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There are two tiers of great films. First, there are movies like “Avatar” that dazzle audiences with incredible visual effects. But in this tier, the smoke and mirrors lack true staying power by its very reliance on the artificial and the visual. Then there are films like “Boyhood,” which ask
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San Francisco has a hard time finding representation in cinema. It’s too expensive to film here, and besides, New York is cinema’s favorite city. We have LA-transplant Barry Jenkins to thank for writing and directing “Medicine for Melancholy,” the quintessential San Francisco film because it wouldn’t work any place else.
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