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"title": "'Never Rarely Sometimes Always' Captures the Fortitude of Young Women",
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"content": "\u003cp>Late in Eliza Hittman’s \u003cem>Never Rarely Sometimes Always\u003c/em>, 17-year-old Autumn (Sidney Flanigan), who is pregnant and in all kinds of trouble, calls her mother from a public bathroom far from her Pennsylvania coal-town home. Her mother asks where she is in a quavering child’s voice. After a pause Autumn hangs up, inspects herself in the bathroom mirror, and squares her shoulders.\u003c/p>\n\u003cp>If you saw Hittman’s \u003ca href=\"https://www.npr.org/2014/03/20/291137541/a-teen-on-the-hunt-and-maybe-in-over-her-head\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It Felt Like Love\u003c/em>\u003c/a> (2013) or her \u003ca href=\"https://www.npr.org/2017/08/24/545479122/-beach-rats-a-young-man-on-a-collision-course-with-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beach Rats\u003c/em>\u003c/a> (2017), you’ll know that the writer-director has little use for exposition. Her scripts are as spare as her soundtracks, so we can’t be sure whether this is a coming-of-age moment for Autumn. To the extent that \u003cem>Never Rarely Sometimes Always\u003c/em> (the title is drawn from a standard questionnaire administered by abortion providers) is a social issue movie, it’s “about” reproductive rights in the same way that the formally similar recent film \u003ca href=\"https://www.kqed.org/arts/13874000/the-assistant-helps-explain-how-predatory-behavior-stays-hidden\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Assistant\u003c/em>\u003c/a> is “about” sexual assault. Meaning that Hittman attends with near-reverent care to the subjective experience of a traumatized soul who’s struggling to take charge of her own destiny. An exacting but artfully suggestive realist, the director offers many mirror shots of Autumn to let us into the interior life of a proud, obstinate young woman confronting a neglectful or hostile adult world.\u003c/p>\n\u003cp>Flanigan, a Buffalo musician in her first acting role, serves up a held-in Autumn whose dull eyes and sullen glower barely conceal the tumult seething inside her. Certain that she wants to terminate her pregnancy but lacking support and money, she turns to a testing clinic that turns out to be an anti-abortion center where, through ineptitude or ulterior motive, she is fed inaccurate information about how far along she is.\u003c/p>\n\u003cp>Tagging along behind her devoted cousin Skylar (Talia Ryder), Autumn heads for New York City, where the camera holds tight on the two girls as they stumble through numerous obstacles in search of safety and self-definition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hjw_QTKr2rc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where Skylar is practical and fun-loving, Autumn is introverted, intense, socially unskilled. Hittman is powerfully attuned to the unquestioning solidarity and indomitable moxie of teenaged girls, the wordless ways in which they fight and make up—quite literally in fact, when, after a quarrel, Skylar applies concealer under her cousin’s eyes. Without a word of apology or defensive self-justification, the two are good to go even though they have nowhere to spend the night.\u003c/p>\n\u003cp>Yet \u003cem>Never Rarely\u003c/em> also made me wonder how neo-realism can tip over into partisan over-determinism, distortion, or plain miserabilism? Riveting when it stays within Autumn’s point of view, the film wields a heavy hand with the bigger picture of family, authority and most of all, men-in-general. The pro-lifers are soft-spoken liars, the abortion clinic staff uniformly kind and sensitive. Autumn’s mother, played with hauntingly ineffectual anxiety by singer-songwriter Sharon Van Etten, is a cipher, pathetically dependent on her boor of a husband (Ryan Eggold), who is not Autumn’s father in any sense and is one of several suspects in her pregnancy.\u003c/p>\n\u003cp>Hittman’s films are littered with hopelessly checked-out parents, crudely drawn figures of authority who are either all friend or all enemy, savagely predatory men. While Autumn might be forgiven for viewing the outside world through this jaundiced prism, I’m not sure Hittman can. Her legitimate subject is the hair-raising vulnerability—and robust fortitude—of young women today. But she tends to put the entire male species on trial and have them come up wanting.\u003c/p>\n\u003cp>As a parent and teacher as well as a critic, it worries me when a young woman filmmaker paints a landscape peopled (unless you count the beleaguered gay teen in \u003cem>Beach Rats\u003c/em>) by woman-hating men. The closest to a decent male in Autumn’s orbit is the harmlessly horny young doofus (a very good Théodore Pellerin) who has his eye on pretty Skylar. Watching \u003cem>Never Rarely Sometimes Always\u003c/em>, I was reminded of a young stranger who, when my own daughter had had too much to drink at a bar, put her and her best friend in his car and dropped them safely off at our home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, you know: \u003cem>sometimes\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Young+Woman+Faces+A+Choice+In+The+Sobering+%27Never+Rarely+Sometimes+Always%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where Skylar is practical and fun-loving, Autumn is introverted, intense, socially unskilled. Hittman is powerfully attuned to the unquestioning solidarity and indomitable moxie of teenaged girls, the wordless ways in which they fight and make up—quite literally in fact, when, after a quarrel, Skylar applies concealer under her cousin’s eyes. Without a word of apology or defensive self-justification, the two are good to go even though they have nowhere to spend the night.\u003c/p>\n\u003cp>Yet \u003cem>Never Rarely\u003c/em> also made me wonder how neo-realism can tip over into partisan over-determinism, distortion, or plain miserabilism? Riveting when it stays within Autumn’s point of view, the film wields a heavy hand with the bigger picture of family, authority and most of all, men-in-general. The pro-lifers are soft-spoken liars, the abortion clinic staff uniformly kind and sensitive. Autumn’s mother, played with hauntingly ineffectual anxiety by singer-songwriter Sharon Van Etten, is a cipher, pathetically dependent on her boor of a husband (Ryan Eggold), who is not Autumn’s father in any sense and is one of several suspects in her pregnancy.\u003c/p>\n\u003cp>Hittman’s films are littered with hopelessly checked-out parents, crudely drawn figures of authority who are either all friend or all enemy, savagely predatory men. While Autumn might be forgiven for viewing the outside world through this jaundiced prism, I’m not sure Hittman can. Her legitimate subject is the hair-raising vulnerability—and robust fortitude—of young women today. But she tends to put the entire male species on trial and have them come up wanting.\u003c/p>\n\u003cp>As a parent and teacher as well as a critic, it worries me when a young woman filmmaker paints a landscape peopled (unless you count the beleaguered gay teen in \u003cem>Beach Rats\u003c/em>) by woman-hating men. The closest to a decent male in Autumn’s orbit is the harmlessly horny young doofus (a very good Théodore Pellerin) who has his eye on pretty Skylar. Watching \u003cem>Never Rarely Sometimes Always\u003c/em>, I was reminded of a young stranger who, when my own daughter had had too much to drink at a bar, put her and her best friend in his car and dropped them safely off at our home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, you know: \u003cem>sometimes\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Young+Woman+Faces+A+Choice+In+The+Sobering+%27Never+Rarely+Sometimes+Always%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Unethical Art Critic is the Amoral Heart of 'Burnt Orange Heresy'",
"headTitle": "The Unethical Art Critic is the Amoral Heart of ‘Burnt Orange Heresy’ | KQED",
"content": "\u003cp>There’s a familiar trope in Hollywood depictions of the art world, similar in spirit to the ever popular \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/sharp-objects-female-journalists-in-culture/567898/\" rel=\"noopener noreferrer\" target=\"_blank\">Unethical Female Journalist\u003c/a> (she sleeps with sources). In movies, the Unethical Art Critic/Curator (the two positions are interchangeable and often occupied simultaneously) is motivated solely by greed and power, and achieves status through lies, underhanded dealings and sometimes murder. Does he or she love art or respect artists? Seemingly no, or only so far as to acknowledge them as the means by which they make their ascents.\u003c/p>\n\u003cp>At the risk of being typecast, the Danish actor Claes Bang has now gifted audiences with two delightfully amoral depictions of an Unethical Art Critic/Curator, first as a museum director in 2017’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13814048/the-square-is-ruben-ostlunds-sanctuary-of-trust-and-caring\" rel=\"noopener noreferrer\" target=\"_blank\">The Square\u003c/a>\u003c/i> and now as James Figueras, a morally compromised critic in \u003ci>The Burnt Orange Heresy\u003c/i>, directed by Giuseppe Capotondi and based on a 1971 noir novel by Charles Willeford.\u003c/p>\n\u003cp>Capotondi transposes Willeford’s story of a professional art critic “as contemporary as the glaring Florida sun” from Palm Beach to Milan, and his characters exist in a modern, jetsetting milieu: Mick Jagger plays swaggering art dealer Joseph Cassidy, Donald Sutherland is the reclusive artist Jerome Debney and Elizabeth Debicki is a visitor from the States as Figueras’ romantic interest Berenice Hollis.\u003c/p>\n\u003cfigure id=\"attachment_13876544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/2_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Debicki as Berenice Hollis has a pure-heart-to-pure-heart with Donald Sutherland as Jerome Debney. \u003ccite>(Photo by Jose Haro; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the action takes place at Cassidy’s “summer cottage” on Lake Cuomo, an expansive palazzo where Debney has holed up after a studio fire claimed his life’s work. From the outset, there are schemes afoot. Cassidy wants a Debney painting. Figueras wants a career. Hollis is too tall and svelte to be an ordinary American human. Was that fire really an accident? \u003c/p>\n\u003cp>Figueras’ Unethical Art Critic is unsympathetic from the start, when we see him rehearsing a lecture he delivers to American tourists about the “power of the critic”—also the title of his book, copies for sale on the back table. He tells a story about an abstract expressionist painting, the image projected behind him, in an effort to convince the tourists unmoved by its nonrepresentational brushstrokes of its inherent, art historical value. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The keyword here is “story.” With a now-swayed audience, he reveals the entire narrative is a fabrication, claiming to have painted the image himself, on the fly, without a thought or care in the world. “And that’s why you should be careful with someone like me,” he concludes to applause. (The fact that his story involves twin siblings, the Holocaust and a suicide note renders the manipulation extra icky.) Hollis, witness to the performance, nonetheless goes home with him, making the first of many inexplicably bad decisions when it comes to this man. \u003c/p>\n\u003cfigure id=\"attachment_13876546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/11_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">James Figueras and Berenice Hollis enjoy a stroll along Lake Cuomo. I yell, ‘Run away!’ \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Burnt Orange Heresy\u003c/i> is not a knowing satire of the contemporary art scene in the vein of \u003ci>The Square\u003c/i>, nor is it an art heist thriller in the vein of \u003ci>The Thomas Crown Affair\u003c/i>, though it does contain an art heist (and a forgery!). It is a noir: cynical, fatalistic and populated by morally bankrupt characters. The pure of heart don’t stand a chance.\u003c/p>\n\u003cp>As much as I may take personal umbrage with the trope of the Unethical Art Critic, \u003ci>The Burnt Orange Heresy\u003c/i> does contain a) some satisfying twists; b) fun ideas for conceptual art; and c) Donald Sutherland stealing every one of his scenes. What’s perplexing and ultimately distracting is Hollis’ helplessness, and her attraction to a man any modern woman would instantly recognize as Bad News (and not in a fun way). I caught myself yelling at her throughout. \u003c/p>\n\u003cfigure id=\"attachment_13876548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/4._1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Cassidy hands Berenice Hollis an aperitivo! \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Hollis a \u003ca href=\"https://en.wikipedia.org/wiki/This_Sweet_Sickness\" rel=\"noopener noreferrer\" target=\"_blank\">Patricia Highsmith character\u003c/a> who somehow fell through space and time into the world of international art intrigue? Perhaps this is a symptom of the original source material, the era of its writing, or of the noir genre itself. (I’m trying to give screenwriter Scott Smith the benefit of the doubt here, but really.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film has a serious title that makes it seem a bit more substantial than it actually is. It turns out to be borrowed from one of Debney’s paintings. When \u003ca href=\"https://slate.com/human-interest/2017/06/actors-say-the-title-of-the-movie-theyre-in-the-video-compilation.html\" rel=\"noopener noreferrer\" target=\"_blank\">Hollis asks\u003c/a> the artist what the words mean, he says it’s “for the critics, those ravenous dogs, they can wear themselves chewing out on it, searching for meaning where there is none.” Aha! Then we remember burnt orange is also the color of an aperitivo—a light, thirst-quenching cocktail meant to whet your appetite for the real meal ahead. As Hollis would say with her Midwest folksy charm, “If the shoe fits.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a familiar trope in Hollywood depictions of the art world, similar in spirit to the ever popular \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/sharp-objects-female-journalists-in-culture/567898/\" rel=\"noopener noreferrer\" target=\"_blank\">Unethical Female Journalist\u003c/a> (she sleeps with sources). In movies, the Unethical Art Critic/Curator (the two positions are interchangeable and often occupied simultaneously) is motivated solely by greed and power, and achieves status through lies, underhanded dealings and sometimes murder. Does he or she love art or respect artists? Seemingly no, or only so far as to acknowledge them as the means by which they make their ascents.\u003c/p>\n\u003cp>At the risk of being typecast, the Danish actor Claes Bang has now gifted audiences with two delightfully amoral depictions of an Unethical Art Critic/Curator, first as a museum director in 2017’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13814048/the-square-is-ruben-ostlunds-sanctuary-of-trust-and-caring\" rel=\"noopener noreferrer\" target=\"_blank\">The Square\u003c/a>\u003c/i> and now as James Figueras, a morally compromised critic in \u003ci>The Burnt Orange Heresy\u003c/i>, directed by Giuseppe Capotondi and based on a 1971 noir novel by Charles Willeford.\u003c/p>\n\u003cp>Capotondi transposes Willeford’s story of a professional art critic “as contemporary as the glaring Florida sun” from Palm Beach to Milan, and his characters exist in a modern, jetsetting milieu: Mick Jagger plays swaggering art dealer Joseph Cassidy, Donald Sutherland is the reclusive artist Jerome Debney and Elizabeth Debicki is a visitor from the States as Figueras’ romantic interest Berenice Hollis.\u003c/p>\n\u003cfigure id=\"attachment_13876544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/2_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Debicki as Berenice Hollis has a pure-heart-to-pure-heart with Donald Sutherland as Jerome Debney. \u003ccite>(Photo by Jose Haro; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the action takes place at Cassidy’s “summer cottage” on Lake Cuomo, an expansive palazzo where Debney has holed up after a studio fire claimed his life’s work. From the outset, there are schemes afoot. Cassidy wants a Debney painting. Figueras wants a career. Hollis is too tall and svelte to be an ordinary American human. Was that fire really an accident? \u003c/p>\n\u003cp>Figueras’ Unethical Art Critic is unsympathetic from the start, when we see him rehearsing a lecture he delivers to American tourists about the “power of the critic”—also the title of his book, copies for sale on the back table. He tells a story about an abstract expressionist painting, the image projected behind him, in an effort to convince the tourists unmoved by its nonrepresentational brushstrokes of its inherent, art historical value. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The keyword here is “story.” With a now-swayed audience, he reveals the entire narrative is a fabrication, claiming to have painted the image himself, on the fly, without a thought or care in the world. “And that’s why you should be careful with someone like me,” he concludes to applause. (The fact that his story involves twin siblings, the Holocaust and a suicide note renders the manipulation extra icky.) Hollis, witness to the performance, nonetheless goes home with him, making the first of many inexplicably bad decisions when it comes to this man. \u003c/p>\n\u003cfigure id=\"attachment_13876546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/11_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">James Figueras and Berenice Hollis enjoy a stroll along Lake Cuomo. I yell, ‘Run away!’ \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Burnt Orange Heresy\u003c/i> is not a knowing satire of the contemporary art scene in the vein of \u003ci>The Square\u003c/i>, nor is it an art heist thriller in the vein of \u003ci>The Thomas Crown Affair\u003c/i>, though it does contain an art heist (and a forgery!). It is a noir: cynical, fatalistic and populated by morally bankrupt characters. The pure of heart don’t stand a chance.\u003c/p>\n\u003cp>As much as I may take personal umbrage with the trope of the Unethical Art Critic, \u003ci>The Burnt Orange Heresy\u003c/i> does contain a) some satisfying twists; b) fun ideas for conceptual art; and c) Donald Sutherland stealing every one of his scenes. What’s perplexing and ultimately distracting is Hollis’ helplessness, and her attraction to a man any modern woman would instantly recognize as Bad News (and not in a fun way). I caught myself yelling at her throughout. \u003c/p>\n\u003cfigure id=\"attachment_13876548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/4._1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Cassidy hands Berenice Hollis an aperitivo! \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Hollis a \u003ca href=\"https://en.wikipedia.org/wiki/This_Sweet_Sickness\" rel=\"noopener noreferrer\" target=\"_blank\">Patricia Highsmith character\u003c/a> who somehow fell through space and time into the world of international art intrigue? Perhaps this is a symptom of the original source material, the era of its writing, or of the noir genre itself. (I’m trying to give screenwriter Scott Smith the benefit of the doubt here, but really.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film has a serious title that makes it seem a bit more substantial than it actually is. It turns out to be borrowed from one of Debney’s paintings. When \u003ca href=\"https://slate.com/human-interest/2017/06/actors-say-the-title-of-the-movie-theyre-in-the-video-compilation.html\" rel=\"noopener noreferrer\" target=\"_blank\">Hollis asks\u003c/a> the artist what the words mean, he says it’s “for the critics, those ravenous dogs, they can wear themselves chewing out on it, searching for meaning where there is none.” Aha! Then we remember burnt orange is also the color of an aperitivo—a light, thirst-quenching cocktail meant to whet your appetite for the real meal ahead. As Hollis would say with her Midwest folksy charm, “If the shoe fits.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Tom Hanks announced on social media Thursday that he and his wife, fellow actor Rita Wilson, have tested positive for the novel coronavirus that has infected tens of thousands worldwide since December.\u003c/p>\n\u003cp>On Instagram and in a tweet on Thursday local time, Hanks, who is in Australia for preproduction on an as-yet untitled film about Elvis Presley, said he and Wilson “felt a bit tired, like we had colds, and some body aches.”\u003c/p>\n\u003cp>“Rita had some chills that came and went. Slight fevers too,” Hanks wrote. “To play things right, as is needed in the world right now, we were tested for the Coronavirus, and were found to be positive.”\u003c/p>\n\u003cp>“Well, now, What to do next? The Medical Officials have protocols that must be followed. We Hanks’ will be tested, observed, and isolated for as long as public health and safety requires. Not much more to it than a one-day-at-a-time approach, no?” he wrote.[aside postid='science_1957877']\u003c/p>\n\u003cp>Hanks, a two-time Oscar winner, and Wilson are both 63, which places them in \u003ca href=\"https://www.worldometers.info/coronavirus/coronavirus-age-sex-demographics/\">a somewhat elevated risk category\u003c/a> from the disease COVID-19 that is caused by the coronavirus, which tends to be more serious in older individuals.\u003c/p>\n\u003cp>Although the disease has \u003ca href=\"https://hgis.uw.edu/virus/\">killed more than 4,500 people\u003c/a> worldwide since it was first identified in December in central China, most people who become infected show either mild or no symptoms. According to the \u003ca href=\"https://www.who.int/emergencies/diseases/novel-coronavirus-2019/situation-reports\">World Health Organization’s latest situation report\u003c/a>, dated March 11, there are a total of 112 confirmed cases of novel coronavirus infection in Australia, which has seen three deaths from the disease.\u003c/p>\n\u003cp>Hanks and Wilson had been on Australia’s Gold Coast, Queensland, preparing for the film shoot in which Hanks is set to play Presley’s longtime manager, Colonel Tom Parker, when the actor made the announcement.\u003c/p>\n\u003cp>\u003ca href=\"https://www.smh.com.au/culture/movies/tom-hanks-and-wife-rita-wilson-diagnosed-with-coronavirus-in-australia-20200312-p549dj.html\">The Sydney Morning Herald\u003c/a> quoted “a number of crew members” on the film who said that all production had been shut down.[aside postid='arts_13876160']\u003c/p>\n\u003cp>A statement from Warner Bros., which is producing the film, sent to \u003ca href=\"https://deadline.com/2020/03/tom-hanks-rita-wilson-test-positive-coronavirus-elvis-presley-movie-1202880431/\">Deadline.com\u003c/a> said the studio had “been made aware that a company member from our Elvis feature film … has tested positive for COVID-19 (coronavirus).”\u003c/p>\n\u003cp>“We are working closely with the appropriate Australian health agencies to identify and contact anyone who may have come in direct contact with the individual,” the statement said. “The health and safety of our company members is always our top priority, and we are taking precautions to protect everyone who works on our productions around the world.”\u003c/p>\n\u003cp>“The individual who tested positive for COVID-19 is currently receiving treatment,” the statement added. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks%2C+Wife+Rita+Wilson+Test+Positive+For+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Harvey Weinstein has been sentenced to 23 years in prison. Judge James Burke handed down the decision in a Manhattan courtroom Wednesday as the disgraced movie mogul watched, flanked by his legal team. \u003c/p>\n\u003cp>His 20-year sentence for a criminal sexual act, the more serious of the two counts he was convicted of \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\">last month\u003c/a>, is on the higher end of New York state’s guidelines. For the other count, rape in the third degree, Weinstein was sentenced to three years in prison.\u003c/p>\n\u003cp>The sentence Wednesday caps Weinstein’s precipitous fall from the heights of Hollywood, where for decades he brandished his power and influence like a blunt instrument — and allegedly sexually assaulted dozens of young women, intimidating them and others into silence.\u003c/p>\n\u003cp>Those allegations, which \u003ca href=\"https://www.npr.org/798222176\">gathered momentum\u003c/a> with the release of a pair of exposés in October 2017, landed him in court earlier this year to face his first criminal trial. The charges, including two counts of predatory sexual assault, could have led to him spending the rest of his life in prison — though jurors, after hearing weeks of arguments and deliberating another five days, acquitted him of the most serious charges.\u003c/p>\n\u003cp>Weinstein’s legal team cited this mixed verdict in its sentencing letter to the court, pointing out his charity work and \u003ca href=\"https://www.npr.org/804584532\">arguing that\u003c/a> two of the principal witnesses in the trial — Miriam Haley and Jessica Mann — offered “extremely complicated” descriptions of their relationships with Weinstein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Given his age and specific medical risk factors,” his attorneys said, “any additional term of imprisonment above the mandatory minimum — although the grave reality is that Mr. Weinstein may not even outlive that term — is likely to constitute a de facto life sentence.”\u003c/p>\n\u003cp>Weinstein displayed signs of poor health throughout the court hearings, which he attended with the aid of a walker. After his verdict was read — and before heading to the Rikers Island jail complex, where he awaited sentencing — authorities rerouted him to a hospital, where doctors placed a stent in his heart.\u003c/p>\n\u003cp>When he returned for his sentencing hearing Wednesday, he did so in a wheelchair.\u003c/p>\n\u003cp>Weinstein, who did not take the stand during the trial, did, however, speak to the court during the hearing. He compared himself to \u003ca href=\"https://www.npr.org/2015/11/06/454996142/bryan-cranston-becomes-blacklisted-screenwriter-dalton-trumbo-in-new-biopic\">Dalton Trumbo\u003c/a>, an American screenwriter who was notoriously blacklisted in the 1940s for being a member of the Communist Party. And Weinstein, whose alleged assaults help spur the #MeToo movement, which boosts the voices of survivors, compared environment it has created to the Red Scare.\u003c/p>\n\u003cp>“I’m worried about this country,” he said.\u003c/p>\n\u003cp>Prosecutors, for their part, argued against leniency by relating a list of deeply detailed allegations of sexual assault, harassment and other abuse dating back to the 1970s. In their letter to the judge, prosecutors said the examples bolstered the accounts offered by Mann, Haley and the four other women who \u003ca href=\"https://www.npr.org/802340962\">told their stories\u003c/a> on the witness stand.\u003c/p>\n\u003cp>“Rape is not that one moment of penetration,” Mann said in her statement to the court Wednesday. “It is forever.”\u003c/p>\n\u003cp>She and the five other women who testified that Weinstein assaulted them sat side-by-side together during the sentencing hearing as a gesture of solidarity. Among the group was Tarale Wulff, whose allegation of rape was not included in the charges but who nevertheless took the stand during the trial to support the prosecutors’ case.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://medium.com/@TaraleWulff/harvey-weinsteins-prison-sentence-can-never-heal-me-but-it-s-a-start-68d91feb9702?source=friends_link&sk=0fe62b935c20d5a8888d0ed242d4d32a\">published Tuesday\u003c/a>, she uttered a similar sentiment in hoping that Weinstein’s sentence “reflects what he has done to us.”\u003c/p>\n\u003cp>“Those events,” she wrote, “will continue to haunt me and the other survivors for the rest of our lives.”\u003c/p>\n\u003cp>Wednesday does not represent the last of Weinstein’s legal woes. Los Angeles prosecutors have \u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\">filed criminal charges\u003c/a> of their own against the former producer, alleging two incidents over a two-night period.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Sentenced+To+23+Years+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harvey Weinstein has been sentenced to 23 years in prison. Judge James Burke handed down the decision in a Manhattan courtroom Wednesday as the disgraced movie mogul watched, flanked by his legal team. \u003c/p>\n\u003cp>His 20-year sentence for a criminal sexual act, the more serious of the two counts he was convicted of \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\">last month\u003c/a>, is on the higher end of New York state’s guidelines. For the other count, rape in the third degree, Weinstein was sentenced to three years in prison.\u003c/p>\n\u003cp>The sentence Wednesday caps Weinstein’s precipitous fall from the heights of Hollywood, where for decades he brandished his power and influence like a blunt instrument — and allegedly sexually assaulted dozens of young women, intimidating them and others into silence.\u003c/p>\n\u003cp>Those allegations, which \u003ca href=\"https://www.npr.org/798222176\">gathered momentum\u003c/a> with the release of a pair of exposés in October 2017, landed him in court earlier this year to face his first criminal trial. The charges, including two counts of predatory sexual assault, could have led to him spending the rest of his life in prison — though jurors, after hearing weeks of arguments and deliberating another five days, acquitted him of the most serious charges.\u003c/p>\n\u003cp>Weinstein’s legal team cited this mixed verdict in its sentencing letter to the court, pointing out his charity work and \u003ca href=\"https://www.npr.org/804584532\">arguing that\u003c/a> two of the principal witnesses in the trial — Miriam Haley and Jessica Mann — offered “extremely complicated” descriptions of their relationships with Weinstein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Given his age and specific medical risk factors,” his attorneys said, “any additional term of imprisonment above the mandatory minimum — although the grave reality is that Mr. Weinstein may not even outlive that term — is likely to constitute a de facto life sentence.”\u003c/p>\n\u003cp>Weinstein displayed signs of poor health throughout the court hearings, which he attended with the aid of a walker. After his verdict was read — and before heading to the Rikers Island jail complex, where he awaited sentencing — authorities rerouted him to a hospital, where doctors placed a stent in his heart.\u003c/p>\n\u003cp>When he returned for his sentencing hearing Wednesday, he did so in a wheelchair.\u003c/p>\n\u003cp>Weinstein, who did not take the stand during the trial, did, however, speak to the court during the hearing. He compared himself to \u003ca href=\"https://www.npr.org/2015/11/06/454996142/bryan-cranston-becomes-blacklisted-screenwriter-dalton-trumbo-in-new-biopic\">Dalton Trumbo\u003c/a>, an American screenwriter who was notoriously blacklisted in the 1940s for being a member of the Communist Party. And Weinstein, whose alleged assaults help spur the #MeToo movement, which boosts the voices of survivors, compared environment it has created to the Red Scare.\u003c/p>\n\u003cp>“I’m worried about this country,” he said.\u003c/p>\n\u003cp>Prosecutors, for their part, argued against leniency by relating a list of deeply detailed allegations of sexual assault, harassment and other abuse dating back to the 1970s. In their letter to the judge, prosecutors said the examples bolstered the accounts offered by Mann, Haley and the four other women who \u003ca href=\"https://www.npr.org/802340962\">told their stories\u003c/a> on the witness stand.\u003c/p>\n\u003cp>“Rape is not that one moment of penetration,” Mann said in her statement to the court Wednesday. “It is forever.”\u003c/p>\n\u003cp>She and the five other women who testified that Weinstein assaulted them sat side-by-side together during the sentencing hearing as a gesture of solidarity. Among the group was Tarale Wulff, whose allegation of rape was not included in the charges but who nevertheless took the stand during the trial to support the prosecutors’ case.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://medium.com/@TaraleWulff/harvey-weinsteins-prison-sentence-can-never-heal-me-but-it-s-a-start-68d91feb9702?source=friends_link&sk=0fe62b935c20d5a8888d0ed242d4d32a\">published Tuesday\u003c/a>, she uttered a similar sentiment in hoping that Weinstein’s sentence “reflects what he has done to us.”\u003c/p>\n\u003cp>“Those events,” she wrote, “will continue to haunt me and the other survivors for the rest of our lives.”\u003c/p>\n\u003cp>Wednesday does not represent the last of Weinstein’s legal woes. Los Angeles prosecutors have \u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\">filed criminal charges\u003c/a> of their own against the former producer, alleging two incidents over a two-night period.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Sentenced+To+23+Years+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE: Festival organizers on Thursday \u003ca href=\"https://twitter.com/lightfieldfilm/status/1238115821286637568/photo/1\">announced\u003c/a> Light Field’s cancellation due to novel coronavirus-related concerns.\u003c/strong>\u003c/em> \u003c/p>\n\u003cp>Light Field, the artist-run film festival, has shown films that require fog in lieu of a screen. It’s shown films that require multiple projectors and films that require multiple projectors on opposite sides of a room. I’ve laid down at Light Field, looking up at temporal sculptures suspended in air. It’s often more accurate to say films projected at Light Field are performed instead of shown, really, and they accrete the material conditions of their exhibition like non-sentient collaborators. Outlandish bent aside, though, one lasting effect of Light Field’s experimental programming is enhanced alertness to the lines and shapes embedded in everyday imagery, and their emotional charge. [aside postID=arts_13874349,arts_13852717,arts_12318274]\u003c/p>\n\u003cp>The fourth annual \u003ca href=\"http://www.lightfieldfilm.org/\">Light Field\u003c/a> film festival runs this weekend, March 13-15, at The Lab in San Francisco. The program features an international cast of more than 50 artists, culled from hundreds of submissions by seven collective members. Light Field sprang from conversations at the \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">now-defunct\u003c/a> Black Hole Cinematheque, an underground film series in Oakland, and it differs from more established festivals in key ways. Submissions must be made for celluloid exhibition, but otherwise there’s no criteria; this year one film is 60 years old. There’s no submission fee. Artists receive stipends. Each program costs a modest $6-$10, and weekend passes are $25. \u003c/p>\n\u003cp>So what’s playing? \u003cem>Fever\u003c/em> (1998), a 16mm film by Chicago artist Paula Froehle, joins phantasmagoric closeups with a tactile score of murmuring inhalation to explore a mother-child bond troubled by illness. It’s on Program 7, curated by new collective member Patricia Ledesma Villon, with several stirring shorts meditating on delineated space: Tomonari Nishikawa’s \u003cem>Amusement Ride\u003c/em> (2019) shows the dense field of steel beams supporting a Ferris wheel, and Valentina Alvarado Matos’ \u003cem>El mar peinó a la orilla\u003c/em> (2019 traces an ocean horizon in paint. \u003cem>Locations\u003c/em> (2019), a Super 8 film by Bruno Delgado Ramo, seems to probe the limits of formal description through a diptych-like composition involving fissures and surveying equipment.\u003c/p>\n\u003cfigure id=\"attachment_13876255\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Muller_Alpsee.jpg\" alt=\"A still from Matthias Müller's 'Alpsee,' featured at the fourth annual Light Field film festival.\" width=\"1920\" height=\"1379\" class=\"size-full wp-image-13876255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-1020x733.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Matthias Müller’s ‘Alpsee,’ featured at the fourth annual Light Field film festival. \u003ccite>(Matthias Müller/Courtesy Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Villon’s program also includes \u003cem>Odds & Ends\u003c/em>, a 16mm film from 1959 by Jane Conger Belson Shimané, who’s often mentioned alongside her former husband Jordan Belson, the late experimental filmmaker based in San Francisco. Villon wanted her program to challenge the idea of the avant-garde’s boundless forward motion, a message sent most clearly by \u003cem>Odds & Ends\u003c/em>: It comprises a rush of familiar and abstract imagery while a voice-over babbles about jazz, poetry and grants in a perhaps uncomfortably resonant spoof of experimental filmmaking and beatnik culture. “It’s rumored the film led to the end of her relationship with Jordan,” Villon said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Light Field collective member Emily Chao, an Oakland filmmaker and curator, selected two half-hour pieces for Program 6 that share an interest in unfinished or unending projects: George Clark’s documentary-like \u003cem>Double Ghosts\u003c/em> (2019), shot in Chile and Taiwan, echoes an incomplete film by Raúl Ruiz, while Silvia das Fadas’ reverent \u003cem>The House is Yet to be Built\u003c/em> portrays architectural sites built with utopian intentions. They blur reportage and fantasy, Chao observed, and appeal to her sense of photographic images as fossils. “They’re both travelogues tracing a legacy or myth,” she said. “There’s a reactivation of forgotten spaces that happens.” \u003c/p>\n\u003cp>Program 2, curated by Tooth, a founding collective member, includes rarely-seen work by Marcelle Thirache, a French artist who painted directly onto Super 8 filmstrip in the 1980s and 1990s; and Paul Sharits, whose \u003cem>Tirgu Jiu\u003c/em> (1977), inspired by Brancusi sculptures, uses two projectors to produce a kinetic flickering effect. Trisha Low, the poet and performer, described a theme of containment in her program—dark and vivid in Matthias Müller’s \u003cem>Alpsee\u003c/em> and Mike Stoltz’s \u003cem>Something to Touch that is Not Corruption or Ashes or Dust\u003c/em>—that connects to broader ideas. “[Film] is marked by the touches of each person it passes through, hand to hand, each time it’s viewed,” she said. “In that sense it’s a magnet for contagion, it is made to be contaminated.” \u003c/p>\n\u003cfigure id=\"attachment_13876256\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Zinn-3.jpg\" alt=\"Stuart Moore's 'Zinn,' a film featured at Light Field, depicts the Dartmoor river.\" width=\"1920\" height=\"1303\" class=\"size-full wp-image-13876256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-1020x692.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stuart Moore’s ‘Zinn,’ a film featured at Light Field, depicts the Dartmoor river. \u003ccite>( Stuart Moore/Courtesy Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Light Field carries forward an experimental film tradition that’s struggling against cost-of-living and real estate pressure in the Bay Area. Tooth moved to New York last year after eviction ended Black Hole Cinematheque, and founding collective member Zachary Epcar now lives in Milwaukee. Running against this trend, however, is Shapeshifters Cinema and Brewery, a new exhibition space in Oakland. And the volunteer Light Field collective has actually doubled in size and begun to receive grant funding. It also has a strong relationship with Canyon Cinema, the important experimental film distributor in San Francisco. Tooth noted Dena Beard, director of the Lab, is an essential supporter. “After every festival she goes, ‘When are we doing it again?’” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Light Field collective, which also includes Samuel Breslin and Syd Staiti, generally collaborates on a “spectacle” program to conclude the festival with a challenge to the conventions of film exhibition. (In 2016 the festival ended \u003ca href=\"https://www.eastbayexpress.com/oakland/light-field-a-new-experimental-film-festival-promises-conical-visions-in-a-cave/Content?oid=5028815\">inside the sea cave\u003c/a> at Sutro Baths.) The parting provocation this year is \u003cem>The Eyes Empty and the Pupils Burning of Rage and Desire\u003c/em> by Luis Macias. The Spanish filmmaker, who’s presenting the piece live, manually advances black leader through two projectors while manipulating the lenses and bulbs. The light from the bulb singes the leader, destroying the film as it’s being projected. The idea, according to Macias, is to isolate the elements of a cinematograph device, resulting in a silent film “without image.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE: Festival organizers on Thursday \u003ca href=\"https://twitter.com/lightfieldfilm/status/1238115821286637568/photo/1\">announced\u003c/a> Light Field’s cancellation due to novel coronavirus-related concerns.\u003c/strong>\u003c/em> \u003c/p>\n\u003cp>Light Field, the artist-run film festival, has shown films that require fog in lieu of a screen. It’s shown films that require multiple projectors and films that require multiple projectors on opposite sides of a room. I’ve laid down at Light Field, looking up at temporal sculptures suspended in air. It’s often more accurate to say films projected at Light Field are performed instead of shown, really, and they accrete the material conditions of their exhibition like non-sentient collaborators. Outlandish bent aside, though, one lasting effect of Light Field’s experimental programming is enhanced alertness to the lines and shapes embedded in everyday imagery, and their emotional charge. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fourth annual \u003ca href=\"http://www.lightfieldfilm.org/\">Light Field\u003c/a> film festival runs this weekend, March 13-15, at The Lab in San Francisco. The program features an international cast of more than 50 artists, culled from hundreds of submissions by seven collective members. Light Field sprang from conversations at the \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">now-defunct\u003c/a> Black Hole Cinematheque, an underground film series in Oakland, and it differs from more established festivals in key ways. Submissions must be made for celluloid exhibition, but otherwise there’s no criteria; this year one film is 60 years old. There’s no submission fee. Artists receive stipends. Each program costs a modest $6-$10, and weekend passes are $25. \u003c/p>\n\u003cp>So what’s playing? \u003cem>Fever\u003c/em> (1998), a 16mm film by Chicago artist Paula Froehle, joins phantasmagoric closeups with a tactile score of murmuring inhalation to explore a mother-child bond troubled by illness. It’s on Program 7, curated by new collective member Patricia Ledesma Villon, with several stirring shorts meditating on delineated space: Tomonari Nishikawa’s \u003cem>Amusement Ride\u003c/em> (2019) shows the dense field of steel beams supporting a Ferris wheel, and Valentina Alvarado Matos’ \u003cem>El mar peinó a la orilla\u003c/em> (2019 traces an ocean horizon in paint. \u003cem>Locations\u003c/em> (2019), a Super 8 film by Bruno Delgado Ramo, seems to probe the limits of formal description through a diptych-like composition involving fissures and surveying equipment.\u003c/p>\n\u003cfigure id=\"attachment_13876255\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Muller_Alpsee.jpg\" alt=\"A still from Matthias Müller's 'Alpsee,' featured at the fourth annual Light Field film festival.\" width=\"1920\" height=\"1379\" class=\"size-full wp-image-13876255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Muller_Alpsee-1020x733.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Matthias Müller’s ‘Alpsee,’ featured at the fourth annual Light Field film festival. \u003ccite>(Matthias Müller/Courtesy Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Villon’s program also includes \u003cem>Odds & Ends\u003c/em>, a 16mm film from 1959 by Jane Conger Belson Shimané, who’s often mentioned alongside her former husband Jordan Belson, the late experimental filmmaker based in San Francisco. Villon wanted her program to challenge the idea of the avant-garde’s boundless forward motion, a message sent most clearly by \u003cem>Odds & Ends\u003c/em>: It comprises a rush of familiar and abstract imagery while a voice-over babbles about jazz, poetry and grants in a perhaps uncomfortably resonant spoof of experimental filmmaking and beatnik culture. “It’s rumored the film led to the end of her relationship with Jordan,” Villon said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Light Field collective member Emily Chao, an Oakland filmmaker and curator, selected two half-hour pieces for Program 6 that share an interest in unfinished or unending projects: George Clark’s documentary-like \u003cem>Double Ghosts\u003c/em> (2019), shot in Chile and Taiwan, echoes an incomplete film by Raúl Ruiz, while Silvia das Fadas’ reverent \u003cem>The House is Yet to be Built\u003c/em> portrays architectural sites built with utopian intentions. They blur reportage and fantasy, Chao observed, and appeal to her sense of photographic images as fossils. “They’re both travelogues tracing a legacy or myth,” she said. “There’s a reactivation of forgotten spaces that happens.” \u003c/p>\n\u003cp>Program 2, curated by Tooth, a founding collective member, includes rarely-seen work by Marcelle Thirache, a French artist who painted directly onto Super 8 filmstrip in the 1980s and 1990s; and Paul Sharits, whose \u003cem>Tirgu Jiu\u003c/em> (1977), inspired by Brancusi sculptures, uses two projectors to produce a kinetic flickering effect. Trisha Low, the poet and performer, described a theme of containment in her program—dark and vivid in Matthias Müller’s \u003cem>Alpsee\u003c/em> and Mike Stoltz’s \u003cem>Something to Touch that is Not Corruption or Ashes or Dust\u003c/em>—that connects to broader ideas. “[Film] is marked by the touches of each person it passes through, hand to hand, each time it’s viewed,” she said. “In that sense it’s a magnet for contagion, it is made to be contaminated.” \u003c/p>\n\u003cfigure id=\"attachment_13876256\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Zinn-3.jpg\" alt=\"Stuart Moore's 'Zinn,' a film featured at Light Field, depicts the Dartmoor river.\" width=\"1920\" height=\"1303\" class=\"size-full wp-image-13876256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-3-1020x692.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stuart Moore’s ‘Zinn,’ a film featured at Light Field, depicts the Dartmoor river. \u003ccite>( Stuart Moore/Courtesy Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Light Field carries forward an experimental film tradition that’s struggling against cost-of-living and real estate pressure in the Bay Area. Tooth moved to New York last year after eviction ended Black Hole Cinematheque, and founding collective member Zachary Epcar now lives in Milwaukee. Running against this trend, however, is Shapeshifters Cinema and Brewery, a new exhibition space in Oakland. And the volunteer Light Field collective has actually doubled in size and begun to receive grant funding. It also has a strong relationship with Canyon Cinema, the important experimental film distributor in San Francisco. Tooth noted Dena Beard, director of the Lab, is an essential supporter. “After every festival she goes, ‘When are we doing it again?’” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Light Field collective, which also includes Samuel Breslin and Syd Staiti, generally collaborates on a “spectacle” program to conclude the festival with a challenge to the conventions of film exhibition. (In 2016 the festival ended \u003ca href=\"https://www.eastbayexpress.com/oakland/light-field-a-new-experimental-film-festival-promises-conical-visions-in-a-cave/Content?oid=5028815\">inside the sea cave\u003c/a> at Sutro Baths.) The parting provocation this year is \u003cem>The Eyes Empty and the Pupils Burning of Rage and Desire\u003c/em> by Luis Macias. The Spanish filmmaker, who’s presenting the piece live, manually advances black leader through two projectors while manipulating the lenses and bulbs. The light from the bulb singes the leader, destroying the film as it’s being projected. The idea, according to Macias, is to isolate the elements of a cinematograph device, resulting in a silent film “without image.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "CANCELED: Now Playing! Light Field Trips Out on Celluloid at The Lab",
"headTitle": "CANCELED: Now Playing! Light Field Trips Out on Celluloid at The Lab | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"http://www.lightfieldfilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">canceled\u003c/a> due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Bay Area is thick with visiting filmmakers this week, barring last-minute changes on account of the coronavirus. (To wit, the International Ocean Film Festival, scheduled for March 12–15, just announced its postponement.) Topping the list is \u003ca href=\"https://bampfa.org/program/afterimage-souleymane-cisse\" rel=\"noopener noreferrer\" target=\"_blank\">Souleymane Cissé\u003c/a>, the Malian director who’s achieved African immortality and an international reputation via just nine films. Cissé, who turns 80 in a month, graces BAMPFA’s \u003ca href=\"https://bampfa.org/program/african-film-festival-2020\" rel=\"noopener noreferrer\" target=\"_blank\">African Film Festival\u003c/a> (continuing through May 8) with discussions and screenings of his 1987 masterwork \u003cem>Brightness\u003c/em> (March 12), 1978’s \u003cem>Baara\u003c/em> (March 14) and 1982’s \u003cem>The Wind\u003c/em> (March 15).\u003c/p>\n\u003cp>Over the course of eight independent features since 1994, writer-director Kelly Reichardt has exposed and examined the alienation and betrayal of ordinary Americans in Western locales both scenic and barren. The Bay Area release this weekend of what’s shaping up to be her biggest theatrical success, \u003cem>First Cow\u003c/em>, brings Reichardt to the Smith Rafael Film Center (March 12) and the \u003ca href=\"https://www.roxie.com/ai1ec_event/certain-women/?instance_id=40032\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> (March 14), the latter with her underseen \u003cem>Certain Women\u003c/em> (2016).\u003c/p>\n\u003cfigure id=\"attachment_13876235\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Zinn-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"839\" class=\"size-full wp-image-13876235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-1020x713.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Stuart Moore’s ‘Zinn,’ 2018. \u003ccite>(Stuart Moore/Courtesy Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thelab.org/projects/2020/3/13/light-field\" rel=\"noopener noreferrer\" target=\"_blank\">Light Field\u003c/a>, the eclectic and invigorating annual exhibition of art on celluloid at The Lab (March 13–15), will host a number of Bay Area filmmakers, with a smaller turnout from further afield. That shouldn’t stop anyone with an abiding love—aesthetic, experiential or nostalgic—for the medium of film. And yes, film absolutely still exists, as do many artists around the world in thrall to its properties and possibilities.\u003c/p>\n\u003cp>One waxes rhapsodically about the unique and ephemeral qualities of celluloid at the risk of sounding like a Luddite, a Flintstone or an academic. Either you get the gritty, grainy realness of film or you don’t—until, that is, you see that British filmmaker Stuart Moore’s exquisite shots of undulating riverbeds in \u003cem>Zinn\u003c/em> have a texture and depth that transcends simply capturing a moment. It’s the difference between, say, an etching and a snapshot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even snapshots have more gravity on celluloid. In \u003cem>Borgo\u003c/em>, Lucie Leszez shuffles black-and-white snippets of Bologna like pages in an old scrapbook. Sandra Davis filmed her crackling 1988 opus of nature’s and man’s mysteries, \u003cem>An Architecture of Desire\u003c/em>, in Chicago’s posh Graceland Cemetery and in the ancient Anasazi homeland of Chaco Canyon (New Mexico). Portuguese filmmaker Sílvia das Fadas is even more ambitious, creating the docu-essay \u003cem>A casa, a verdadeira e a seguinte, ainda está por fazer\u003c/em> (\u003cem>The House Is Yet to Be Built\u003c/em>) from texts by the likes of Brecht and footage she shot at unusual public art structures in various countries. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of these years, you’ll only be able to see a film projected in a museum or a basement (after the revolution, and only if you know the password). This weekend, incredibly, you only have to go to 16th and Capp.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"http://www.lightfieldfilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">canceled\u003c/a> due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The Bay Area is thick with visiting filmmakers this week, barring last-minute changes on account of the coronavirus. (To wit, the International Ocean Film Festival, scheduled for March 12–15, just announced its postponement.) Topping the list is \u003ca href=\"https://bampfa.org/program/afterimage-souleymane-cisse\" rel=\"noopener noreferrer\" target=\"_blank\">Souleymane Cissé\u003c/a>, the Malian director who’s achieved African immortality and an international reputation via just nine films. Cissé, who turns 80 in a month, graces BAMPFA’s \u003ca href=\"https://bampfa.org/program/african-film-festival-2020\" rel=\"noopener noreferrer\" target=\"_blank\">African Film Festival\u003c/a> (continuing through May 8) with discussions and screenings of his 1987 masterwork \u003cem>Brightness\u003c/em> (March 12), 1978’s \u003cem>Baara\u003c/em> (March 14) and 1982’s \u003cem>The Wind\u003c/em> (March 15).\u003c/p>\n\u003cp>Over the course of eight independent features since 1994, writer-director Kelly Reichardt has exposed and examined the alienation and betrayal of ordinary Americans in Western locales both scenic and barren. The Bay Area release this weekend of what’s shaping up to be her biggest theatrical success, \u003cem>First Cow\u003c/em>, brings Reichardt to the Smith Rafael Film Center (March 12) and the \u003ca href=\"https://www.roxie.com/ai1ec_event/certain-women/?instance_id=40032\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> (March 14), the latter with her underseen \u003cem>Certain Women\u003c/em> (2016).\u003c/p>\n\u003cfigure id=\"attachment_13876235\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Zinn-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"839\" class=\"size-full wp-image-13876235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Zinn-1_1200-1020x713.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Stuart Moore’s ‘Zinn,’ 2018. \u003ccite>(Stuart Moore/Courtesy Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thelab.org/projects/2020/3/13/light-field\" rel=\"noopener noreferrer\" target=\"_blank\">Light Field\u003c/a>, the eclectic and invigorating annual exhibition of art on celluloid at The Lab (March 13–15), will host a number of Bay Area filmmakers, with a smaller turnout from further afield. That shouldn’t stop anyone with an abiding love—aesthetic, experiential or nostalgic—for the medium of film. And yes, film absolutely still exists, as do many artists around the world in thrall to its properties and possibilities.\u003c/p>\n\u003cp>One waxes rhapsodically about the unique and ephemeral qualities of celluloid at the risk of sounding like a Luddite, a Flintstone or an academic. Either you get the gritty, grainy realness of film or you don’t—until, that is, you see that British filmmaker Stuart Moore’s exquisite shots of undulating riverbeds in \u003cem>Zinn\u003c/em> have a texture and depth that transcends simply capturing a moment. It’s the difference between, say, an etching and a snapshot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even snapshots have more gravity on celluloid. In \u003cem>Borgo\u003c/em>, Lucie Leszez shuffles black-and-white snippets of Bologna like pages in an old scrapbook. Sandra Davis filmed her crackling 1988 opus of nature’s and man’s mysteries, \u003cem>An Architecture of Desire\u003c/em>, in Chicago’s posh Graceland Cemetery and in the ancient Anasazi homeland of Chaco Canyon (New Mexico). Portuguese filmmaker Sílvia das Fadas is even more ambitious, creating the docu-essay \u003cem>A casa, a verdadeira e a seguinte, ainda está por fazer\u003c/em> (\u003cem>The House Is Yet to Be Built\u003c/em>) from texts by the likes of Brecht and footage she shot at unusual public art structures in various countries. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of these years, you’ll only be able to see a film projected in a museum or a basement (after the revolution, and only if you know the password). This weekend, incredibly, you only have to go to 16th and Capp.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Actor Max Von Sydow, From Bergman to 'Game of Thrones'",
"headTitle": "Remembering Actor Max Von Sydow, From Bergman to ‘Game of Thrones’ | KQED",
"content": "\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” [aside postid=\"arts_13876121\"]\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. [aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\n\u003cp>https://youtu.be/gn5QmllRCn4\u003c/p>\n\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gn5QmllRCn4'\n title='//www.youtube.com/embed/gn5QmllRCn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This event has been postponed due to coronavirus concerns. Rescheduling to a later date is planned. For more, see \u003ca href=\"https://wattis.org/view?id=886\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>Once it’s pointed out, it’s hard to unsee: Asian futures without Asian people. In 2019, Oakland curator and artist Astria Suparak started cataloguing the trope (a form of \u003ca href=\"https://www.rutgersuniversitypress.org/techno-orientalism/9780813570631\" rel=\"noopener noreferrer\" target=\"_blank\">techno-orientalism\u003c/a>) in science fiction films made by white directors. \u003c/p>\n\u003cp>She found scores of movies and television shows depicting futures filled with Asian culture (red lanterns hanging across alleys, samurai swords in evil lairs, women wearing cheongsams, signs in Arabic script), but devoid of the people actually responsible for that culture. \u003c/p>\n\u003cp>In an illustrated talk derived from this research, Suparak promises “trivia, anecdotes, musings and details from the histories of architecture, fashion, design and film.” The event is part of the Wattis Institute’s \u003ca href=\"https://wattis.org/view?id=711\" rel=\"noopener noreferrer\" target=\"_blank\">ongoing series\u003c/a> addressing the work and influence of filmmaker, writer, composer and UC Berkeley professor Trinh T. Minh-ha. A quote from her 1989 film \u003ci>Surname Viet Given Name Nam\u003c/i> sets the tone for Suparak’s discussion: “Media images are the continuation of war by other means. Immersed in the machinery, part of the special effect, no critical distance.”\u003c/p>\n\u003cp>The talk “Asian Futures, Without Asians” is Suparak’s critical distance. Examining the imagery in movies like Luc Besson’s \u003ci>The Fifth Element\u003c/i>, with examples that stretch from the 1970s to present-day sci-fi, she asks the audience a crucial question: What does it mean to absorb visions of the future that decontextualize Asian culture from its very people? \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The other day I went to a party and wound up talking to some millennials who are backing Bernie Sanders. The conversation turned to the movies \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a>, and one of them wondered if the popularity of their shared theme—the abyss between the haves and have nots—meant we might be returning to the rebellious 1960s.\u003c/p>\n\u003cp>He would find further evidence for this thesis in \u003cem>Bacurau\u003c/em>, a funny, violent, unexpectedly moving Brazilian movie that won the Jury Prize at Cannes last spring. Written and directed by Kleber Mendonça Filho and Juliano Dornelles, \u003cem>Bacurau\u003c/em> is a genre-busting entertainment that is at once a portrait of a community, a horror thriller and a timely piece of political filmmaking.\u003c/p>\n\u003cp>The story is set “a few years from now” in the huge area of northeastern Brazil known as the \u003cem>sertão\u003c/em>, an arid, hardscrabble backlands akin to our Wild West. As the action begins, a 30-ish woman named Teresa (Bárbara Colen) returns to her tiny hometown of Bacurau to attend the funeral of her grandmother.\u003c/p>\n\u003cp>Bacurau is a poor, isolated, slightly magical Latin American town, like Gabriel García-Márquez’s Macondo, that is just bursting with the stuff of life, from music and brothels to a museum rich with local history.\u003c/p>\n\u003cp>At first, things seem normal in Bacurau, whose tolerant life the filmmakers show us quietly and affectionately. The grandmother is buried in a heartfelt ceremony. The local doctor, played by the wonderful actress Sônia Braga, dispenses medicine when she’s not fulminating drunkenly. And Teresa hooks up with a folk-hero crook, Pacote, played by hunky Thomas Aquino, whose crimes are shown on a big-screen TV in the center of town. Everyone’s main gripe is that the smarmy regional mayor, named Tony Junior, has diverted the local water supply.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKTejyk9ZIA\u003c/p>\n\u003cp>Then ominous things start happening: Bacurau disappears from Google Maps; a UFO keeps flying overhead; a water truck is riddled with bullet holes. And what are we to make of those mysterious American tourists staying in a house outside of town? It can’t be a good sign that their guide is the German actor, Udo Kier, whose brand is amorality.\u003c/p>\n\u003cp>Now, \u003cem>Bacurau\u003c/em> is one of those movies like \u003cem>Parasite\u003c/em>—or Mendonça’s brilliant debut \u003cem>Neighboring Sounds\u003c/em>—where you’re never quite sure which way it’s heading. And just like \u003cem>Parasite\u003c/em>, it’s one of those rare movies that manages to be both devoutly national \u003cem>and\u003c/em> universal.\u003c/p>\n\u003cp>On one hand, the film is unabashedly Brazilian, from its opening song by Tropicália chanteuse Gal Costa to its nods to Brazil’s radical Cinema Novo movement of the 1960s. Brazilian audiences know that it’s tweaking their president, \u003ca href=\"https://www.npr.org/2018/12/31/680648942/jair-bolsonaro-a-polarizing-figure-prepares-to-become-brazils-president\">Jair Bolsonaro\u003c/a>, a virulently anti-liberal populist who makes Donald Trump look mellow.\u003c/p>\n\u003cp>Yet viewers here will have no trouble following \u003cem>Bacurau\u003c/em>‘s cockeyed plot, enjoying its excellent jokes or understanding the power dynamic it’s portraying—though Americans may be startled to see a film in which \u003cem>we\u003c/em> are the bad guys. Not that this is any kind of anti-American screed, mind you. While the movie’s not so fond of gun-crazy Yanks, it’s clearly steeped in a passion for American pop culture.\u003c/p>\n\u003cp>If you’ve ever seen a Western, you’ll know the action is building to a grand showdown, one that Mendonça and Dornelles make not just exciting but politically charged. Faced with danger from the outside, the community bands together to fight back against whoever is coming after them. Grabbing weapons old and new, they draw on their long local tradition of resistance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a political fable, \u003cem>Bacurau\u003c/em> isn’t what you’d call subtle, though it \u003cem>is\u003c/em> emotionally satisfying in its Tarantino-esque fantasy of history’s outsiders fighting back against those who’ve been crushing them. But unlike Tarantino, the filmmakers are driven by an underlying moral seriousness. Their use of violence isn’t heartlessly gleeful—you feel the human weight of people dying—and the movie’s point isn’t the killing. In fact, beneath its exploitation film trappings, \u003cem>Bacurau\u003c/em> is actually a film about dignity. 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"content": "\u003cp>\u003ci>The March 8–15 events have been postponed to Aug. 16–30 due to coronavirus concerns. For more, see \u003ca href=\"https://www.cinequest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>The watchword at the \u003ca href=\"https://www.cinequest.org\" rel=\"noopener noreferrer\" target=\"_blank\">Cinequest Film & Creativity Festival\u003c/a> (March 3–15 at several South Bay venues), from its inception 30 years ago up to and including this year’s quirky bash, is “independent.” \u003c/p>\n\u003cp>The vision’s the thing at Cinequest, and the artist, the author, the \u003cem>auteur\u003c/em> is king/queen. That doesn’t mean a program of wall-to-wall art films, mind you, as one deduces from the picturesque titles \u003cem>Uncle Peckerhead\u003c/em> (Matthew John Lawrence’s heartfelt saga of a punk band with a cannibal roadie) and \u003cem>Fried Barry\u003c/em> (Ryan Kruger’s frantic Cape Town travelogue, as experienced by an extraterrestrial who takes a trip inside a drug addict).\u003c/p>\n\u003cfigure id=\"attachment_13875902\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/FriedBarry_1000x416.jpg\" alt=\"\" width=\"1000\" height=\"416\" class=\"size-full wp-image-13875902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/FriedBarry_1000x416.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/FriedBarry_1000x416-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/FriedBarry_1000x416-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/FriedBarry_1000x416-768x319.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Fried Barry.’ \u003ccite>(Courtesy of Cinequest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where most programmers seek out the top films from the international festival circuit, Cinequest’s team beats the digital-video bushes for the most iconoclastic. That means an extraordinary number of world premieres, most of which will never screen again in the Bay Area. (Because they lack stars? Or aren’t commercial for other reasons? Or aren’t entirely successful? Yes.)\u003c/p>\n\u003cp>Cinequest’s generous audience, though, is on board for the risk and reward of checking out new, and often raw, talent. (The theme of this year’s Cinequest is “elation,” which includes the thrill of discovery.) Expect a crowd at the world premiere of Adam Mervis’ \u003cem>The Last Days of Capitalism\u003c/em>, a no-holds-barred roundelay of class, power and passion between a wealthy man and a sex worker that unfolds in a Las Vegas penthouse suite. Ditto for Andre Welsh’s \u003cem>Disrupted\u003c/em> (another world premiere), though moviegoers primed for an inspiring tech primer will be surprised by an Oakland parolee’s journey through the past on the trail of his wife’s killer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cinequest has asserted its identity and spirit from the beginning through its unpredictable Maverick Spirit Awards. This year’s honorees include Asian-American actress Hong Chau, who has a key supporting role as the mother of a young boy who bonds with an elderly neighbor (Brian Dennehy) in \u003cem>Driveways\u003c/em>, Andrew Ahn’s follow-up to his intimate debut \u003cem>Spa Night\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13875903\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Resistance_1000x416.jpg\" alt=\"\" width=\"1000\" height=\"416\" class=\"size-full wp-image-13875903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416-768x319.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Eisenberg in ‘Resistance.’ \u003ccite>(Courtesy of Cinequest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daring to infuse Beat Generation rhythms and dance into Silicon Valley “culture,” Cinequest salutes writer and poet ruth weiss with the Maverick Spirit Award before Melody C. Miller’s artful and revelatory documentary, \u003cem>ruth weiss, the beat goddess\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it’s Hollywood star wattage you crave, Jesse Eisenberg treks to Northern California to accept his Maverick Spirit Award before the March 15 closing night screening of \u003cem>Resistance\u003c/em>, a wartime thriller in which the honoree plays a young, pre-mime Marcel Marceau (with Ed Harris as Gen. George Patton!) striving to smuggle Jewish children from the clutches of the Nazis. Expect elation, and iconoclasm—from Eisenberg’s acceptance speech, certainly, and perhaps from the film.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cinequest has asserted its identity and spirit from the beginning through its unpredictable Maverick Spirit Awards. This year’s honorees include Asian-American actress Hong Chau, who has a key supporting role as the mother of a young boy who bonds with an elderly neighbor (Brian Dennehy) in \u003cem>Driveways\u003c/em>, Andrew Ahn’s follow-up to his intimate debut \u003cem>Spa Night\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13875903\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Resistance_1000x416.jpg\" alt=\"\" width=\"1000\" height=\"416\" class=\"size-full wp-image-13875903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Resistance_1000x416-768x319.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Eisenberg in ‘Resistance.’ \u003ccite>(Courtesy of Cinequest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daring to infuse Beat Generation rhythms and dance into Silicon Valley “culture,” Cinequest salutes writer and poet ruth weiss with the Maverick Spirit Award before Melody C. Miller’s artful and revelatory documentary, \u003cem>ruth weiss, the beat goddess\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it’s Hollywood star wattage you crave, Jesse Eisenberg treks to Northern California to accept his Maverick Spirit Award before the March 15 closing night screening of \u003cem>Resistance\u003c/em>, a wartime thriller in which the honoree plays a young, pre-mime Marcel Marceau (with Ed Harris as Gen. George Patton!) striving to smuggle Jewish children from the clutches of the Nazis. Expect elation, and iconoclasm—from Eisenberg’s acceptance speech, certainly, and perhaps from the film.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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