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Commentary by Gregg Rickman (greggr1@mindspring.com). Times compiled from information available Tuesday; it's always advisable to call for confirmation. Price given is standard adult admission; discounts often apply for students, seniors, and members

We're interested in your film or video event. Please send materials at least two weeks in advance to: Film Editor, SF Weekly, 185 Berry, Suite 3800, San Francisco, CA 94107.

111 MINNA GALLERY

111 Minna (between New Montgomery and Second streets), 864-0660 and www.microcinema.com for information on this program. $6.

MONDAY (Sept. 19): The "Autumnal Edition" of the monthly "Independent Exposure Screening Series" presents Altsi Toivianen's Finnish Dreamerv; Marie Losier's documentary about the Kuchar Brothers, Electrocute Your Stars; and Rob Perri's timely admonition Conform or Die 8 p.m.

ACT I & II

2128 Center (at Shattuck), Berkeley, (510) 464-5980, www.landmarktheatres.com. $9.25 save as noted. One of this venue's two screens is a "calendar house" for Landmark Theatres. For additional screenings, see our Showtimes page.

WEDNESDAY & THURSDAY: El Crimen Perfecto (Alex de la Iglesia, Spain, 2002). Call for times.

FRIDAY THROUGH THURSDAY (Sept. 16-22): The Baxter (Michael Showalter, 2005). See Opening for review. Call for times.

MIDNIGHT SHOW (Friday & Saturday): Johnny Depp's quite the cutup in Tim Burton's Edward Scissorhands (1990).

ALLIANCE FRANÇAISE

345 Bush (at Polk), 775-7755, www.afsf.com. French-language films shown on projected video. $5 donation.

WEDNESDAY (Sept. 14): French director Bruno Dumont's California shot of anomie, Twentynine Palms (2003) 6 p.m.

AQUARIUS

430 Emerson (at Lytton), Palo Alto, (650) 266-9260, www.landmarktheatres.com. $8 for this midnight series. "Midnight Moovies" continues, with Bunny the Cow hosting a pre-film show with prize giveaways and cartoons/TV programs on Saturdays only. There will be additional screenings Saturday and Sunday "around noon" (call for more info). See our Showtimes page for the Aquarius' regular listings.

FRIDAY & SATURDAY (Sept. 16 & 17): A daylong detention brings life lessons to all in The Breakfast Club (John Hughes, 1985), due for a remake with the same class (and different lessons) midnight.

ARTISTS' TELEVISION ACCESS

992 Valencia (at 21st Street), 824-3890, www.atasite.org. $5 save as noted. This venue offers all manner of strange and unusual video and film.

THURSDAY (Sept. 15): International ANSWER screens Gaza Strip (James Longley, 2002), a look at the (then) Israeli occupied territory from the viewpoint of a 13-year-old Palestinian 7:30 p.m.

FRIDAY (Sept. 16): The ongoing ninth annual MadCat Women's International Film Festival starts its ATA screenings with "Media Remix," a program of repurposed mass-media images including Lisa Barcy's stop-motion romance novel Woman Without a Past and Vivian Ostrovsky's half-hour montage Ice/Sea (France, 2004). Also, boop-oop-a-doop by Sachiko Hayashi looks at the images of Marilyn Monroe and Betty Boop, Big Shtick by Courtney Egan considers the opposable thumb, and the excellent Pounds Per Square Inch by Heather Posner deconstructs heterosexual feminist fantasy. $7-20 7:30 p.m.

SATURDAY (Sept. 17): Other Cinema opens a "Psycho-Geography" series with Trevor Paglen's Secret Bases, a visit to the Pentagon's "black project" facilities in Nevada (Area 51, et al.). Filmmaker in person. Also, Bruce Gagnon's anti-Star Wars Arsenal of Hypocracy 8:30 p.m.

BALBOA

3630 Balboa (at 38th Avenue), 221-8484, www.balboamovies.com. $8.50 save as noted. This great neighborhood house shows films of all sorts. See our Showtimes page for additional listings.

WEDNESDAY & THURSDAY: Balzac and the Little Chinese Seamstress (Dai Sijie, China, 2004) 12:15, 2:30, 4:45, 7:10, 9:15 p.m. My Mother's Smile (Marco Bellocchio, Italy, 2002) 12:25, 2:35, 4:45, 7, 9:10 p.m.

FRIDAY THROUGH THURSDAY (Sept. 16-22): The World (Jia Zhangke, China, 2004). See Opening for review noon, 2:50, 5:40, 8:30 p.m. Call for other films and times.

BRAVA CENTER

2789 24th St. (at York), 647-2822 for box office, 609-0343 and www.sci-femme.to for program, www.ticketweb.com for advance tickets. This restored movie house, with two screens, is now the home of the Brava Center for Women in the Arts. It presents two special programs this weekend.

FRIDAY (Sept. 16): Cinefemme screens "Future Femme," a program of short visions of the future by local and international women. Q&A and reception to follow. $19 8 p.m.

SATURDAY (Sept. 17): "Future Femme" rescreens, with panel discussion to follow. $10 2 p.m.

CASTRO

429 Castro (near Market), 621-6120, www.thecastrotheatre.com. $8 save as noted. Short-run rep in a spectacular 1922 Greco-Roman-themed palace designed by Timothy L. Pflueger. Evening intermissions feature David Hegarty on the Mighty Wurlitzer.

WEDNESDAY: A "Dueling Divas" series continues with Joan Crawford starring in the delirious Humoresque (Jean Negulesco, 1946; 2:15, 7 p.m.) opposite tormented musician John Garfield. It screens with Bette Davis as Joey Heatherton's grandmother wondering Where Love Has Gone (Edward Dmytryk, 1964; 9 p.m.). After two rounds, Davis was ahead 2-0, but this program's Round 3 is advantage Joan.

THURSDAY: "Dueling Divas" -- Crawford is the Queen Bee (Ranald MacDougall, 1955; 7 p.m.) terrorizing her Southern mansion, while Bette takes no prisoners in William Wyler's classic The Little Foxes (1940; 8:50 p.m.). As source material Lillian Hellman's plantation Gothic is unbeatable, so Round 4 goes to Davis (for a 3-1 lead).

FRIDAY: "Dueling Divas" -- Joan takes the evening with the cult western favorite Johnny Guitar (Nicholas Ray, 1954; 7 p.m.), evading the efforts of Mercedes McCambridge to lynch her. Coming in second is Bette Davis in yet another Southern melo, In This Our Life (John Huston, 1942; 9:05 p.m.). Davis still leads, 3-2, but then there's a separate-admission screening of their co-starring duel What Ever Happened to Baby Jane? (Robert Aldrich, 1962), which I give to Joan, evening the score. While Davis as the washed-up child actress excels in the showy part, the film wouldn't work without Crawford's solid support. She's the one who has to react believably when Bette serves her up a rat midnight.

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