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"content": "\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. 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Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the viscerally unnerving films of Ari Aster, there’s nothing more horrific than the reality of human grief. His haunted-house thriller, \u003ca href=\"https://www.npr.org/2018/06/06/617500062/a-family-moves-from-tragedy-to-terror-in-hereditary\" target=\"_blank\" rel=\"noopener\">\u003cem>Hereditary\u003c/em>\u003c/a>, followed a family rocked by traumas so devastating that the eventual scenes of devil-worshipping naked boogeymen almost came as a relief. Aster’s new movie, \u003cem>Midsommar\u003c/em>, doesn’t pack quite as terrifying a knockout punch, but it casts its own weirdly hypnotic spell. This is a slow-burning and deeply absorbing piece of filmmaking, full of strikingly beautiful images and driven less by shocks than ideas. It’s not interested in frightening you so much as seeping into your nervous system.\u003c/p>\n\u003cp>[aside postID='arts_13834624,pop_112213' label='Ari Aster, Auteur']\u003c/p>\n\u003cp>And like \u003cem>Hereditary\u003c/em>, \u003cem>Midsommar \u003c/em>is very much rooted in loss. It begins with a young American woman named Dani, played by the great English actress Florence Pugh, panicking over a family emergency that moves swiftly toward its worst possible outcome. As she tries to pick up the broken pieces of her life, Dani seeks solace from her boyfriend, Christian, and is surprised to learn that he’s about to go on a trip with some of his grad-school buddies. They’re headed to a remote Swedish commune that is holding a nine-day festival to observe the summer solstice. Dani presses him about why he didn’t tell her earlier, and an argument ensues.\u003c/p>\n\u003cp>The handsome Irish actor Jack Reynor clues you in to the selfishness beneath Christian’s quiet, sensitive-sounding demeanor. Dani doesn’t know that he was about to end their four-year relationship before tragedy struck, and he’s only staying with her now out of a sense of obligation. Christian reluctantly invites her to join him in Sweden, and she accepts, to the irritation of some of his friends, who don’t want his mopey girlfriend along to spoil their fun.\u003c/p>\n\u003cp>They fly to Sweden and, after a few hours’ drive, arrive at a remote, centuries-old village where they are greeted by about 60 men and women wearing white robes embroidered with mysterious symbols. They are known as the Hårga, and they invite their American guests to participate in each day’s festivities, which include lavish feasts, silent meditations, exhausting maypole dances and the consumption of various mind-altering drugs. Aster has a gift for dreaming up fictitious subcultures, and he visualizes these ancient customs and artifacts with an almost anthropological attention to detail. The Hårga seem benevolent enough at first, and there’s something comforting about their strange rituals and their intimate communion with nature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/1Vnghdsjmd0\u003c/p>\n\u003cp>But then the mood takes a sinister turn and Dani and Christian’s traveling companions start to disappear. The story owes a clear debt to\u003cem> The Wicker Man\u003c/em>, Robin Hardy’s 1973 horror classic about a pagan fertility cult, but \u003cem>Midsommar \u003c/em>is more ambiguous and slower to come into focus. This is a nightmare that unfolds in broad daylight, under a midnight sun that bears down relentlessly on the landscape. The sun could almost be a metaphor for Dani’s grief, something ever-present and all-consuming, especially since Christian seems to take so little interest in consoling her.\u003c/p>\n\u003cp>Aster has said that he was inspired to write \u003cem>Midsommar \u003c/em>after the end of a long-term relationship, and that Dani’s experience is a fictionalized version of his own. Whatever the real-life details, he’s made the ultimate bad-boyfriend movie, a withering portrait of emotional neglect that has nothing nice to say about Christian, his petty-minded friends or, indeed, the state of contemporary American masculinity. \u003c/p>\n\u003cp>Among other things, \u003cem>Midsommar \u003c/em>is a wickedly funny movie about the clash between pagan traditions and the ways of the modern world. One of its more provocative notions is that Dani may in fact be better off with the Hårga, with their seemingly selfless, utopian way of life. Sex and death, a source of so much pain and anxiety in the outside world, are here just part of life’s unending cycle.\u003c/p>\n\u003cp>\u003cem>Midsommar \u003c/em>is in no rush to solve its many mysteries. The third act is full of surreal images of revelry and ritual sacrifice, plus a sex scene that’s as hilarious as it is appalling. What you remember most is Pugh’s quietly mesmerizing performance. Your sympathies are with Dani at every moment, and so are the movie’s. Toward the end she fixes the camera with an extraordinary look of terror and exultation, as she beholds the stunning fate that awaits her. Her story may begin in heartbreak and end in madness, but Aster ensures that she gets the last laugh. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the viscerally unnerving films of Ari Aster, there’s nothing more horrific than the reality of human grief. His haunted-house thriller, \u003ca href=\"https://www.npr.org/2018/06/06/617500062/a-family-moves-from-tragedy-to-terror-in-hereditary\" target=\"_blank\" rel=\"noopener\">\u003cem>Hereditary\u003c/em>\u003c/a>, followed a family rocked by traumas so devastating that the eventual scenes of devil-worshipping naked boogeymen almost came as a relief. Aster’s new movie, \u003cem>Midsommar\u003c/em>, doesn’t pack quite as terrifying a knockout punch, but it casts its own weirdly hypnotic spell. This is a slow-burning and deeply absorbing piece of filmmaking, full of strikingly beautiful images and driven less by shocks than ideas. It’s not interested in frightening you so much as seeping into your nervous system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And like \u003cem>Hereditary\u003c/em>, \u003cem>Midsommar \u003c/em>is very much rooted in loss. It begins with a young American woman named Dani, played by the great English actress Florence Pugh, panicking over a family emergency that moves swiftly toward its worst possible outcome. As she tries to pick up the broken pieces of her life, Dani seeks solace from her boyfriend, Christian, and is surprised to learn that he’s about to go on a trip with some of his grad-school buddies. They’re headed to a remote Swedish commune that is holding a nine-day festival to observe the summer solstice. Dani presses him about why he didn’t tell her earlier, and an argument ensues.\u003c/p>\n\u003cp>The handsome Irish actor Jack Reynor clues you in to the selfishness beneath Christian’s quiet, sensitive-sounding demeanor. Dani doesn’t know that he was about to end their four-year relationship before tragedy struck, and he’s only staying with her now out of a sense of obligation. Christian reluctantly invites her to join him in Sweden, and she accepts, to the irritation of some of his friends, who don’t want his mopey girlfriend along to spoil their fun.\u003c/p>\n\u003cp>They fly to Sweden and, after a few hours’ drive, arrive at a remote, centuries-old village where they are greeted by about 60 men and women wearing white robes embroidered with mysterious symbols. They are known as the Hårga, and they invite their American guests to participate in each day’s festivities, which include lavish feasts, silent meditations, exhausting maypole dances and the consumption of various mind-altering drugs. Aster has a gift for dreaming up fictitious subcultures, and he visualizes these ancient customs and artifacts with an almost anthropological attention to detail. The Hårga seem benevolent enough at first, and there’s something comforting about their strange rituals and their intimate communion with nature.\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/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But then the mood takes a sinister turn and Dani and Christian’s traveling companions start to disappear. The story owes a clear debt to\u003cem> The Wicker Man\u003c/em>, Robin Hardy’s 1973 horror classic about a pagan fertility cult, but \u003cem>Midsommar \u003c/em>is more ambiguous and slower to come into focus. This is a nightmare that unfolds in broad daylight, under a midnight sun that bears down relentlessly on the landscape. The sun could almost be a metaphor for Dani’s grief, something ever-present and all-consuming, especially since Christian seems to take so little interest in consoling her.\u003c/p>\n\u003cp>Aster has said that he was inspired to write \u003cem>Midsommar \u003c/em>after the end of a long-term relationship, and that Dani’s experience is a fictionalized version of his own. Whatever the real-life details, he’s made the ultimate bad-boyfriend movie, a withering portrait of emotional neglect that has nothing nice to say about Christian, his petty-minded friends or, indeed, the state of contemporary American masculinity. \u003c/p>\n\u003cp>Among other things, \u003cem>Midsommar \u003c/em>is a wickedly funny movie about the clash between pagan traditions and the ways of the modern world. One of its more provocative notions is that Dani may in fact be better off with the Hårga, with their seemingly selfless, utopian way of life. Sex and death, a source of so much pain and anxiety in the outside world, are here just part of life’s unending cycle.\u003c/p>\n\u003cp>\u003cem>Midsommar \u003c/em>is in no rush to solve its many mysteries. The third act is full of surreal images of revelry and ritual sacrifice, plus a sex scene that’s as hilarious as it is appalling. What you remember most is Pugh’s quietly mesmerizing performance. Your sympathies are with Dani at every moment, and so are the movie’s. Toward the end she fixes the camera with an extraordinary look of terror and exultation, as she beholds the stunning fate that awaits her. Her story may begin in heartbreak and end in madness, but Aster ensures that she gets the last laugh. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! BAMPFA Lights 75 Candles for Jean-Pierre Léaud",
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"content": "\u003cp>Jean-Pierre Léaud is far from the greatest actor of his generation, but nobody better embodied the frustrated yearnings and underlying alienation of postmodern life. Even when he was playing an ostensibly romantic lead, earnestly bumbling his way through life, Leaud conveyed the fundamental aloneness of the journey. Over the long course of his career, Leaud’s characters reflected and represented the idealism of youth—the hopes of the ’60s, specifically—bent and bruised by bourgeois pressures and compromises.\u003c/p>\n\u003cp>The BAMPFA retrospective, \u003ca href=\"https://bampfa.org/program/jean-pierre-leaud-75\" rel=\"noopener\" target=\"_blank\">Jean-Pierre Léaud at 75\u003c/a>, begins Thursday, July 4 with (of course) the French actor’s breakout performance as the miserable, film-struck adolescent at the center of François Truffaut’s autobiographical feature debut, \u003cem>\u003ca href=\"https://bampfa.org/event/400-blows\" rel=\"noopener\" target=\"_blank\">The 400 Blows\u003c/a>\u003c/em> (1959). A raw 15-year-old at the time, Léaud succinctly conveyed Antoine Doinel’s anger-fueled rebelliousness but also his hunger for cultural escape.\u003c/p>\n\u003cfigure id=\"attachment_13860570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg\" alt=\"Still from François Truffaut's 'The 400 Blows,' 1959.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13860570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from François Truffaut’s ‘The 400 Blows,’ 1959. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The 400 Blows\u003c/em> was a thunderclap heralding the artistic and commercial promise of the French New Wave (it hit ten months before Jean-Luc Godard’s \u003cem>Breathless\u003c/em>). Miraculously, its location shots and naturalistic acting remain as fresh and affecting as ever. One of the film’s unacknowledged legacies, however, is the subgenre of coming-of-age films in which the protagonist grows up to be an artist. (Alfonso Cuarón wisely resisted the urge to make the implicit explicit in \u003cem>Roma\u003c/em>, so his autobiographical saga doesn’t make the list.)\u003c/p>\n\u003cp>Léaud will forever be associated with Truffaut, thanks to the touching Antoine Doinel films they made between 1968 and 1979. But Leaud made great movies with other directors, including Godard (Lennon to Truffaut’s McCartney). \u003cem>\u003ca href=\"https://bampfa.org/event/masculine-feminine\" rel=\"noopener\" target=\"_blank\">Masculine Feminine\u003c/a>\u003c/em> (1966), screening Saturday, July 6, is a wedge of highbrow/lowbrow fun in which Godard orchestrates collisions between drama and melodrama, banality and profundity.\u003c/p>\n\u003cp>Jean-Pierre Léaud is game for all of it, showing off his ability to ride the waves of any auteur’s vision while maintaining his peculiar persona. In \u003cem>Masculine Feminine\u003c/em>, and throughout his unexpected career, Léaud is both mannered and spontaneous, sincere and self-obsessed, puppy-dog vulnerable and Rottweiler-cruel. Finally, at 75, he’s all grown up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Pierre Léaud is far from the greatest actor of his generation, but nobody better embodied the frustrated yearnings and underlying alienation of postmodern life. Even when he was playing an ostensibly romantic lead, earnestly bumbling his way through life, Leaud conveyed the fundamental aloneness of the journey. Over the long course of his career, Leaud’s characters reflected and represented the idealism of youth—the hopes of the ’60s, specifically—bent and bruised by bourgeois pressures and compromises.\u003c/p>\n\u003cp>The BAMPFA retrospective, \u003ca href=\"https://bampfa.org/program/jean-pierre-leaud-75\" rel=\"noopener\" target=\"_blank\">Jean-Pierre Léaud at 75\u003c/a>, begins Thursday, July 4 with (of course) the French actor’s breakout performance as the miserable, film-struck adolescent at the center of François Truffaut’s autobiographical feature debut, \u003cem>\u003ca href=\"https://bampfa.org/event/400-blows\" rel=\"noopener\" target=\"_blank\">The 400 Blows\u003c/a>\u003c/em> (1959). A raw 15-year-old at the time, Léaud succinctly conveyed Antoine Doinel’s anger-fueled rebelliousness but also his hunger for cultural escape.\u003c/p>\n\u003cfigure id=\"attachment_13860570\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg\" alt=\"Still from François Truffaut's 'The 400 Blows,' 1959.\" width=\"1200\" height=\"847\" class=\"size-full wp-image-13860570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Truffaut_400-Blows_005_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from François Truffaut’s ‘The 400 Blows,’ 1959. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The 400 Blows\u003c/em> was a thunderclap heralding the artistic and commercial promise of the French New Wave (it hit ten months before Jean-Luc Godard’s \u003cem>Breathless\u003c/em>). Miraculously, its location shots and naturalistic acting remain as fresh and affecting as ever. One of the film’s unacknowledged legacies, however, is the subgenre of coming-of-age films in which the protagonist grows up to be an artist. (Alfonso Cuarón wisely resisted the urge to make the implicit explicit in \u003cem>Roma\u003c/em>, so his autobiographical saga doesn’t make the list.)\u003c/p>\n\u003cp>Léaud will forever be associated with Truffaut, thanks to the touching Antoine Doinel films they made between 1968 and 1979. But Leaud made great movies with other directors, including Godard (Lennon to Truffaut’s McCartney). \u003cem>\u003ca href=\"https://bampfa.org/event/masculine-feminine\" rel=\"noopener\" target=\"_blank\">Masculine Feminine\u003c/a>\u003c/em> (1966), screening Saturday, July 6, is a wedge of highbrow/lowbrow fun in which Godard orchestrates collisions between drama and melodrama, banality and profundity.\u003c/p>\n\u003cp>Jean-Pierre Léaud is game for all of it, showing off his ability to ride the waves of any auteur’s vision while maintaining his peculiar persona. In \u003cem>Masculine Feminine\u003c/em>, and throughout his unexpected career, Léaud is both mannered and spontaneous, sincere and self-obsessed, puppy-dog vulnerable and Rottweiler-cruel. Finally, at 75, he’s all grown up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A simple drive from one side of Oakland to the other will reveal to anyone just how serious homelessness is in the city. In a new film, \u003cem>Tent City\u003c/em>, the compelling story of a search for a homeless family member covers the same geographic ground.\u003c/p>\n\u003cp>The film (directed by Adimu “WolfHawkJaguar” Madyun) stars Sizwe Andrews-Abakah as Cicero Jacobs, a man who has fallen into a deep depression after the unexpected death of his wife. The collapse of the family leaves Cicero’s daughter Siriyah (played by Sizwe’s real-life daughter, Saba Andrews-Abakah) to search for her father, who is lost in the sea of homelessness that is Oakland—tent city.\u003c/p>\n\u003cp>What transpires is a quest many can relate to: the pursuit of a loved one, and the effort to restore them to the person they once were.\u003c/p>\n\u003cp>In the process of creating a scripted film about homelessness in Oakland, the film crew created archival footage of housing encampments that are no longer standing, as people have been ushered into city-ordained encampments. The combination of heavy content based in reality and dramatic screenplay also open the gates to conversation around a topic with which many in Oakland have experience. After a screening on Friday, June 28, to ensure that conversation is held in a safe and respectful manner, journalist Davey D leads a Q&A with filmmakers and cast.\u003c/p>\n\u003cp>The June 28 screening of ‘Tent City,’ at the East Bay Church of Religious Science, doors open at 6pm, the screening starts at 7pm and is free to all. (Donations of bottled water, socks, tarps, large Ziploc bags and baby wipes accepted for distribution to the homeless.) \u003ca href=\"https://www.tentcitythemovie.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A simple drive from one side of Oakland to the other will reveal to anyone just how serious homelessness is in the city. In a new film, \u003cem>Tent City\u003c/em>, the compelling story of a search for a homeless family member covers the same geographic ground.\u003c/p>\n\u003cp>The film (directed by Adimu “WolfHawkJaguar” Madyun) stars Sizwe Andrews-Abakah as Cicero Jacobs, a man who has fallen into a deep depression after the unexpected death of his wife. The collapse of the family leaves Cicero’s daughter Siriyah (played by Sizwe’s real-life daughter, Saba Andrews-Abakah) to search for her father, who is lost in the sea of homelessness that is Oakland—tent city.\u003c/p>\n\u003cp>What transpires is a quest many can relate to: the pursuit of a loved one, and the effort to restore them to the person they once were.\u003c/p>\n\u003cp>In the process of creating a scripted film about homelessness in Oakland, the film crew created archival footage of housing encampments that are no longer standing, as people have been ushered into city-ordained encampments. The combination of heavy content based in reality and dramatic screenplay also open the gates to conversation around a topic with which many in Oakland have experience. After a screening on Friday, June 28, to ensure that conversation is held in a safe and respectful manner, journalist Davey D leads a Q&A with filmmakers and cast.\u003c/p>\n\u003cp>The June 28 screening of ‘Tent City,’ at the East Bay Church of Religious Science, doors open at 6pm, the screening starts at 7pm and is free to all. (Donations of bottled water, socks, tarps, large Ziploc bags and baby wipes accepted for distribution to the homeless.) \u003ca href=\"https://www.tentcitythemovie.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When August and Louis Lumière unveiled their (and the world’s) first motion pictures to a private, invitation-only audience in Paris in 1895, Alice Guy was there. The 22-year-old secretary attended with her boss, Léon Gaumont, a mere ten years older and the head of a camera-equipment company (backed in part by engineer and scientist Gustave Eiffel). Over the next year, while handling the firm’s correspondence and her other duties, Guy set about mastering the technology and operation of the newfangled movie cameras.\u003c/p>\n\u003cp>Envisioning an entire mode of motion pictures beyond “actualities”—the Lumières’ bite-sized portraits of the real world—Guy wrote, produced and directed the first narrative film, \u003ci>The Cabbage Fairy\u003c/i>, in 1896. (Talk about your early adopters.) That was just the beginning: Guy made countless movies in the next decade (from a 23-episode depiction of the Christ saga to gender role-reversal comedies) while she devised and ran Gaumont’s film production arm. She oversaw hundreds of films before moving to the U.S. with her English husband and, eventually, founding a studio in Ft. Lee, New Jersey.\u003c/p>\n\u003cfigure id=\"attachment_13860123\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg\" alt=\"Alice Guy-Blaché (on camera platform behind camera tripod) on the set of 'The Life of Christ in Fontainebleau,' France, in 1906.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13860123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Alice Guy-Blaché (on camera platform behind camera tripod) on the set of ‘The Life of Christ in Fontainebleau,’ France, in 1906. \u003ccite>(Courtesy of Collection Société Française de Photographie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only part of now-married Alice Guy-Blaché’s saga that isn’t astounding is how she was omitted from the early histories of French cinema, which credited \u003ci>The Cabbage Fairy\u003c/i> to some actor. She devoted the latter decades of her life (with limited success) to correcting the record and tracking down prints of her films, and penning her memoirs (which were rejected by publisher after publisher).\u003c/p>\n\u003cp>Now comes Pamela B. Green, an Angeleno whose globe-hopping dedication to restoring Guy-Blaché’s legacy and introducing her work to current generations of U.S. filmmakers (women and men) is palpable in every fascinating frame of \u003ci>Be Natural: The Untold Story of Alice Guy-Blaché\u003c/i>. (The title comes from the visionary filmmaker’s primary direction to her actors, a modernist maxim emblazoned on signs posted around the studio.)\u003c/p>\n\u003cp>The French may not appreciate the irony of a New World filmmaker reviving an Old World icon, but they fumbled their claim years ago. \u003ci>Be Natural\u003c/i> is an essential contribution to both film scholarship and the movie-lovers canon, a rapid-fire work that is by turns hugely fun and deeply infuriating, transparently feminist and avowedly non-dogmatic.\u003c/p>\n\u003cp>\u003ci>Be Natural\u003c/i> screens June 25 and 26 at the Smith Rafael Film Center in San Rafael and June 24–26 at the Roxie in San Francisco.\u003c/p>\n\u003cp>https://youtu.be/bPUJRtrp_EE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When August and Louis Lumière unveiled their (and the world’s) first motion pictures to a private, invitation-only audience in Paris in 1895, Alice Guy was there. The 22-year-old secretary attended with her boss, Léon Gaumont, a mere ten years older and the head of a camera-equipment company (backed in part by engineer and scientist Gustave Eiffel). Over the next year, while handling the firm’s correspondence and her other duties, Guy set about mastering the technology and operation of the newfangled movie cameras.\u003c/p>\n\u003cp>Envisioning an entire mode of motion pictures beyond “actualities”—the Lumières’ bite-sized portraits of the real world—Guy wrote, produced and directed the first narrative film, \u003ci>The Cabbage Fairy\u003c/i>, in 1896. (Talk about your early adopters.) That was just the beginning: Guy made countless movies in the next decade (from a 23-episode depiction of the Christ saga to gender role-reversal comedies) while she devised and ran Gaumont’s film production arm. She oversaw hundreds of films before moving to the U.S. with her English husband and, eventually, founding a studio in Ft. Lee, New Jersey.\u003c/p>\n\u003cfigure id=\"attachment_13860123\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg\" alt=\"Alice Guy-Blaché (on camera platform behind camera tripod) on the set of 'The Life of Christ in Fontainebleau,' France, in 1906.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13860123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Alice Guy-Blaché (on camera platform behind camera tripod) on the set of ‘The Life of Christ in Fontainebleau,’ France, in 1906. \u003ccite>(Courtesy of Collection Société Française de Photographie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only part of now-married Alice Guy-Blaché’s saga that isn’t astounding is how she was omitted from the early histories of French cinema, which credited \u003ci>The Cabbage Fairy\u003c/i> to some actor. She devoted the latter decades of her life (with limited success) to correcting the record and tracking down prints of her films, and penning her memoirs (which were rejected by publisher after publisher).\u003c/p>\n\u003cp>Now comes Pamela B. Green, an Angeleno whose globe-hopping dedication to restoring Guy-Blaché’s legacy and introducing her work to current generations of U.S. filmmakers (women and men) is palpable in every fascinating frame of \u003ci>Be Natural: The Untold Story of Alice Guy-Blaché\u003c/i>. (The title comes from the visionary filmmaker’s primary direction to her actors, a modernist maxim emblazoned on signs posted around the studio.)\u003c/p>\n\u003cp>The French may not appreciate the irony of a New World filmmaker reviving an Old World icon, but they fumbled their claim years ago. \u003ci>Be Natural\u003c/i> is an essential contribution to both film scholarship and the movie-lovers canon, a rapid-fire work that is by turns hugely fun and deeply infuriating, transparently feminist and avowedly non-dogmatic.\u003c/p>\n\u003cp>\u003ci>Be Natural\u003c/i> screens June 25 and 26 at the Smith Rafael Film Center in San Rafael and June 24–26 at the Roxie in San Francisco.\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/bPUJRtrp_EE'\n title='//www.youtube.com/embed/bPUJRtrp_EE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \u003c/p>\n\u003cp>https://youtu.be/BV-WEb2oxLk\u003c/p>\n\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a reversal of the \u003cem>Men in Black\u003c/em> origin story, Thompson’s Agent M isn’t discovered by MIB. It is the other way around, as part of a 20-year quest to find the agency that visited her home as a child. Admiring her initiative, Agent O sends her from New York to the London branch, which is immersed in intrigue surrounding a threat called The Hive. Hemsworth’s Agent H and his former partner, High T (Liam Neeson), saved the world from this same alien species a couple of years before, and now their enemies have taken the form of Les Twins (Laurent and Larry Bourgeois), two shape-shifting siblings from Morocco who are on a trail of destruction. Agent H and Agent M are on the case, joined by a pocket-sized alien wiseacre named Pawny (Kumail Nanjiani), but they begin to suspect that MIB’s house is not in order. \u003c/p>\n\u003cp>There’s a lot of plotting in \u003cem>Men In Black: International\u003c/em>, which makes room for a diabolical three-armed seductress (Rebecca Ferguson) and a compact weapon of planet-destroying power, but the more the story unfurls, the deeper the film sinks into quicksand. Director F. Gary Gray and his screenwriters, Art Marcum and Matt Holloway, have made the crucial mistake of believing the franchise needs complex world-building instead of streamlined comedy. Even if the events in the film made any kind of sense, they were never going to matter as much as the good time Hemsworth, Neeson and the two Thompsons are supposed to be showing us. And yet that’s where the emphasis lies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hemsworth and Tessa Thompson are a proven commodity, having teamed up briefly in \u003cem>Thor: Ragnarok\u003c/em>, perhaps the funniest of all the Marvel movies, but they are too busy hustling around to expensive set pieces to spark off each other. Though Nanjiani’s super-cute alien seems like a leftover from \u003cem>Batteries Not Included\u003c/em>, at least he has some room to toss around insults and witticisms, and improvise his way out of trouble. Whether the franchise can survive without Smith and Jones is an open question, but it can’t live on gadgetry and spy games and an influx of Mos Eisley cantina denizens alone. There has to be chemistry, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Erase+The+Awful+%27Men+In+Black%3A+International%27+From+Your+Mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \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/BV-WEb2oxLk'\n title='//www.youtube.com/embed/BV-WEb2oxLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a reversal of the \u003cem>Men in Black\u003c/em> origin story, Thompson’s Agent M isn’t discovered by MIB. It is the other way around, as part of a 20-year quest to find the agency that visited her home as a child. Admiring her initiative, Agent O sends her from New York to the London branch, which is immersed in intrigue surrounding a threat called The Hive. Hemsworth’s Agent H and his former partner, High T (Liam Neeson), saved the world from this same alien species a couple of years before, and now their enemies have taken the form of Les Twins (Laurent and Larry Bourgeois), two shape-shifting siblings from Morocco who are on a trail of destruction. Agent H and Agent M are on the case, joined by a pocket-sized alien wiseacre named Pawny (Kumail Nanjiani), but they begin to suspect that MIB’s house is not in order. \u003c/p>\n\u003cp>There’s a lot of plotting in \u003cem>Men In Black: International\u003c/em>, which makes room for a diabolical three-armed seductress (Rebecca Ferguson) and a compact weapon of planet-destroying power, but the more the story unfurls, the deeper the film sinks into quicksand. Director F. Gary Gray and his screenwriters, Art Marcum and Matt Holloway, have made the crucial mistake of believing the franchise needs complex world-building instead of streamlined comedy. Even if the events in the film made any kind of sense, they were never going to matter as much as the good time Hemsworth, Neeson and the two Thompsons are supposed to be showing us. And yet that’s where the emphasis lies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hemsworth and Tessa Thompson are a proven commodity, having teamed up briefly in \u003cem>Thor: Ragnarok\u003c/em>, perhaps the funniest of all the Marvel movies, but they are too busy hustling around to expensive set pieces to spark off each other. Though Nanjiani’s super-cute alien seems like a leftover from \u003cem>Batteries Not Included\u003c/em>, at least he has some room to toss around insults and witticisms, and improvise his way out of trouble. Whether the franchise can survive without Smith and Jones is an open question, but it can’t live on gadgetry and spy games and an influx of Mos Eisley cantina denizens alone. There has to be chemistry, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Erase+The+Awful+%27Men+In+Black%3A+International%27+From+Your+Mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Local History Leads the Parade at Frameline",
"headTitle": "Now Playing! Local History Leads the Parade at Frameline | KQED",
"content": "\u003cp>It seems obvious to me that the current political reality stems directly from the passing of the World War II generation. It’s more difficult to con and lie about the past, you see, to people who lived through the past. To put it another way, the present moment offers a tough lesson about the importance of knowing history. One of the great merits of independent documentary makers (that we don’t fully appreciate) is their intrepidness in researching, reviving and preserving our collective history—which the powers that be would prefer remain buried and forgotten.\u003c/p>\n\u003cp>Among the many highlights of the San Francisco International LGBTQ+ Festival, a.k.a. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener\" target=\"_blank\">Frameline43\u003c/a>, which runs June 20–30, are revelatory new works by a choice handful of Bay Area filmmakers. Bret Parker and Petey Barma’s \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-windows\" rel=\"noopener\" target=\"_blank\">Through the Windows\u003c/a>\u003c/em> (world premiere, June 24) takes us inside Twin Peaks, the high-windowed bar at the high-visibility corner of Market and Castro. The doc reminds us that it was no small thing for an establishment with a gay clientele to assert its presence so unabashedly in the early 1970s. \u003c/p>\n\u003cfigure id=\"attachment_13859798\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg\" alt=\"Still from 'Through the Window.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-13859798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Through the Window.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more remarkable, though, is the guts it took for each person to walk into Twin Peaks for the first time. Because you could readily be seen from the street or sidewalk, you were effectively making a personal declaration that you were out of the closet. No small thing then, or now.\u003c/p>\n\u003cp>Rob Epstein and Jeffrey Friedman, whose superlative docs (including \u003cem>The Times of Harvey Milk\u003c/em> and \u003cem>Common Threads: Stories from the Quilt\u003c/em>) were instrumental in the evolution of gay rights and queer acceptance, take today’s temperature in their latest, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/state-of-pride\" rel=\"noopener\" target=\"_blank\">State of Pride\u003c/a>\u003c/em> (June 28), made for (and now streaming on) YouTube. The duo accompanies social media activist Raymond Braun on expeditions to Salt Lake City and Tuscaloosa to explore the meaning and value of queer pride celebrations in less-enlightened places, and also turns the camera on San Francisco to probe the significance of pride in our long-established queer community.\u003c/p>\n\u003cfigure id=\"attachment_13859796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg\" alt=\"Still from 'Scream Queen! My Nightmare on Elm Street.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13859796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Scream Queen! My Nightmare on Elm Street.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roman Chimienti and Tyler Jensen’s perfectly titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/scream-queen-my-nightmare-on-elm-street\" rel=\"noopener\" target=\"_blank\">Scream Queen! My Nightmare on Elm Street\u003c/a>\u003c/em> (June 29) delves into the painful personal saga of actor Mark Patton, who thought he was on the highway to success when he was cast as the lead in the 1985 sequel to Wes Craven’s horror hit. Gay and closeted, Patton’s experience on the set and afterward, when the film was reviled and dismissed by fans of the original, was the stuff of nightmares. The reputation of A \u003ci>Nightmare on Elm Street 2: Freddy’s Revenge\u003c/i> has improved somewhat over the years, and Patton looks back at the past he lived through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Charles Rodrigues’ equally well-titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/gay-chorus-deep-south\" rel=\"noopener\" target=\"_blank\">Gay Chorus Deep South\u003c/a>\u003c/em> (closing night, June 30) follows the San Francisco Gay Men’s Chorus on its 2017 tour of the southern U.S. with the Oakland Interfaith Gospel Choir. Cheers, tears and years of family memories and harsh history, along with irresistible performances, propel the film forward out of the darkness. But wasn’t it Mississippi’s favorite son, William Faulkner, who said, “The past is never dead. It’s not even past.” \u003c/p>\n\n",
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"excerpt": "Rob Epstein and Jeffrey Friedman's latest superlative doc, 'State of Pride,' heads the list of locals nonfiction offerings.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems obvious to me that the current political reality stems directly from the passing of the World War II generation. It’s more difficult to con and lie about the past, you see, to people who lived through the past. To put it another way, the present moment offers a tough lesson about the importance of knowing history. One of the great merits of independent documentary makers (that we don’t fully appreciate) is their intrepidness in researching, reviving and preserving our collective history—which the powers that be would prefer remain buried and forgotten.\u003c/p>\n\u003cp>Among the many highlights of the San Francisco International LGBTQ+ Festival, a.k.a. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener\" target=\"_blank\">Frameline43\u003c/a>, which runs June 20–30, are revelatory new works by a choice handful of Bay Area filmmakers. Bret Parker and Petey Barma’s \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-windows\" rel=\"noopener\" target=\"_blank\">Through the Windows\u003c/a>\u003c/em> (world premiere, June 24) takes us inside Twin Peaks, the high-windowed bar at the high-visibility corner of Market and Castro. The doc reminds us that it was no small thing for an establishment with a gay clientele to assert its presence so unabashedly in the early 1970s. \u003c/p>\n\u003cfigure id=\"attachment_13859798\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg\" alt=\"Still from 'Through the Window.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-13859798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Through the Window.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more remarkable, though, is the guts it took for each person to walk into Twin Peaks for the first time. Because you could readily be seen from the street or sidewalk, you were effectively making a personal declaration that you were out of the closet. No small thing then, or now.\u003c/p>\n\u003cp>Rob Epstein and Jeffrey Friedman, whose superlative docs (including \u003cem>The Times of Harvey Milk\u003c/em> and \u003cem>Common Threads: Stories from the Quilt\u003c/em>) were instrumental in the evolution of gay rights and queer acceptance, take today’s temperature in their latest, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/state-of-pride\" rel=\"noopener\" target=\"_blank\">State of Pride\u003c/a>\u003c/em> (June 28), made for (and now streaming on) YouTube. The duo accompanies social media activist Raymond Braun on expeditions to Salt Lake City and Tuscaloosa to explore the meaning and value of queer pride celebrations in less-enlightened places, and also turns the camera on San Francisco to probe the significance of pride in our long-established queer community.\u003c/p>\n\u003cfigure id=\"attachment_13859796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg\" alt=\"Still from 'Scream Queen! My Nightmare on Elm Street.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13859796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Scream Queen! My Nightmare on Elm Street.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roman Chimienti and Tyler Jensen’s perfectly titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/scream-queen-my-nightmare-on-elm-street\" rel=\"noopener\" target=\"_blank\">Scream Queen! My Nightmare on Elm Street\u003c/a>\u003c/em> (June 29) delves into the painful personal saga of actor Mark Patton, who thought he was on the highway to success when he was cast as the lead in the 1985 sequel to Wes Craven’s horror hit. Gay and closeted, Patton’s experience on the set and afterward, when the film was reviled and dismissed by fans of the original, was the stuff of nightmares. The reputation of A \u003ci>Nightmare on Elm Street 2: Freddy’s Revenge\u003c/i> has improved somewhat over the years, and Patton looks back at the past he lived through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Charles Rodrigues’ equally well-titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/gay-chorus-deep-south\" rel=\"noopener\" target=\"_blank\">Gay Chorus Deep South\u003c/a>\u003c/em> (closing night, June 30) follows the San Francisco Gay Men’s Chorus on its 2017 tour of the southern U.S. with the Oakland Interfaith Gospel Choir. Cheers, tears and years of family memories and harsh history, along with irresistible performances, propel the film forward out of the darkness. But wasn’t it Mississippi’s favorite son, William Faulkner, who said, “The past is never dead. It’s not even past.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Dead Don't Die,' Jim Jarmusch's Ghouls Close in on Chloë Sevigny",
"headTitle": "In ‘The Dead Don’t Die,’ Jim Jarmusch’s Ghouls Close in on Chloë Sevigny | KQED",
"content": "\u003cp>Chloë Sevigny isn’t giving away any of Jim Jarmusch’s secrets. \u003c/p>\n\u003cp>In his new zombie-filled movie \u003cem>The Dead Don’t Die\u003c/em>, the director peppers one of her co-star’s lines with a meta-commentary about having read the script of “Jim’s movie” and the Sturgill Simpson title song that keeps playing on the soundtrack. Having inside information about the plot, Adam Driver, as Officer Ronald Peterson, repeats this phrase every time his small town police force encounters a dead body, “Oh, man. This isn’t gonna end well.”\u003c/p>\n\u003cp>As the living and the undead start to bump into each other, the audience starts to trust Officer Peterson’s assessment of the situation. It’s the driest performance in a laconic movie that suits Jarmusch’s graphic novelistic approach to the subject. As such, it’s easy to imagine speech bubbles appearing right next to the characters’ heads.\u003c/p>\n\u003cp>Driver’s part of a trio of officers alongside Bill Murray as their chief \u003ca href=\"https://www.nytimes.com/2011/09/11/movies/cliff-robertson-oscar-winning-rebel-dies-at-88.html\" target=\"_blank\" rel=\"noopener\">Cliff Robertson\u003c/a> (also the name of an Oscar-winning actor goes, but a name is all they share), and Sevigny as the increasingly unnerved Officer Minerva Morrison. \u003c/p>\n\u003cfigure id=\"attachment_13859556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/iggy.jpg\" alt=\"Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first call to the actress went straight to her voicemail. At the beep, I hear, “If I’m going to die, I want to die in Manhattan.” On my second call, Sevigny confirms that the recording is Pete Campbell’s voice from season two of \u003cem>Mad Men\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What she can’t confirm is why Driver breaks the fourth wall: “I don’t know why he [Jarmusch] put that in there, but I love it. It’s one of my favorite parts of the movie. I love when actors turn to the camera,” she says. \u003c/p>\n\u003cp>Partly as a result, \u003cem>The Dead Don’t Die\u003c/em> may be the un-scariest, most deadpan, zombie movie ever made. It’s a black comedy colored red by piles of guts and spattered gray matter. When Driver (who’s never really in character) comes across the first zombie victims, his response is a carefully measured and wholly accurate, “yuck.”\u003c/p>\n\u003cp>Jarmusch amps up the campy humor with cameo appearances from a beloved, easily recognizable supporting cast. Iggy Pop finds the role of a lifetime as a yellow-eyed ghoul who introduces himself by pushing his hands up from a grave. Carol Kane utters only one word from her undead mouth, “chardonnay.” And, per usual, Tilda Swinton adds her own alien quality to the mix. In this incarnation, her skin is nearly translucent as she wields a samurai sword with the verve and dexterity of \u003cem>The Walking Dead\u003c/em>’s Michonne.\u003c/p>\n\u003cfigure id=\"attachment_13859558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/tilda.jpg\" alt=\"Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the audience’s point of view, it looks like the actors are having a ball. But Sevigny says there wasn’t room for messing around. “It was also very stressful though because Adam was going to shoot \u003cem>Star Wars\u003c/em> [\u003cem>The Rise of Skywalker\u003c/em>], so we didn’t have a lot of time,” she says. “There was a real cap on the days that we could have with him.” Despite those time constraints, Jarmusch managed to create a consistently mordant mood throughout the movie.\u003c/p>\n\u003cp>I ask about a scene she shares with Swinton in \u003cem>The Dead Don’t Die\u003c/em>. “I love Tilda. I love working with her and just being around her and basking in her glow,” she says. “That scene was one of my favorite scenes to do. Minny was very curious about her. They [the officers] talk about her before that scene and I think that they were flirting a little bit.”\u003c/p>\n\u003cp>Sevigny, who previously worked with the director on \u003ca href=\"http://www.focusfeatures.com/broken_flowers\" target=\"_blank\" rel=\"noopener\">\u003ci>Broken Flowers\u003c/i>\u003c/a>, tried to explain how he achieves his particular style. “I think that’s just on the page,” she says. “It’s just in the dialogue … the tone of it. Jim likes to watch people think. He likes a lot of breath between lines and the rhythm is very specific. I don’t think that he even says anything about it.”\u003c/p>\n\u003cp>And with that short bit of reporting, she keeps the Jarmusch mystique intact. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.focusfeatures.com/the-dead-dont-die\" target=\"_blank\" rel=\"noopener\">The Dead Don’t Die\u003c/a>\u003c/em> opens Friday, June 13 at the AMC Kabuki, Landmark Embarcadero Center Cinema and Alamo Drafthouse Cinema.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chloë Sevigny isn’t giving away any of Jim Jarmusch’s secrets. \u003c/p>\n\u003cp>In his new zombie-filled movie \u003cem>The Dead Don’t Die\u003c/em>, the director peppers one of her co-star’s lines with a meta-commentary about having read the script of “Jim’s movie” and the Sturgill Simpson title song that keeps playing on the soundtrack. Having inside information about the plot, Adam Driver, as Officer Ronald Peterson, repeats this phrase every time his small town police force encounters a dead body, “Oh, man. This isn’t gonna end well.”\u003c/p>\n\u003cp>As the living and the undead start to bump into each other, the audience starts to trust Officer Peterson’s assessment of the situation. It’s the driest performance in a laconic movie that suits Jarmusch’s graphic novelistic approach to the subject. As such, it’s easy to imagine speech bubbles appearing right next to the characters’ heads.\u003c/p>\n\u003cp>Driver’s part of a trio of officers alongside Bill Murray as their chief \u003ca href=\"https://www.nytimes.com/2011/09/11/movies/cliff-robertson-oscar-winning-rebel-dies-at-88.html\" target=\"_blank\" rel=\"noopener\">Cliff Robertson\u003c/a> (also the name of an Oscar-winning actor goes, but a name is all they share), and Sevigny as the increasingly unnerved Officer Minerva Morrison. \u003c/p>\n\u003cfigure id=\"attachment_13859556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/iggy.jpg\" alt=\"Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first call to the actress went straight to her voicemail. At the beep, I hear, “If I’m going to die, I want to die in Manhattan.” On my second call, Sevigny confirms that the recording is Pete Campbell’s voice from season two of \u003cem>Mad Men\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What she can’t confirm is why Driver breaks the fourth wall: “I don’t know why he [Jarmusch] put that in there, but I love it. It’s one of my favorite parts of the movie. I love when actors turn to the camera,” she says. \u003c/p>\n\u003cp>Partly as a result, \u003cem>The Dead Don’t Die\u003c/em> may be the un-scariest, most deadpan, zombie movie ever made. It’s a black comedy colored red by piles of guts and spattered gray matter. When Driver (who’s never really in character) comes across the first zombie victims, his response is a carefully measured and wholly accurate, “yuck.”\u003c/p>\n\u003cp>Jarmusch amps up the campy humor with cameo appearances from a beloved, easily recognizable supporting cast. Iggy Pop finds the role of a lifetime as a yellow-eyed ghoul who introduces himself by pushing his hands up from a grave. Carol Kane utters only one word from her undead mouth, “chardonnay.” And, per usual, Tilda Swinton adds her own alien quality to the mix. In this incarnation, her skin is nearly translucent as she wields a samurai sword with the verve and dexterity of \u003cem>The Walking Dead\u003c/em>’s Michonne.\u003c/p>\n\u003cfigure id=\"attachment_13859558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/tilda.jpg\" alt=\"Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the audience’s point of view, it looks like the actors are having a ball. But Sevigny says there wasn’t room for messing around. “It was also very stressful though because Adam was going to shoot \u003cem>Star Wars\u003c/em> [\u003cem>The Rise of Skywalker\u003c/em>], so we didn’t have a lot of time,” she says. “There was a real cap on the days that we could have with him.” Despite those time constraints, Jarmusch managed to create a consistently mordant mood throughout the movie.\u003c/p>\n\u003cp>I ask about a scene she shares with Swinton in \u003cem>The Dead Don’t Die\u003c/em>. “I love Tilda. I love working with her and just being around her and basking in her glow,” she says. “That scene was one of my favorite scenes to do. Minny was very curious about her. They [the officers] talk about her before that scene and I think that they were flirting a little bit.”\u003c/p>\n\u003cp>Sevigny, who previously worked with the director on \u003ca href=\"http://www.focusfeatures.com/broken_flowers\" target=\"_blank\" rel=\"noopener\">\u003ci>Broken Flowers\u003c/i>\u003c/a>, tried to explain how he achieves his particular style. “I think that’s just on the page,” she says. “It’s just in the dialogue … the tone of it. Jim likes to watch people think. He likes a lot of breath between lines and the rhythm is very specific. I don’t think that he even says anything about it.”\u003c/p>\n\u003cp>And with that short bit of reporting, she keeps the Jarmusch mystique intact. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.focusfeatures.com/the-dead-dont-die\" target=\"_blank\" rel=\"noopener\">The Dead Don’t Die\u003c/a>\u003c/em> opens Friday, June 13 at the AMC Kabuki, Landmark Embarcadero Center Cinema and Alamo Drafthouse Cinema.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now in its second iteration, \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hecho en Mexico\u003c/em>\u003c/a> brings six nonfiction highlights to San Francisco after a banner year for Mexican cinema. Screening June 14–17, the collaboration between \u003cem>\u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más \u003c/a>\u003c/em> and \u003ca href=\"http://www.roxie.com/roxcine/\" target=\"_blank\" rel=\"noopener\">RoxCine\u003c/a> offers a rare opportunity to see award-winning documentaries on the big screen and meet their creators.\u003c/p>\n\u003cp>[aside postID='arts_13858037']\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\u003c/p>\n\u003cp>https://youtu.be/OZfAlqFoWHY\u003c/p>\n\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\n\u003cp>https://vimeo.com/292638670\u003c/p>\n\u003cp>\u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">Hecho en Mexico\u003c/a>\u003cem> is presented by \u003ca href=\"http://www.roxie.com/roxcine/\">RoxCine\u003c/a> with support from \u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más San Francisco Latino Film Festival\u003c/a>, \u003ca href=\"https://www.podersf.org/\">P\u003c/a>\u003ca href=\"https://www.podersf.org/\">ODER SF \u003c/a>and the General Consulate of Mexico in San Francisco. More information on the screenings and Q&As can be found \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\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/OZfAlqFoWHY'\n title='//www.youtube.com/embed/OZfAlqFoWHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>I harbor no nostalgia for John Wayne the man. The actor, however, was unsurpassed at embodying the greatest of American ideals: That the manifestly imperfect United States aspired to be, and strove to be through the leadership of moral men, a more just, fair and protective society for everyone. If it feels more like an illusion than an ideal these days, don’t blame Hollywood.\u003c/p>\n\u003cp>Wayne was blessed, courtesy of the authoritarian director John Ford, with one of the great movie entrances of all time. We hear plenty about the Ringo Kid while we’re introduced to the passengers of \u003cem>Stagecoach\u003c/em> (1939), and the payoff for all that anticipation is irresistible: Towering and virile at the side of the trail, spinning his rifle with confidence and style, Wayne galvanizes the audience’s attention as well as everyone in the coach.\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> (Sunday, June 16 at 11am at \u003ca href=\"https://drafthouse.com/sf/show/stagecoach\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a>) wasn’t Wayne’s screen debut, however, or even his first starring role. Raoul Walsh had chosen him to lead \u003cem>The Big Trail\u003c/em> (1930), and Ford punished Wayne for the best part of a decade before yanking him out of the doghouse.\u003c/p>\n\u003cp>https://youtu.be/OE-VWDsdkwM\u003c/p>\n\u003cp>Westerns were Hollywood’s bread and butter for decades, and \u003cem>Stagecoach\u003c/em> still stands as one the most entertaining and satisfying films ever made in the genre. The passengers—a selfish Yankee banker, a Confederate veteran (and Southern gentleman), a soldier’s pregnant wife, a ruined and alcoholic doctor, a dance hall girl—provide a microcosm of both post-Civil War and post-Depression America, and you’d be surprised how many lines hit home in today’s climate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> is also a foundational classic that laid out types and templates that have influenced Westerns (and neo-Westerns) to this day. The last story in \u003cem>The Ballad of Buster Scruggs\u003c/em> is a direct homage, albeit infused with the Coen Bros.’ postmodern existentialism. The greatest tribute, though, may well be \u003cem>The Hateful Eight\u003c/em>, whose tedious, protracted stagecoach-set beginning only illustrates John Ford’s economy and brilliance. As well as Ford’s talent for creating a distinctive persona for actors like John Wayne, rather than riffing ironically on established personas.\u003c/p>\n\n",
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"content": "\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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.",
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"tagline": "Art is where you find it",
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"soldout": {
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