Luke Skywalker battles Darth Vader in "Star Wars V—The Empire Strikes Back," the closing Night film at the 69th Annual San Francisco International Film Festival, May 4. Courtesy of SFFILM.

Main Image: Naomi Ackie, Taylour Paige, and Keke Palmer star in Boots Riley's "I Love Boosters," the Centerpiece film at the San Francisco International Film Festival, April 24-May 4. Film still from NEON. Courtesy of SFFILM.

One might reasonably assume that Los Angeles is the center of the movie universe but, think again. Did you know, for instance, that SFFILM, the enduring institution behind the annual San Francisco International Film Festival and savvy year-round programming, screened 10 films that scored Oscar nominations this year; the animated sensation “KPop Demon Hunters” and Pixar’s “Elio” were among them. “Sinners,” written and directed by Oakland’s own Ryan Coogler, racked up a record 16 nominations, including one for supporting actress nominee Wunmi Mosaku who, along with Benicio del Toro, up for best supporting actor in “One Battle After Another” was honored at an SFFILM Awards Night in December. “Frankenstein,” which snagged nine noms, was shown to a packed house at a sold-out fall event where director Guillermo del Toro took the stage to receive a prize and participate in a panel discussion. Come March 15, we’ll find out how they fared.

An integral part of SFFILM’s various presentations, Doc Stories, which wrapped its eleventh edition last November, is strategically timed to coincide with Oscar campaign season. The four-day mini-fest showcases documentaries by both veteran and lesser-known filmmakers, seeking a platform from which to land distribution deals and theatrical release. “My Mom Jayne” from Mariska Hargitay, daughter of late actress Jayne Mansfleld; Laura’s Poitras and Mark Obenhaus’s “Cover-up” about controversial investigative journalist Seymour Hersh; “The Tale of Silyan,” a poignant story set in rural Macedonia, of a man who nurses an injured stork back to life, and "Ask E. Jean," Ivy Meeropol's profile of the irrepressible E. Jean Carroll, a warrior woman of our age, who dared to sue Donald Trump twice and won, all headed up the 2025 slate.

Now in its 69th year, the San Francisco International Film Festival (April 24-May 4), a cornerstone of SFFILM and the longest running such festival in the Americas, will return to its home at the newly renovated and recently reopened Castro Theatre. “It seems like everyone has been waiting for this moment,” says SFFILM’s Executive Director Anne Lai. “We’re really delighted that the timing means we’ll be able to host SFIFF’s Opening and Closing Nights there.” Lai adds that she sees this first time back, after a three-year hiatus, “as a way to warm up our muscles” in the beloved historic venue, though she doesn’t rule out the resurrection of audience favorites, like those combining silent films with live, cutting-edge music, down the road.

The Centerpiece program, another one of SFIFF’s “Big Nights,” features the hometown, West Coast premiere of “I Love Boosters,” at the Grand Lake Theater — that’s boosters as in a crew of female thieves, dubbed the Velvet Gang, who target an unscrupulous, big cheese fashion designer. This second surreal venture from Boots Riley, a rapper, songwriter, record producer and political activist turned audacious filmmaker, follows his highly praised, 2018 directorial debut, “Sorry to Bother You,” (Heretofore, Riley, a long-time Oakland resident, was best known as the lead singer and co-founder of the hip-hop group, The Coup.) Riley once described his filmmaking philosophy as “trying to create a roller coaster ride and…breaking the rules.” His latest promises to do just that. Largely shot in Oakland and the greater Bay Area, it boasts a stellar cast that includes Keke Palmer, Demi Moore, LaKeith Stanfield, Naomi Ackie and Don Cheadle, some of whom are expected to join Riley at the screening on April 28.

From the moment the festival ends in early May, Director of Programming Jessie Fairbanks will be on the hunt for new content. “The team diligently reviews and tracks titles from Cannes, Locarno, Venice, Telluride, TIFF, and New York Film Festival, through Sundance and Berlin, with plenty of other festivals explored in between,” she explains. “We are also constantly researching and tracking projects at reputable labs or notable grant programs. And we talk to our fellow festival programmers to swap ideas and tips. The annual diet of every programmer on my team exceeds 1,000 titles.”

As of this writing, the Opening Night film has yet to be revealed but, there has been some speculation that it might be “Josephine,” a disturbing psychological drama, shot in San Francisco, about a young girl, who witnesses a rape in Golden Gate Park, and the aftermath of the ordeal. It played to standing ovations at Sundance, where it took home two prestigious awards, and may well be an Oscar contender next year. What has been formally announced, however, is that “Star War Episode V—The Empire Strikes Back” will close out the fest on May 4.

The 1980 film, a sequel to the hugely successful “Star Wars,” was produced by Lucasfilm, directed by Irvin Kershner from a story George Lucas and, though plagued by production mishaps, became the highest grossing movie of that year, taking in a reported $401.5 million worldwide. For those in need of a refresher, the saga takes a darker turn, picking up three years after the destruction of the Death Star as Imperial armies are in hot pursuit of the rebels. Luke Skywalker journeys to study at the feet of Jedi Master Yoda, who has been forced into exile on a faraway planet. In a pernicious attempt to lure him to the Dark Side, Darth Vader sets a trap for young Luke, who learns the stunning facts of his parentage. Actor Anthony Daniels, who portrayed C-3PO, the fussy gold droid with the British accent, will take part in a post-screening, on-stage conversation.

Fairbanks acknowledges that the film’s local connections to Lucasfilm and Skywalker Ranch, et al, factored into the decision to show it. “We relish every opportunity we get to collaborate with these creative mavericks,” she says. And then there’s the potential to attract a younger audience new to the movie.

“It doesn’t get the big screen revival as much as it should,” notes Lai. “I think we will all be pleasantly surprised at the age range of fans that show up.”

Despite the pandemic, the proliferation of local film festivals, the public’s changing viewing habits, troubling shifts in the industry and the festival being scheduled between Cannes and Tribeca, SFFILM has managed to survive and is looking forward to celebrating its 70th anniversary next year. Fairbanks credits their longevity to hard work and the loyalty and support of their community.

“We have legacy and a rich history as our foundation, she says, “But, without our community, we simply wouldn’t exist.”

→ San Francisco International Film Festival, April 24-May 4. Tickets at sffilm.org