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RYAN KOST’S OFF-THE- RADAR PICK When it comes to kink festivals, San Francisco is generally best known for the annual Folsom Street Fair, which happens every September. But the “real players” know that Dore Alley, also known as “Folsom Street Fair’s dirty little brother,” is where the real kink is. As the organizers of Up Your Alley explain, “You won’t find a filthier event in the States. If you’re into it, there’s a scene for you.” Dore Alley doesn’t draw the hundreds of thousands that the Folsom Street Fair does, but nearly 15,000 people and some 50 vendors still fill the alley between Howard and Folsom streets. (click for more)

Sunday Marleen Cullen, Kate Farrell, Christine Falcon-Daigle, Christina Gleason, Neena Gleason, Gael Chandler, Susan Bono “The Write Spot to Jumpstart Your Writing: Connections.” 4 p.m. Book Passage, 51 Tamal Vista Blvd., Corte Madera. Beth Lew-Williams, Sylvia Chan-Malik, Michael Chang “The Chinese Must Go: Violence, Exclusion, and the Making of the Alien in America” and “Being Muslim: A Cultural History of Women of Color in American Islam.” 3 p.m. Oakland Asian Cultural Center, 388 Ninth St., Oakland. Jon Meacham “The Soul of America.” 7 p.m. (click for more)

Rhye is such an enigma that most fans didn’t even realize that between albums of shadowy R&B tunes, the outfit essentially turned into a solo project for singer Mike Milosh for its latest release, “Blood.” Even without multi-instrumentalist Robin Hannibal on board, the follow-up to its deeply sensual debut release, 2013’s “Woman,” doesn’t lose any of the slow-motion swagger of its predecessor, with languid bass lines, throbbing beats and airy production. It’s Milosh’s supple vocals more than anything that breathe fire into the delicate funk songs like “Song for You” and “Count to Five. (click for more)

I’m going to come clean right from the start and break the first rule of film criticism — that is, by reviewing a movie I haven’t seen. Here’s the reason for making an exception this time: This is a hard movie to see. “Falbalas,” which was released in 1945 but made a year earlier, during the Nazi occupation of France, is a Jacques Becker film, being shown as part of the Pacific Film Archive’s ongoing Becker retrospective. Becker (1906-60) was a great filmmaker, but only three of his films are available on DVD (at least with subtitles, for English-speaking audiences). Everyone says that this is one of his best films, and everyone has been saying this for so long that I believe them. (click for more)

The quasi-biographical “Gauguin: Voyage to Tahiti” attempts to show how Paul Gauguin reinvigorated his artistic spirit on an isolated tropical island — away from the hustle and bustle of 1890s Paris. But oftentimes the experience is like watching paint dry. It’s never easy to translate visually the inner turmoil of a struggling artist, and “Gauguin” is a prime example of that. Vincent Cassel looks the part of Gauguin, and he is always watchable, but we never get a true sense of where this gifted painter is coming from. (click for more)

Toward the end of “Poor Boy,” Robert Scott Wildes’ scattered entry into the burgeoning genre subset I call “desert noir,” rodeo clown Michael Shannon sits in his dressing trailer, still in full makeup after a performance, wearily musing. “Sometimes I get tired and wonder if it’s good to have a kid. Like, how come whether it’s good or not, morally or of the spirit, to bring someone into the world, into all of this.” Hear, hear. At the time Shannon’s Blayde Griggs utters these words, his boys, Romeo and Samson, are young. (click for more)