is the new not giving a shit.”

Listening to Future Twin is stepping into a time machine transporting you to when and where music creates an insurrection. When love matters like nothing else, when gender didn’t come packaged with pain. A time and place beyond cynicism where visions of the apocalypse are replaced by politics of the imagination.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

This show was originally scheduled for the same date at The Chapel SF. All original tickets will be honored.

This acclaimed animated tale by director Hayao Miyazaki follows schoolgirl Satsuke and her younger sister, Mei, as they settle into an old country house with their father and wait for their mother to recover from an illness in an area hospital. As the sisters explore their new home, they encounter and befriend playful spirits in their house and the nearby forest, most notably the massive cuddly creature known as Totoro.

For our Annual Pass Members and Loyalty Card Holders:
Tickets for this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Tom Conneely & the Birds of Paradise

Tom Conneely & Birds of Paradise are a twang-driven rock and roll outfit from San Francisco, California. Their music is driven by practiced song craft and guitar driven exploration steeped in the Bakersfield sound. Drawing on influences from Buck Owens to Arthur Russell, the Bird's blend of hypnotic twang and Beach Boys inspired harmony has sold out shows across the west coast, with notable performances at Offbeat Festival in Reno and Noise Pop in San Francisco. The Birds of Paradise released their record "New Kind Palace" in the spring of 2025 and are following up with the release of "Water Horse" on April 10, 2026 via Only One on the Mountain.

Bandcamp | IG

My Dog Jack

My Dog Jack is a San Francisco based folk band. After playing live for years as part of various folk, jazz and bluegrass groups around the Bay Area, the gang have joined forces and are returning to their songwriting roots.  Inspired by legends like John Prine, The Band, and Kate Wolf, as well as contemporary artists such as Hurray for the Riff Raff, The Wood Brothers, and The Devil Makes Three, My Dog Jack brings a cold coast-influenced take on western music. Bringing an energetic live show filled with original tunes, they’re stoked to share their new sound that generates the nostalgia of listening to your parent's ole’ Dylan cassette tapes.

Spotify | IG

Eliza Dewar

IG

DOORS at 7:00PM | MUSIC at 8:00 PM

This acclaimed animated tale by director Hayao Miyazaki follows schoolgirl Satsuke and her younger sister, Mei, as they settle into an old country house with their father and wait for their mother to recover from an illness in an area hospital. As the sisters explore their new home, they encounter and befriend playful spirits in their house and the nearby forest, most notably the massive cuddly creature known as Totoro.

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. Ticket links are below for later screenings of the film that day. We look forward to seeing you at the movies!

For our Annual Pass Members and Loyalty Card Holders:
Tickets for the afternoon screening of this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

CLOSED FOR A PRIVATE EVENT

Curious about hosting your own private event with us? Contact and more details can be found here.

Throwin’ Bo’s presents:

Mildred

Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up Fenceline come together as a group with their genesis sprouting from any one of their members - Henry Easton Koehler (vocals, guitar), Jack Schrott (vocals, guitar), Matt Palmquist (vocals, bass, woodwinds) or Will Fortna (drums, production) - each time. The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it. If you ask any Mildred member what their favourite part of Fenceline is, it will never be something they wrote. If you pin them down and ask them what their favourite part of something they did write was, it will always be something somebody else added to it.

This is what makes Mildred - in many ways a timeless four piece - so special. This wonderfully easy bond between four friends just hanging out and writing songs is so palpable its intoxicating. Summed up neatly by Clash Magazine saying, “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. They describe the creation of the band as being born from “deciding that playing/talking about/thinking about music together is fun and something we want to structure our lives around as best we can”. Mildred is a vehicle for these four people to continue to spend time in each other’s company. Most bands are formed so they can get out of whatever diy space they start out playing in, Mildred was formed so they can spend more time there.

The space in question for Mildred is a house. The Ward St. house in Berkeley to be exact, already a landmark in Mildred lore. When Fenceline began taking shape Henry, Jack, Matt, and occasionally Will were living there together; Matt hunkered in an “extra-legal” room in the attic where he bathed on his knees and Henry and Will would have to stoop to visit. Jack and Henry shared a wall in adjacent shoeboxes on the middle floor, Henry staring directly out at an old walnut tree they nicknamed Walter. Will was away studying in the desert but would stay whenever he was in town. While living on Ward St. they would write songs in the porous space between the kitchen and the living room after dinner, before they even knew they were a band. After that they would go up to the roof - beautifully painted by Jack for the cover of Fenceline -, Jones the cat often creeping up the stairs curiously behind, and talk the songs over some more, or just continue hanging out, talking about whatever. (The Mildred core belief system goes as follows: “talking about the weather is a legitimate and profound form of human discourse and exchange. So is talking about grocery stores and produce prices. Front lawns are too tidy, let them grow. Free associating is one of life's great pleasures. We believe in the reality of pathetic fallacy. The crunch wrap supreme is the pinnacle of modernity.”).

This is what makes the songs on Fenceline hang together, naturally, as roommates do. These four people are very different in many ways. Jack is a PHD student, often working underground, studying the atom beyond any conceivable point. Will is an environmental lawyer. Matt is an architect, a job he took up properly after a year in a Benedictine monastery. Henry works in affordable housing, helps his dad grow beans, and plays a lot of basketball. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc. People will tell us after seeing us live that we’re, “like... a real band.” There’s maybe a shared rhythm and camaraderie in our lives that comes through in the music.”

That shared something takes many forms: flaming pinecones floating down the river, scattered papers and dog-eared books, exhausting party conversation and Irish goodbyes, leaves the colour of UPS trucks. Songs often take place across whole days: long days working at Henry’s aunt and uncle’s farm, an afternoon down in San Francisco on the day the sailors come in and booze all day in their cracker-jack uniforms, one of those youthful afternoons that seemed to stretch forever. Others stem from a shared love of a good reference; breadcrumbs dropped from old favourite books, songs and poems, or Matt’s favourite little red book on architecture, waiting to be found by those who love to go over lyrics with a fine-toothed comb. Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know.

Mildred were eventually turfed out of Ward St. and the songs were fleshed out in Matt’s new abode - the garage of a handsome but fragile 97-year-old ex-lawyer/taxi driver who likes to chat about baseball - and for recording, the band took a week off work and decamped to Luke Temple’s studio in Echo Park, LA, having all been carried through the pandemic by his 2019 album Both-And.

There was one exception to this recording setup. While in Bristol with a free afternoon, Mildred took ‘Fish Sticks’ to a friend, Jack Ogborne aka Bingo Fury (The Cindys, Naima Bock), to give it another go in his studio in the basement of a centuries-old pub across the street from what used to be a prison, with a secret passageway connecting the two. It’s not easy to tell that ‘Fish Sticks’ has a very different recording setup as it settles so comfortably in with the rest of Fenceline; but the change of scenery gave it new life and a final product - an endlessly repayable distillation of the Mildred sound with a central guitar line for the ages and irresistible harmonies - that they all liked so much it became the lead single.

A bit of tinkering, overdubs and a beautifully cohesive final mix from Will followed by mastering from GRAMMY nominee Jason Mitchell, and Fenceline was finished.

Bandcamp | IG

Charlie Bishop

Basement-made Americana songs. New England roots and Western travels.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

This acclaimed animated tale by director Hayao Miyazaki follows schoolgirl Satsuke and her younger sister, Mei, as they settle into an old country house with their father and wait for their mother to recover from an illness in an area hospital. As the sisters explore their new home, they encounter and befriend playful spirits in their house and the nearby forest, most notably the massive cuddly creature known as Totoro.

Cinema SF Bay is proud to announce that our Saturday & Sunday morning POPCORN PALACE movie screenings at the 4 STAR will continue to be presented FREE OF CHARGE in 2026!

Thanks to an incredibly generous grant we will be showing you fantastic family-friendly movies every weekend at 10:00 AM! Perfect for everything from birthday get-togethers to casual stop-ins, so bring the whole family over to the 4 STAR THEATER for community movies together.

Reservations will be first-come-first-serve when the box office opens thirty minutes before the screening on the day of the show. Ticket links are below for later screenings of the film that day. We look forward to seeing you at the movies!

For our Annual Pass Members and Loyalty Card Holders:
Tickets for the afternoon screenings of this film can be acquired in-person at the Box Office with loyalty cards or our Annual CinemaSF passes on the day of the show while supplies last.

Talent Moat presents:

Fog Lamp

Fog Lamp sound like Killing Joke and Big Black got together to record a soundtrack for a John Carpenter movie.

Bandcamp | IG

Eraser

Philadelphia’s No-Wavers Eraser erupted onto the East Coast punk scene like a shattering disco ball. The group’s members Sonam, Kat, Juliette and Pier united in 2023 through their love of DIY music and their overlapping experiences in the Philly scene playing in former and con-current bands Drill, Amanda X, Corey Flood, and Privacy Issues. Since forming, Eraser has built a unique sound informed by legendary punk bands like The Slits, Malaria, and Liquid Liquid- as well as by their palpable sense of humor, and their raw, experimentally elastic approach to songwriting. Eraser have continued to grow their following by contributing a single on the comp No Occupation, and by releasing their debut EP Hideout with art rock stalwarts Siltbreeze Records.

With their debut LP, Hideout, Eraser has established a diverse palette using angular fuzz-guitar, tunneling basslines, motorik drums, discordant synth, and melodic, percussive vocals. The EP is made up of 5 diverse, yet cohesive tracks. The release starts with a suspenseful intro and quickly breaks into “Talk To Me”- which features a linear jam with hyper-infectious hooks accented by cool near-blasé vocals. Other standouts include “Simon Says” with its hilariously damaged homage to the childhood game, and Dinner Roll with its piercing synth line and wonky guitar riffage.

In the past year Eraser has provided direct support for Special Interest, Protomartyr, Tropical Fuck Storm, Tommy Wright the III, Pylon, W.I.T.C.H, Wombo, Famous Mammals, Poison Ruin and Puppet Wipes. Eraser also played two music festivals in 2025: Sled Island in Calgary and Gonerfest in Memphis, TN.

Eraser will be releasing their second full-length album in September 2026 on Siltbreeze.

Bandcamp | IG

Blue Zero

The Bay Area has long been a fertile landscape for arty DIY rock innovators to fashion together some of the best music to come out of the US- the local musicians pushing the boundaries of pop and counterculture aesthetics. In the middle of this creative oasis you’ll find multi-instrumentalist songwriter Chris Natividad making iridescent waves with his many projects including Marbled Eye, Public Interest, Aluminum, and now- Blue Zero. What started as a few outlier demos cultivated in Chris’ studio has now fully bloomed into a live band featuring members Lauren Melton of SUCKER and Rick Altieri of Blue Ocean, and a forthcoming LP titled Colder Shade Blue. The songs on the record harmoniously tow the line of warm and meditative artrock and fuzzy, damaged grunge a là Lily’s, Sonic Youth, and My Bloody Valentine. While Blue Zero pays homage to their predecessors, the music is wholly unique with its mesmerizing big hooks and blown-out radiating psychedelic atmosphere- a tonal yin yang.

Bandcamp | IG

DOORS at 7:00PM | MUSIC at 8:00 PM

The Sleeves

The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release last November, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut.

'The Sleeves' is a somewhat counter intuitive take on the guitar/vocal duo formula (provided you think there is such a thing) though it's not nearly as simplistic as "the space between the notes" -- it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented. But it doesn't happen nearly often enough, either.

Bandcamp | IG

Fred Frith

Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or another for more than 50 years, starting with the rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. 

Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, the Fred Frith Guitar Quartet, Cosa Brava, and the FF Trio he has stayed close to his roots in rock and folk music while branching out in many other directions. 

His compositions have been performed by ensembles ranging from Eclipse Quartet and the Bang on a Can All Stars to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to the ROVA and Arte Sax Quartets, from Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. 

Film music credits include the acclaimed documentaries Rivers and Tides, Leaning into the Wind, and Tracing Light, directed by Thomas Riedelsheimer; The Tango Lesson, Yes and The Party by Sally Potter; Middle of the Moment by Nicolas Humbert and Werner Penzel; as well as Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert-Jones. 

Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin. 

Theater credits include François Chat’s Setaccio and François-Michel Pesenti’s Théâtre du Point Aveugle in Marseille, where he spent six months in 1990 working with “jeunes rockers en chômage des quartiers défavorisés” on the opera Helter Skelter. 

Fred has performed works by and sometimes alongside composers John Luther Adams, Gavin Bryars, Sylvie Courvoisier, Alvin Curran, George Lewis, Annea Lockwood, René Lussier, Jose Maceda, Meredith Monk, Pauline Oliveros, Terry Riley, and Christian Wolff; improvised with Lotte Anker, Derek Bailey, Han Bennink, Peter Brötzmann, Lol Coxhill, Janet Feder, gabby fluke-mogul, Tim Hodgkinson, Joëlle Léandre, Phil Minton, Ikue Mori, Butch Morris, Bob Ostertag, Evan Parker, Zeena Parkins, Paula Sanchez, Susana Santos Silva and Camel Zekri, to name a few; collaborated with classical virtuosi Evelyn Glennie, Katia Labèque, Viktoria Mullova, and Werner Bärtschi; and—as session musician—recorded on albums by, for example, Brian Eno, The Residents, Robert Wyatt, The Swans, Violent Femmes, Material, Negativland, John Zorn, Matthew and the Unfortunates, and Half Japanese. 

He is currently performing solo and with Normal (home-made instrument duo with Sudhu Tewari) and Frelonia (with Lotte Anker and Núria Andorrà), as well as in countless combinations of his favorite co-conspirators. 

The recipient of Italy’s Demetrio Stratos Prize for his life’s work in experimental music and an honorary doctorate from the University of Huddersfield in his home county of Yorkshire, Fred taught for twenty years at the legendary epicenter of American experimental music, Mills College in Oakland, California; as well as co-directing (with Alfred Zimmerlin) the improvisation master’s program at the Musik Akademie in Basel, Switzerland. He is the subject of Nicolas Humbert and Werner Penzel’s much loved Step Across the Border, cited by Cahiers du Cinéma as one of the 20th century’s hundred most influential films. 

Website

Additional local support to be announced

DOORS at 7:00PM | MUSIC at 8:00 PM

(((folkYEAH!))) presents:

Color Green

For the California-based quartet Color Green, playing music together is all about stepping into the unknown. “When we play live, I don’t really know what’s going to happen,” says Noah Kohll, one of the band’s two guitarists and four vocalists. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.” In a very short time, they have developed a word-of-mouth reputation as a dynamic and unpredictable live act, grounding their cosmic jams in earthy melodies and drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and any other sound that catches their ears.

Adaptable onstage and off, Color Green has shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, Hiss Golden Messenger, and the Brian Jonestown Massacre. Yet, because they see boundless possibilities from one note to the next, they anchor their music in the urgent present rather than the distant past. Color Green can be a million different bands without losing their essential hue.

They capture that wild, mercurial quality on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. The album has the dynamic of a tight live set, full of ebbs and flows, highs and lows, quiet moments like the devastating “5:08” and reckless jams like the epic “Kick the Bucket.” “Four Leaf Clover” bustles and shimmies like the kaleidoscopic dance rock of the Stone Roses, while closer “Hazel Eyes” recalls the elaborate orchestrations of Brian Wilson and the whimsical melodies of Buddy Holly. “We shaped it to showcase our range,” says guitarist Corey Madden. “All the songs were written together as a band. It’s the four of us in a room, and it features all of our voices. It’s one step toward what this band truly is. We spent a lot of time getting our shit together as a band, and now it’s set in stone for me.”

Color Green started out as a very different, much more limited kind of group. “Me and Corey worked together in New York scooping coffee beans for a living and putting them into bags,” says Kohll. “I was living in a basement sublet, and he would come over to write and jam and record.” From those casual sessions came a self-titled EP in 2021, full of spectral jams and offerings up to Jerry Garcia, their spiritual guide. The next year they followed it up with a self-titled full-length via Aquarium Drunkard, with various friends helping to round out the songs. “These things happen in an interesting way,” says Kohll. “There’s been a lot of weird synchronization with this band. It’s all very organic. After we put out our first album, we thought, Oh, this needs to be a live band, too.”

After running through a few different rhythm sections, they met drummer Corey Rose and bassist Kyla Perlmutter, who not only are kickass players but opened up all new possibilities within Color Green. “Our first practice together, everyone was like, This is so loud,” says Rose. “That became a really important part of the band, and we try to capture that dynamic when we record.” Perlmutter adds, “We all really value each other’s input. It doesn’t feel like there’s an unfair hierarchy in this band. We respect each other’s tastes and recognize that we’re all very, very much in love with music in our own ways.”

After sharpening their attack on the road—playing DIY shows in small towns while opening for some of their heroes—the expanded Color Green began writing songs for what they considered a debut album. “One of us will come in with a riff or an idea, and the others will take it up and let it morph into something completely different,” says Perlmutter. “What we come up with together, I don’t think any of us could do by ourselves. The music we make is always surprising me.” The album’s title track, with its snaking guitar lines and parallax instrumental interplay, started out as an eastern jam when Rose came in with a very loose idea: “I wanted to write something in 6/8 time,” she says. “It was super awkward at first, but 40 minutes later, it sounded like Fairport Convention. It took everybody to get there.”

Says Madden, “I like when stuff happens and it opens up the door to something else in my brain. We might spend a lot of time working on something and get nothing out of it, but then in the back of my head I’m thinking, if you take this and add it to that… Sometimes it takes hours to figure out two seconds of a song, but it’s always worth it.”

The aching heart of Fool’s Parade is “5:08,” a moving expression of grief—not moving through it, necessarily, but simply living with it, moment to moment. “What’s it like, on the other side?” they all sing together, as though consoling one another. “Oh, the longing for the space to peer thru.” Inspired by the death of Madden’s father, it is rooted in a Spiritualized show. “I was going through some gnarly personal stuff,” says Madden, “and it was all hitting me at once, all these emotions. I talked my way through some crazy shit, and by the end of the show I had ‘508’ hashed out in my brain. It’s about losing people very close to you and wanting to communicate with them and not really knowing how.”

“It’s the quietest song on the record,” says Rose, “but it’s also the heaviest. We all cried while recording it. Everybody’s singing on it, and everybody’s crying on it. Sometimes we’re like, Let’s not play that song tonight. It all depends on how we’re feeling.”

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(((folkYEAH!))) presents:

NOSFERATU: A SYMPHONY OF HORROR
(F.W. Murnau, 1922)

The mysterious Count Orlok summons a happily married real estate agent to his castle, located up in the Transylvanian mountains, to finalise a terrifying deal.

with LIVE ORIGINAL SCORE performed by

Paz Lenchantin

Paz Lenchantin is a musician best known for playing bass in such varied groups as Pixies, Zwan, A Perfect Circle, Silver Jews, and the Entrance Band. In addition to bass, she sings, plays piano, violin, guitar, and drums. She played strings on Queens of the Stone Age’s Songs For the Deaf, Melissa Auf der Maur’s first solo album, and for several scenes in Michael Mann’s 2006 film, Miami Vice. Lenchantin also directed the music video for Pixies’ “Human Crime.” Her debut solo album, Triste, was released in October 2025 on her own label, Hideous Humans Records. —The Creative Independent

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Dallas Acid

Dallas Acid is a synth-heavy dreampop trio from Austin, Texas and the first new signing to All Saints Records in a number of years. Following previous releases on Flying Moonlight and Olde English Spelling Bee, they join a roster that includes Brian Eno, Harold Budd and Laraaji (who the band previously collaborated with on 2018’s Arrive Without Leaving album).

All Saints Records founder Dominic Norman-Taylor comments: “Dallas Acid's unique mix of minimalist electronic music with a big ballad sensibility creates gorgeous, utterly compelling immersive soundworlds. All Saints Records is delighted to release their album The Spiral Arm. Dallas Acid is our first new signing for several years. It’s been worth the wait”.

Dallas Acid: “We are honoured and humbled to be a part of the incredible All Saints family, and share label space with so many legendary, talented pioneers whose explorations into the ambient, electronic and avant-garde helped to influence and guide us to the creation of The Spiral Arm.”

The sky-gazing wonder of Linda Beecroft’s vocals on the title track recall the breathy intimacy of Mazzy Star, yet draped with almost symphonic banks of synthesizers blinking into infinity, expertly operated by Christian Havins and Michael Gerner, redolent of the deepest end of classic kosmische music. Other tracks such as the instrumental “Circuit Jungle” touch upon the ‘Fourth World’ experiments of Jon Hassell with a mixture of moog abstractions and FX-drenched acoustic percussion. At other points they touch upon the rain-drenched soundtracks of Vangelis and other more mysterious, electronic arthouse film scores.

Dallas Acid's inspiration stems from 1970s German and French electronic music, early minimalism and ambient music. Since 2015 they've been performing live in planetariums, galleries, theaters, churches, and many other unconventional spaces. After playing the traveling culinary experience/projection cube Monkeytown, they collaborated with Paz Lenchantin of the Pixies to create an original new score for F. W. Murnau's Nosferatu, which they performed live in 2016 at the Blue Starlite Drive-In Theater on Halloween.

In the spring of 2018 Dallas Acid was featured at HBO's Westworld interactive SXSW experience, followed by an east coast tour with Dead Meadow and performances with legendary ambient/new-age musician LARAAJI. An impromptu collaborative recording session with LARAAJI and long-time partner Arji OceAnanda gave birth to a new LP: Arrive Without Leaving, available now on Flying Moonlight Records. Their critically-acclaimed LPs Original Soundtrack (2016) and Spa Hunter (2017) are also available at flyingmoonlight.com.

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Throwin’ Bo’s presents:

Resavoir

Resavoir is the work of Chicago-born and based musician, composer and producer Will Miller.

Miller is a jazz trumpeter and composer by training – first via Chicago Public Schools, then Oberlin Conservatory. As an instrumentalist he’s played on recordings by Chance The Rapper, Lil Wayne, Mac Miller, and for several years was a regular member of the indie band Whitney. But since 2016 he has been moving more and more in the direction of all around “producer” – working with an expanded palette of synths, pianos, live and programmed drums in addition to his MIDI-augmented trumpet, he has developed a signature cinematic soul-jazz sound rooted in hip-hop structures, heard through his work on tracks for Eryn Allen Kane, Whitney, Knox Fortune, and SZA’s recently-released album SOS (which spent 10 weeks as the #1 spot on the Billboard 200 chart).

In 2019 Miller released Resavoir’s debut album Resavoir to high praise, including a glowing 8.2 review in Pitchfork. Later that year, Miller and his live version of the Resavoir band (featuring former Noname musical director Akenya, saxophonist/vocalist/MC Sen Morimoto, and others) did their London debut as part of the first Boiler Room Festival. While they were in London, they did a recording session at Total Refreshment Studios. One of those recordings was a cover of the Charles Tolliver song “Plight,” and the track was released by Blue Note Records as part of the compilation Transmissions from Total Refreshment Centre.

Miller spent much of the pandemic years in his studio, and much of 2022 on tour with Whitney. This Fall, he will release Resavoir’s second self-titled album. The new Resavoir is a more polished and focused presentation of his evolving skills as a studio producer. His compositional touch is more articulate than ever. The short but sweet album is a subtly-radiant symphony interweaving modern-day soul-jazz with bedroom beats, synth serenades and twilight sonatas. The collection’s eleven tracks feature a massive list of contributors including Elton Aura, Whitney, Akenya, Matt Gold, Eddie Burns, Lane Beckstrom, Jeremy Cunningham, Irvin Pierce, Macie Stewart, Peter Manheim and many more.

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Cheflee

cheflee, born in a glen of fescue sometime in june, finds bobs machines and begins to play.

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(((folkYEAH!))) presents:

The Wildwoods

The Wildwoods, hailing from Lincoln, Nebraska, continue to bring sonic beauty and simplicity to today’s increasingly complicated and cluttered musical landscape. With Dear Meadowlark, the band’s fourth full-length album released on April 11, 2025, The Wildwoods have once again taken the hallmarks of the folk-Americana sound and dressed it in indie sensibilities a la heroes Nickel Creek and Gillian Welch as well as genre mainstays Bon Iver and Mumford & Sons.

And yet, at its core, Dear Meadowlark is about three 20-something musicians celebrating the emotional allure of familiarity and comfort. “The main lyrical theme of the album is the appreciation for our home state of Nebraska and the homesickness that can come with long periods spent on the road,” says Noah Gose.

The Wildwoods are Noah Gose on vocals, acoustic and electric guitar; his wife, Chloe Gose on vocals and violin; and longtime friend Andrew Vaggalis on vocals and upright bass. Their delicate embrace of the past, present, and future has transformed The Wildwoods into a potent entity. Recently, The Wildwoods were finalists in the 2024 Rocky Mountain Songwriter Contest in Red Lodge, Montana. In 2023, the trio enjoyed being finalists in two high-profile band competitions – FreshGrass Music Festival and VHS “Gems in the Rough.” Also, their songwriting strengths have been recognized by semi-final placements in the International Songwriting competition with tracks such as “Untitled” and “Way of Train.”

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DOORS at 7:00PM | MUSIC at 8:00 PM

essence/universe presents:

IDAHO

Led by Laurel-Canyon based singer-songwriter Jeff Martin, IDAHO are the unsung cult heroes of 90s slowcore. Founded in 1992 by Martin and the late John Barry, IDAHO exemplify an adventurous and original take on the American underground, fusing fuzzed-chord grunge rock, pedal-pushing shoegaze, and post-rock experimentalism with an overall ambience of beautiful despondency. 

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Todd Day Wait

Todd Day Wait is one of the last real American Workhorse, pedal to the metal, Troubadours by way of Missouri, to California, to New Orleans and now Nashville. The original material of Todd Day Wait, is highly influenced by early American folk, country and blues music from the 1920's through the 1960's, embodying the spirit and authenticity of traditional American music.

Todd Day Wait, whom you may have heard of from his millions of spins on GemsOnVHS or WesternAF writes and performs his own style of timeless country music. Harking back to Jimmie Rodgers, Willie Nelson, Wynn Stewart and Kris Kristofferson he keeps the spirit of country music alive. In 2009 he put all his earthly belongings on the curb and hit the road, in his diesel shuttle bus fueled by vegetable oil, for a never ending tour. From busking the streets of New Orleans, to playing in the shadow of European castles, to lighting up the honky-tonk dance floors in Nashville, Todd keeps it 60/50.

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Additional support to be announced.

Throwin’ Bo’s presents:

Elanor Moss

Elanor Moss grew up in a very creative, devoutly Catholic family, and began playing music at church events. Homeschooled through early youth, her parents put a real emphasis on nature, reading and music. Eventually leaving the faith, Moss started writing songs of her own in York as a student of English literature and playing open mics around the city.  While at University she also discovered songwriting greats: Leonard Cohen, Joni Mitchell, Bob Dylan, The Beatles. Shortly after graduation, Moss met producer Oli Deakin, who offered to record her first EP, “Citrus." Her work with Deakin took her to New York City, where she began forging a sense of community. Between “Citrus” and her second EP, “Cosmic,” Moss toured with Christian Lee Hutson, Benjamin Francis Leftwich, and LYR, played one-off shows with Cassandra Jenkins, CMAT, and Sam Amidon, and performed at Pitchfork London, Green Man Festival, and Mosely Folk, among others.

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DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

Babehoven

Babehoven is the Hudson, NY based project of singer-songwriter Maya Bon and collaborator Ryan Albert. Since 2017, the band has carved out a sound that blends melodic indie and folk rock with an occasional nod towards country. Bon serves as the project’s principal songwriter and lyricist, while Albert, a multi-instrumentalist and producer, further shapes the sonic world around her songs. Together, they’ve built a body of work that feels both intimate and expansive.

"Blue Around You," Babehoven's new single, is a country-flecked stomper. The song finds Bon singing with hard-won resilience: "Yesterday a stranger told me they can see / That I feel levels of pain that could've broken me / And I thought, mmm but I survived it." Recorded at The Chicken Shack and 12 Lb Genius in Upstate NY, Maya and Ryan gathered an excellent crew of musicians with producer Phil Weinrobe at the helm—Oliver Hill, Zosha Warpeha, Dylan Nowik, Jared Samuel, Ellington Peet, and Nick Kinsey. The core of the song was recorded live with no playback or headphones with the feel of the room being as much an instrument as the hardanger fiddle and harmonies that soar overhead.

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Pileup

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Throwin’ Bo’s presents:

Dagmar Zuniga

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was released by the People’s Coalition of Tandy on Bandcamp & YouTube in January 2025, accompanied by a small tape run that sold out instantly. The project quickly garnered over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. 

This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93. 

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track. 

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026. 

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians across the globe. Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

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DOORS at 7:00PM | MUSIC at 8:00 PM

Throwin’ Bo’s presents:

June McDoom

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom's debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own.

She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition.

She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for.

Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica's oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.

Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single "Without You" is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.

At the heart is family. Her grandmother Aggie, the light behind "Memory," guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along.

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