Frank Lee, a dedicated figure in the film theater industry, has devoted nearly his entire life to this vibrant sector. Now at the age of 70, after an impressive career as an independent theater operator in San Francisco, he and his wife, Lida, who is also a co-owner, are looking to sell the iconic Marina and Presidio theaters. Both theaters have been under their stewardship since the early 2000s, and Lee is determined that the beloved filmgoing experience should not come to an end.

Lee is passionate about ensuring that “these two theaters continue as film theaters.” His commitment to maintaining the cultural significance of these venues reflects a deep respect for the cinematic arts and the community that supports them.

While stepping away from the theaters brings a sense of sadness, Lee acknowledges that both the Marina and Presidio theaters, situated on Chestnut Street in the Marina District, are ready for a new owner to take the reins. He believes that this moment is ripe for change, stating, “I think it’s about time. After 60 years in the business, it could be a good opportunity right now. And things are looking up,” Lee shared with Variety. He expresses hope that the film release schedule this year may return to the levels of normalcy seen before the COVID-19 pandemic.

The Lees have been at the helm of the four-screen Presidio theater since 2004 and the two-screen Marina theater since 2008, contributing significantly to the local cinema culture.

“The neighborhood clearly needs these two theaters,” Lee emphasized, highlighting the community’s desire for accessible film screenings and cultural engagement in their area.

The couple’s journey began with their first successful venue, the two-screen 4 Star Theatre located in the Richmond District, which they managed from 1992 until its sale in 2021. This early success paved the way for their future endeavors in the competitive theater industry.

Leaving behind a rich tapestry of community history, the Lees have played a vital role in curating film culture in San Francisco. Notably, during the 1990s and early 2000s, they showcased Asian cinema and organized a dedicated Asian Film Festival at the 4 Star Theatre, setting a precedent for diverse programming that resonated with audiences.

This festival featured an impressive lineup of films, including Ang Lee’s “The Wedding Banquet,” Zhang Yimou’s “Raise the Red Lantern,” Park Chan-wook’s “Sympathy for Mr. Vengeance,” Bong Joon Ho’s “Barking Dogs Never Bite,” and a myriad of works from esteemed filmmakers hailing from Korea, Japan, Taiwan, the Philippines, Sri Lanka, Hong Kong, and China. Notably, Takashi Miike participated in the festival when it showcased his film, “Dead or Alive.”

“We were exhibiting some incredible content from all these Asian countries,” Lee reflected, underscoring the significance of their programming choices in enriching the cultural landscape of San Francisco.

At that time, Lee was carrying forward a legacy established by his father, who was involved in both the distribution and exhibition of Asian films from 1964 to 1987. “I essentially helped him, hand in hand, growing up in the business,” Lee said, illustrating his deep-rooted connection to the cinema world.

His father, Frank Lee Sr., owned theaters across the U.S. and even in Toronto, primarily serving local Chinatown neighborhoods in their respective cities. “Wherever there was a Chinatown, he had a theater,” Lee remarked. His theaters included the Bella Union Theater in San Francisco, Cinema East and Europa (before it became the New Beverly) in Los Angeles, and the 55th St, Playhouse, and Canal Cinema in New York, along with the College Theater in Toronto.

Frank Lee Sr. operated these venues during a time when Chinese-language theaters served as popular cultural hubs for Chinese immigrant communities. His efforts were instrumental in ensuring that many Asian films made their way to the U.S. market, enriching the cinematic experience for diverse audiences.

Lee, who grew up in San Francisco’s Chinatown, recalls attending the San Francisco International Film Festival as a young boy of nine, accompanied by his father, Frank Lee Sr. They watched a film produced by the renowned Hong Kong studio Shaw Brothers. Frank Lee Sr., who was a civil engineer and radio producer, later secured a three-year contract with the Shaw Brothers to distribute their films in the U.S.

Lee recalls that his father questioned, “’How come no one is showing it?’” at a time when theaters were predominantly screening old Hong Kong black-and-white films. The Shaw Brothers productions were akin to Hollywood films, featuring widescreen formats, vibrant colors, and high production values that set them apart from the competition.

The films represented an unconventional choice at the time, as they were primarily in Mandarin, while Cantonese was more commonly spoken in the U.S. According to Lee, “He had a lot of support from New York media, San Francisco media, and L.A. media, especially newspapers of those days. They really supported the films and reviewed every movie that he exhibited and brought over from Hong Kong.”

Frank Lee Sr. began his journey by showcasing Hong Kong films, later transitioning to Taiwanese productions, before circling back to Hong Kong cinema. “There were about five or six distributors in this country competing for films from Hong Kong and Taiwan for 20 years. So my dad was one of the leading ones,” Lee stated, highlighting his father’s pivotal role in the film distribution landscape.

“We used to buy the rights to the movies in Taiwan and distributed them to as many as 50 screens back in the day, during the ’70s and early ’80s,” Lee added, emphasizing the expansive reach of their distribution network.

Lee notes that his father closed his film business by the late ’80s due to the rise of home video. During the pandemic, Lee took the initiative to send film prints from his father’s operations back to film archives in Hong Kong and Taiwan, preserving a vital piece of cinematic history. Although Lee’s focus on programming Asian films waned after the 2000s due to increased competition, he remains proud of the legacy he and his father created: “I’d say he’s a pioneer in bringing Asian films and introducing them to non-Asian audiences in the ’60s. Then I continued it into the early ’90s.”

Today, he and Lida provide a diverse selection of films at their theaters. Comedies and films targeting female audiences tend to perform particularly well, but they also screen a mixture of mainstream, Oscar-nominated, and art films. The Lees also rent out the auditoriums for private events such as birthday celebrations, corporate gatherings, and Screen Actors Guild screenings. Local schools frequently utilize the theater spaces for fundraising screenings, and the San Francisco International Film Festival took place at both theaters this past April, showcasing their ongoing community engagement.

Lee points out that there is minimal competition among other theaters in the area. “On the west side, where we are, we’re pretty much the only one, the only six-plex that exists right now,” he explained. “We can pretty much book anything we like at the theaters being the only theaters in that area.” This unique position allows them to tailor their programming to meet the tastes and preferences of their audience effectively.

He envisions a future where the Marina and Presidio theaters could evolve to incorporate the city’s culinary trends alongside the cinematic experience. “We see an opportunity here where some operator might want to come in and do dine-in,” he suggested, reflecting on the potential for innovation in the local theater experience.

The Marina has received city approval to install a food kitchen, marking a significant step toward this vision. Although there are no current applications for a similar permit at the Presidio, Lee mentioned that there is a general blueprint available for integrating dine-in components into both theaters if a new owner is interested. He even suggested the possibility of operating a ghost kitchen at one of the theaters to serve food to the other venue. Lee describes the Chestnut Street area as a “foodie area”: “Any new restaurant opening is phenomenal; it’s an event.”

As they prepare for retirement this year, the couple, who have two sons pursuing careers as doctors, are eager to engage with potential buyers. They hope to find someone who shares their passion for cinema and community to continue the legacy they have built.

As Frank and Lida Lee prepare to pass the torch of the Marina and Presidio theaters, Lee envisions that their enduring legacy as San Francisco theater operators will be defined by their significant contributions to the local film scene, enriching the cultural fabric of the city.

The couple’s journey in the theater business has not been without challenges, including the impacts of the pandemic and a legal battle in the 2000s to retain ownership of the 4 Star Theatre while facing eviction from the property owners. During that time, they received extensive community support, with thousands of individuals signing a petition to save the theater, reflecting their strong ties to the community.

“Many people remember us that way — independent, hands-on, taking numerous chances on lesser-known films, and essentially providing content that others do not showcase,” Lee concluded, encapsulating their unique approach to theater management and community engagement.