After a three day hiatus from the film festival we return. Rather fortunately, this year's film festival has proven to be one of the highest attended film SF film festivals to date. That being extremely encouraging we also learned the accompanying downside rather quickly. High attendance makes it difficult to buy those last minute tickets each day - thus eliminating the spontaneous decision making that has sparked great surprise during festivals past. Looks like we may only be able to attend and review the 15 films for which we had bought tickets in advance.

It is also at this point that my usual partner in SFIFF atendance had returned from a trip to China, and following the jet lag recovery and readjustment to the world of the west, would be joining me for each and every remaining film.

Day 8 at the film festival proved to be somewhat thematic. We started with Eisenstein: The Master's House. This documentary of the career, trials, and tribulations of Battleship Potemkin director Sergei Eisenstein was screened as a celebration of the 100th anniversary of Eisenstein's birth and the 50th anniversary of his death. In much the way Eisenstein himself mixed period footage with stills and feature clips, this documentary wove the tale of an artist who, against the odds of state imposed restrictions, continued to pursue his dreams in film to the very end of his life.

Eisenstein:The Master's House was steeped in imagery of Eisenstein's as well as other great Russian directors and film makers. Much of thise imagery served to present the viewer with a credible sense of Russian politics, and art during the course of Eisenstein's career. Although coming across as a bit disjointed at times, this documentary was a fitting tribute to a man who in the face of adversity, and with a honorable dedication to self, persevered against the odds and in the end had literally worked himself to death.

Our next excursion of the evening was WR: Mysteries of the Organism. This film by Yugoslavian director Dusan Makavejev had beens selected by Wayne Wang to be included in the screening of the Indelible Images series for this years festival. Wang had actually insisted that this film which "had changed his life in a way he could never explain" be screened and that Makavejev be present as well for Q&A.

Produced over the course of three years and released in 1971, WR: Mysteries of the Organism is a socio-political commentary based on the teachings of Wilhelm Reich. A unique and somewhat comical approach to the politics of free love, and a unique documentation of the life of Wilhelm Reich start this film on a continuing path of surreal and heavy handed political commentary. Makavejek presents his audience with a series of characters representational of the various levels of fascist, socialist and communist society engaged in the fictional aspects of the film used to drive home the philosophies represented in the interspersed documentary-style presentations, interviews, and studies.

Makavejek managed to capture a belief system that was not only representational of the changing political structure within Yugoslavia but was timely to the changes within American and European culture as well. It is not surprising that the end result of his film was that of being thrown out of his own country, and his film being banned in several places. Almost 30 years later WR: Mysteries of the Organism still serves as a biting and poignant commentary. It was also unique to see a piece of art that had incorporated many of the styles and characteristics of predecessor Eisenstein, particularly in his use of one of the best known Russian produced political films capturing the life of Stalin. In a similar fashion to Eisenstein's signature work, these images were grouped with documentary footage, still photos, and scripted works.

Makavejek was on hand following the screening to answer the audience's questions. During this time he was given the opportunity to make further mention of the life and times of Reich. He also explained how this film had been a response in him to "feeling bad" about not taking a more active stance in politics and change during the time period of the late 60's.