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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>\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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"title": "The Bay Area Braces for Coronavirus Closures and Cancellations",
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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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"title": "'Onward': Timid Teen On A Mythic Quest For Elf-Assurance",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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. It takes a backwater community whose members are normally seen as simple or marginal and treats them with the respect they deserve.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mysterious+Events+Disturb+A+Small+Brazilian+Town+In+Genre-Busting+%27Bacurau%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/LKTejyk9ZIA'\n title='//www.youtube.com/embed/LKTejyk9ZIA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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. It takes a backwater community whose members are normally seen as simple or marginal and treats them with the respect they deserve.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mysterious+Events+Disturb+A+Small+Brazilian+Town+In+Genre-Busting+%27Bacurau%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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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"title": "Watch 'Star Wars' Actor John Boyega Hilariously Hate On Hollywood Workouts",
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"content": "\u003cp>Hollywood has been making the rest of the world feel terrible about flab since movies were invented. And despite the fact that Brad Pitt’s \u003ca href=\"https://www.highsnobiety.com/2017/07/31/brad-pitt-fight-club-workout/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fight Club\u003c/em> abs\u003c/a> are now the standard for actors, and Ryan Gosling looks so Photoshopped that it’s been \u003ca href=\"https://www.youtube.com/watch?v=BoeeyY5iPHg\" target=\"_blank\" rel=\"noopener noreferrer\">worked into his scripts\u003c/a> for comedy, the rest of the world remains largely in the dark as to how actors actually maintain their physique.\u003c/p>\n\u003cp>Enter John Boyega, the 27-year-old East Londoner most famous for playing Finn in \u003cem>Star Wars\u003c/em>. Boyega just shared a workout video to Instagram that is equal parts relatable and hilarious, and tells regular folks in no uncertain terms that working out “six days a week” is as awful as it sounds.\u003c/p>\n\u003cp>“Why can’t Hollywood accept me for who I am?” he comedically sobs at the beginning. He then demonstrates how to trick a trainer into leaving him alone because he’s “too tired for this shit,” openly fantasizes about being “fat” and having “a lovely wife who loves me for who I am,” and finally forces his unimpressed trainer to tell him he’s proud of him (when he’s clearly not).\u003c/p>\n\u003cp>It is comforting, in a world more accustomed to seeing 50-year-old Jennifer Lopez \u003ca href=\"https://www.youtube.com/watch?v=sfHGLS5Xv_Q\" target=\"_blank\" rel=\"noopener noreferrer\">effortlessly planking\u003c/a> halfway up a pole and Kardashians \u003ca href=\"https://www.youtube.com/watch?v=JGQeGaYACT0\" target=\"_blank\" rel=\"noopener noreferrer\">happily lunging\u003c/a> around their backyards, to know that some celebrities despise working out as much as the rest of us.\u003c/p>\n\u003cp>Enjoy every painful moment with Boyega in the clip below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/B9J7Bs6nOsN/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood has been making the rest of the world feel terrible about flab since movies were invented. And despite the fact that Brad Pitt’s \u003ca href=\"https://www.highsnobiety.com/2017/07/31/brad-pitt-fight-club-workout/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fight Club\u003c/em> abs\u003c/a> are now the standard for actors, and Ryan Gosling looks so Photoshopped that it’s been \u003ca href=\"https://www.youtube.com/watch?v=BoeeyY5iPHg\" target=\"_blank\" rel=\"noopener noreferrer\">worked into his scripts\u003c/a> for comedy, the rest of the world remains largely in the dark as to how actors actually maintain their physique.\u003c/p>\n\u003cp>Enter John Boyega, the 27-year-old East Londoner most famous for playing Finn in \u003cem>Star Wars\u003c/em>. Boyega just shared a workout video to Instagram that is equal parts relatable and hilarious, and tells regular folks in no uncertain terms that working out “six days a week” is as awful as it sounds.\u003c/p>\n\u003cp>“Why can’t Hollywood accept me for who I am?” he comedically sobs at the beginning. He then demonstrates how to trick a trainer into leaving him alone because he’s “too tired for this shit,” openly fantasizes about being “fat” and having “a lovely wife who loves me for who I am,” and finally forces his unimpressed trainer to tell him he’s proud of him (when he’s clearly not).\u003c/p>\n\u003cp>It is comforting, in a world more accustomed to seeing 50-year-old Jennifer Lopez \u003ca href=\"https://www.youtube.com/watch?v=sfHGLS5Xv_Q\" target=\"_blank\" rel=\"noopener noreferrer\">effortlessly planking\u003c/a> halfway up a pole and Kardashians \u003ca href=\"https://www.youtube.com/watch?v=JGQeGaYACT0\" target=\"_blank\" rel=\"noopener noreferrer\">happily lunging\u003c/a> around their backyards, to know that some celebrities despise working out as much as the rest of us.\u003c/p>\n\u003cp>Enjoy every painful moment with Boyega in the clip below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. [aside postID=arts_13861153,arts_13875113,arts_13866026,arts_13861121]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=1lJRPZLuY9c&w=560&h=315]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>\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/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The film director Frederico Fellini is often thought of as heady, art-film neorealist auteur, dealing in heavy themes. So imagine my surprise when, a Sunday morning a few years ago, my six-year-old daughter noticed my DVD copy of Fellni’s film \u003cem>La Strada\u003c/em>, asked me about the people on the cover, then sat down and watched it with me—and \u003cem>loved\u003c/em> it.\u003c/p>\n\u003cp>The truth is that for all his seriousness, Fellini was frequently funny and childlike in his directing style. Now, to celebrate the centennial of the director’s birth, the Castro Theater hosts \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fellini 100\u003c/a>, an all-day celebration with four Fellini films: \u003cem>La Strada, Juliet of the Spirits, Amarcord, and I Vitelloni\u003c/em>. I may be biased, but if you’re a newcomer to Fellini’s work, start with \u003cem>La Strada\u003c/em>—a charming, slightly dark movie about a brutish traveling strongman and his partner, with brilliant star roles for Anthony Quinn and Guilietta Masina. Fellini 100 gets underway on Saturday, March 7, at the Castro Theater in San Francisco. \u003ca href=\"http://www.cinemaitaliasf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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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"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. ",
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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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": {
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"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?",
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"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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"perspectives": {
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"order": 14
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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.",
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"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",
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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",
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},
"pri-the-world": {
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"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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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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