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San Francisco Cinematheque questions about the representation of racial and sexual fantasy life...Thoroughly engaging from beginning to end."—Yvonne Rainer Su Friedrich Filmography: Hot Water (1978) The Ties That Bind (1984) Cool Hands, Warm Heart (1979) Damned If You Don't (1987) Scar Tissue (1979) Sink or Swim (1990) / Suggest Mine (1980) First Comes Love (1991) Gently Down the Stream (1981) Rules of the Road (1993) But No One (1982) Hide and Seek (1996) The Premiere of MURDER AND MURDER BY YVONNE RAINER Presented by The San Francisco Museum of Modern Art & The San Francisco Cinematheque Yvonne Rainer in Person Thursday, April 10, 1997 — San Francisco Museum of Modern Art, Phyllis Wattis Theater MURDER and murder by Yvonne Rainer (1996); 16mm, color, sound, 110 minutes Yvonne Rainer's seventh film is her most accomplished in years, full of the wordplay and visual flights of fancy that have always characterized her unique cinema. As her life progresses, so do her issues. This time around Rainer speaks through one of her characters: "I think after years of being repressed as a woman, she wanted to be repressed as a lesbian." This is the film in which Rainer comes out. Twice. Once as a lesbian and then a second time as a breast cancer survivor: one breast down, one to go. From the opening scene played to the Jaws soundtrack, this is no conventional treatment of disease or delirium. This film tells the tale of two women, Doris (Joanna Merlin) and Mildred (Kathleen Chalfant), who find each other in "mid-life" and fall in love; for Doris, in her early sixties, it is the first time with a woman and she throws herself into it with abandon. The two are hardly left to themselves: they are constantly surveyed, criticized, ridiculed, or fretted over by a ghostly team of busybodies representing Mildred as a teenager and Doris's mother— long dead, but here resurrected in fine form. When mom isn't reminiscing about doing piecework in a corset factory, she's fretting over Doris and reassuring Mildred that everything will turn out okay. Doris and Mildred don't have an easy time of it as they wend their way through a constant power struggle over turf, love, and independence. They even climb into a boxing ring to have a symbolic go at one another. The real test, though, comes when Doris discovers she has breast cancer and has to go into the hospital. The narrative is embellished with on-screen titles that provide statistics on women and cancer. Lest anyone thinks this is some abstract inquiry, up pops Rainer herself as the film's no-nonsense emcee whose snappy tuxedo parts to reveal her mastectomy scare. Droll as ever, Rainer plugs away at the medical establishment in between letting Doris have her say on "eating pussy." Life for the postmenopausal woman ain't 26