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"content": "\u003cp>If you’ve never found yourself intoning the old-fogey expression, “They don’t make ’em like they used to,” here’s your big (and I mean big) chance. Soviet director Sergei Bondarchuk’s gargantuan late-’60s adaptation of Leo Tolstoy’s monumental \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=444386~e5cdb48e-5c15-4ffe-bdf9-177dc932f5bf&epguid=3d7ce4e6-ae5e-4086-902c-4784dd17902c&\" rel=\"noopener\" target=\"_blank\">\u003cem>War and Peace\u003c/em>\u003c/a>, newly restored and spanning seven hours (plus breaks), commandeers the Castro on Saturday, May 25. Don’t fret that you won’t be able to finish the novel by the weekend, comrade. That’s why God gave us the movies.\u003c/p>\n\u003cp>In Bondarchuk’s case, God took the form of a massive budget and a magic wand courtesy of the state’s top brass. The army supplied thousands of extras, while museums were instructed to provide every artifact that the production requested. (Cecil B. DeMille and Erich von Stroheim, those notoriously ambitious architects and purveyors of historical events—and, occasionally, historical accuracy—onscreen, are still spinning with envy in their graves at the resources granted to Bondarchuk.)\u003c/p>\n\u003cfigure id=\"attachment_13857736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200.jpg\" alt=\"Still from Sergei Bondarchuk's 'War and Peace,' 1966.\" width=\"1200\" height=\"509\" class=\"size-full wp-image-13857736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-1020x433.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Bondarchuk’s ‘War and Peace,’ 1966. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of four-plus years, the director deployed his riches with an imagination that matched his power. Although a veteran actor (he cast himself as Pierre), Bondarchuk had helmed only one feature before he was given the commission in 1961 to make \u003cem>War and Peace\u003c/em>. Yet he refused to play it safe, using every cinematic technique, including eye-of-God helicopter shots, split-screens and handheld camerawork, that thrust the viewer into the maelstrom of war—and the desires and confusion of the heart.\u003c/p>\n\u003cp>Size has always mattered when it comes to epics, and no movie proves the point better than the four-part \u003cem>War and Peace\u003c/em>. Criterion is readying a DVD for June release, but whose TV comes anywhere close to the Castro screen? In this case, bigger \u003cem>is\u003c/em> better.\u003c/p>\n\u003cp>BAMPFA has a slightly smaller screen, but its \u003ca href=\"https://bampfa.org/program/war-and-peace\" rel=\"noopener\" target=\"_blank\">encore presentation\u003c/a> of \u003cem>War and Peace\u003c/em> in early June has a certain attraction. If the marathon experience at the Castro isn’t your cup of vodka-laced tea, the Berkeley venue lets you partake of Bondarchuk’s four-part feast across two (or even three or four) days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve never found yourself intoning the old-fogey expression, “They don’t make ’em like they used to,” here’s your big (and I mean big) chance. Soviet director Sergei Bondarchuk’s gargantuan late-’60s adaptation of Leo Tolstoy’s monumental \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=444386~e5cdb48e-5c15-4ffe-bdf9-177dc932f5bf&epguid=3d7ce4e6-ae5e-4086-902c-4784dd17902c&\" rel=\"noopener\" target=\"_blank\">\u003cem>War and Peace\u003c/em>\u003c/a>, newly restored and spanning seven hours (plus breaks), commandeers the Castro on Saturday, May 25. Don’t fret that you won’t be able to finish the novel by the weekend, comrade. That’s why God gave us the movies.\u003c/p>\n\u003cp>In Bondarchuk’s case, God took the form of a massive budget and a magic wand courtesy of the state’s top brass. The army supplied thousands of extras, while museums were instructed to provide every artifact that the production requested. (Cecil B. DeMille and Erich von Stroheim, those notoriously ambitious architects and purveyors of historical events—and, occasionally, historical accuracy—onscreen, are still spinning with envy in their graves at the resources granted to Bondarchuk.)\u003c/p>\n\u003cfigure id=\"attachment_13857736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200.jpg\" alt=\"Still from Sergei Bondarchuk's 'War and Peace,' 1966.\" width=\"1200\" height=\"509\" class=\"size-full wp-image-13857736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/WarAndPeace_1200-1020x433.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Bondarchuk’s ‘War and Peace,’ 1966. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of four-plus years, the director deployed his riches with an imagination that matched his power. Although a veteran actor (he cast himself as Pierre), Bondarchuk had helmed only one feature before he was given the commission in 1961 to make \u003cem>War and Peace\u003c/em>. Yet he refused to play it safe, using every cinematic technique, including eye-of-God helicopter shots, split-screens and handheld camerawork, that thrust the viewer into the maelstrom of war—and the desires and confusion of the heart.\u003c/p>\n\u003cp>Size has always mattered when it comes to epics, and no movie proves the point better than the four-part \u003cem>War and Peace\u003c/em>. Criterion is readying a DVD for June release, but whose TV comes anywhere close to the Castro screen? In this case, bigger \u003cem>is\u003c/em> better.\u003c/p>\n\u003cp>BAMPFA has a slightly smaller screen, but its \u003ca href=\"https://bampfa.org/program/war-and-peace\" rel=\"noopener\" target=\"_blank\">encore presentation\u003c/a> of \u003cem>War and Peace\u003c/em> in early June has a certain attraction. If the marathon experience at the Castro isn’t your cup of vodka-laced tea, the Berkeley venue lets you partake of Bondarchuk’s four-part feast across two (or even three or four) days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When you name the spaceship in your movie “Sorrowful,” you’ve pretty much tipped your hat to the viewer from the get-go. (The added bonus is that you don’t have to worry about spoiler alerts.)\u003c/p>\n\u003cp>Will the happy astro-travelers of the \u003ci>Aniara\u003c/i> arrive at their distant destination in one piece? Absolutely not. \u003c/p>\n\u003cp>In their feature film adaptation of Harry Martinson’s 1956 epic poem “Aniara,” co-directors Pella Kågerman and Hugo Lilja kept his title (also translated as “sad” or “despairing”) and the relentless sense that all hope is lost. If \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Das_Boot\" rel=\"noopener\" target=\"_blank\">Das Boot\u003c/a>\u003c/em> (1981) brought out your inner claustrophobe, the visuals in \u003cem>Aniara\u003c/em> should multiply that feeling, I’d estimate, upwards to about infinity. \u003c/p>\n\u003cp>Way back in the 1950s, Martinson, a Swedish Nobel Prize-winning author, was one of many Cassandra-like figures who prophesied that humans were destroying the \u003ca href=\"https://www.un.org/en/climatechange/reports.shtml\" target=\"_blank\" rel=\"noopener\">Earth\u003c/a> (but nobody ever believes a Cassandra-like figure).\u003c/p>\n\u003cfigure id=\"attachment_13857105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_a.jpg\" alt=\"A scene from 'Aniara,' 2019.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara,’ 2019. \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Aniara\u003c/em> begins in the future after the 32nd World War. That’s right, the 32nd one. The good news is it took thirty more world wars to completely annihilate the place. The bad news: Earth is completely annihilated. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Kågerman and Lilja’s movie is light on explosions. \u003cem>Aniara\u003c/em> has more in common with Ingmar Bergman’s entire oeuvre and Andrei Tarkovsky’s drama \u003cem>The Sacrifice\u003c/em> than it does with Hollywood space junk like \u003cem>Armageddon\u003c/em> or \u003cem>Independence Day\u003c/em>. In this Swedish take on a trip to Mars that goes awry, the end of human existence isn’t made into an occasion to display Ben Affleck’s mighty pectorals.\u003c/p>\n\u003cp>I spoke with Pella Kågerman in a transatlantic phone conversation that meaningfully recreated what it must feel like for an astronaut (or cosmonaut, or yuhangyuan) to call ground control while floating in a silver suit from high up above. There was plenty of echoing reverb and a 10-second delay between each question and answer.\u003c/p>\n\u003cfigure id=\"attachment_13857106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_e.jpg\" alt=\"Pella Kågerman and Hugo Lilja, directors of 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pella Kågerman and Hugo Lilja, directors of ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What made you want to adapt Martinson’s poem? \u003c/strong>\u003c/p>\n\u003cp>In Scandinavia, but mostly in Sweden, it’s almost impossible to avoid it or not know about it. It has been made into theater plays, exhibitions and even operas. So it’s all over the place. Our current generation was forced to read it in school, but this is the first ever film adaptation.\u003c/p>\n\u003cp>I was very close to my grandmother growing up and we used to read books together. We went to see a musical version of “Aniara.” After that, she had a stroke and ended up in this huge hospital. I was by her side and reading the poem out loud to her. As she was getting better, we started to role-play. This enormous hospital was the big spacecraft. All the patients were passengers and the doctors: they were the crew. My grandma was this artificial intelligence called Mima. That’s when I realized, “Oh my god, this story is amazing and I have to make a movie of it.”\u003c/p>\n\u003cfigure id=\"attachment_13857107\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_b.jpg\" alt=\"Emilie Jonsson in 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emilie Jonsson in ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your film presents a bleak and disturbing vision of humanity.\u003c/strong>\u003c/p>\n\u003cp>I’m not surprised that that’s the feeling that you left with. But somehow, I think we had the idea that when you were walking out of the screening you’d basically be feeling like it’s shitty weather and we say, “Thank god that I’m here on Earth and that I’m not onboard the ship.” And that we haven’t come that far, even if it seems like that’s the way we’re heading now.\u003c/p>\n\u003cp>We have to read the story of this spacecraft as if it were Earth. The apocalypse looks like this. We’re in the middle of it, right? Destroying Earth.\u003c/p>\n\u003cp>\u003cstrong>The most beautiful scenes in the movie come from an A.I. program called “Mima” that recreates the experience of being on Earth for the passengers. It temporarily restores their sanity.\u003c/strong>\u003c/p>\n\u003cp>Mima in the poem was more or less described as a big TV screen. We understood pretty early on that that wouldn’t impress an audience or the people that would go onboard Aniara today. So we thought of it as more of a spiritual practice like yoga—being thrown back to your strongest memories of Earth and nature, and how good it feels to almost experience that.\u003c/p>\n\u003cfigure id=\"attachment_13857108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_d.jpg\" alt=\"A scene from 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As the protagonist, Emelie Jonsson’s character doesn’t lose faith in the possibility of being rescued. She’s the only ray of light in the film. Is that why you cast her in the role?\u003c/strong>\u003c/p>\n\u003cp>We wrote \u003ci>Aniara\u003c/i> with her in mind because she has this naïveté to her. Her character will somehow continue fighting. In this blue, pessimistic world, the main character really has to carry the hope. We think that she has that.\u003c/p>\n\u003cp>\u003cstrong> Could you clarify one plot point? Despite the incredible advance in technology, why can’t the Aniara, this floating city, contact anyone else?\u003c/strong>\u003c/p>\n\u003cp>Because space is enormous. And when the poem was written in the 1950’s, they hadn’t found that many planets. Yes, they would know that they existed. Now they’ve discovered one planet that might actually be inhabited but it would take five million years to get to. Most of space is just empty. And also, you just have this spacecraft that’s been taken off course. No one could have the speed to rescue it.\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>\u003ci>‘\u003ca href=\"https://www.aniarafilm.com/trailer/\" target=\"_blank\" rel=\"noopener\">Aniara\u003c/a>‘ opens Friday, May 17 at Landmark’s Opera Plaza Cinema in San Francisco and Landmark’s Shattuck Cinema in Berkeley.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you name the spaceship in your movie “Sorrowful,” you’ve pretty much tipped your hat to the viewer from the get-go. (The added bonus is that you don’t have to worry about spoiler alerts.)\u003c/p>\n\u003cp>Will the happy astro-travelers of the \u003ci>Aniara\u003c/i> arrive at their distant destination in one piece? Absolutely not. \u003c/p>\n\u003cp>In their feature film adaptation of Harry Martinson’s 1956 epic poem “Aniara,” co-directors Pella Kågerman and Hugo Lilja kept his title (also translated as “sad” or “despairing”) and the relentless sense that all hope is lost. If \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Das_Boot\" rel=\"noopener\" target=\"_blank\">Das Boot\u003c/a>\u003c/em> (1981) brought out your inner claustrophobe, the visuals in \u003cem>Aniara\u003c/em> should multiply that feeling, I’d estimate, upwards to about infinity. \u003c/p>\n\u003cp>Way back in the 1950s, Martinson, a Swedish Nobel Prize-winning author, was one of many Cassandra-like figures who prophesied that humans were destroying the \u003ca href=\"https://www.un.org/en/climatechange/reports.shtml\" target=\"_blank\" rel=\"noopener\">Earth\u003c/a> (but nobody ever believes a Cassandra-like figure).\u003c/p>\n\u003cfigure id=\"attachment_13857105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_a.jpg\" alt=\"A scene from 'Aniara,' 2019.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_a-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara,’ 2019. \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Aniara\u003c/em> begins in the future after the 32nd World War. That’s right, the 32nd one. The good news is it took thirty more world wars to completely annihilate the place. The bad news: Earth is completely annihilated. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Kågerman and Lilja’s movie is light on explosions. \u003cem>Aniara\u003c/em> has more in common with Ingmar Bergman’s entire oeuvre and Andrei Tarkovsky’s drama \u003cem>The Sacrifice\u003c/em> than it does with Hollywood space junk like \u003cem>Armageddon\u003c/em> or \u003cem>Independence Day\u003c/em>. In this Swedish take on a trip to Mars that goes awry, the end of human existence isn’t made into an occasion to display Ben Affleck’s mighty pectorals.\u003c/p>\n\u003cp>I spoke with Pella Kågerman in a transatlantic phone conversation that meaningfully recreated what it must feel like for an astronaut (or cosmonaut, or yuhangyuan) to call ground control while floating in a silver suit from high up above. There was plenty of echoing reverb and a 10-second delay between each question and answer.\u003c/p>\n\u003cfigure id=\"attachment_13857106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_e.jpg\" alt=\"Pella Kågerman and Hugo Lilja, directors of 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_e-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pella Kågerman and Hugo Lilja, directors of ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What made you want to adapt Martinson’s poem? \u003c/strong>\u003c/p>\n\u003cp>In Scandinavia, but mostly in Sweden, it’s almost impossible to avoid it or not know about it. It has been made into theater plays, exhibitions and even operas. So it’s all over the place. Our current generation was forced to read it in school, but this is the first ever film adaptation.\u003c/p>\n\u003cp>I was very close to my grandmother growing up and we used to read books together. We went to see a musical version of “Aniara.” After that, she had a stroke and ended up in this huge hospital. I was by her side and reading the poem out loud to her. As she was getting better, we started to role-play. This enormous hospital was the big spacecraft. All the patients were passengers and the doctors: they were the crew. My grandma was this artificial intelligence called Mima. That’s when I realized, “Oh my god, this story is amazing and I have to make a movie of it.”\u003c/p>\n\u003cfigure id=\"attachment_13857107\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_b.jpg\" alt=\"Emilie Jonsson in 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_b-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emilie Jonsson in ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your film presents a bleak and disturbing vision of humanity.\u003c/strong>\u003c/p>\n\u003cp>I’m not surprised that that’s the feeling that you left with. But somehow, I think we had the idea that when you were walking out of the screening you’d basically be feeling like it’s shitty weather and we say, “Thank god that I’m here on Earth and that I’m not onboard the ship.” And that we haven’t come that far, even if it seems like that’s the way we’re heading now.\u003c/p>\n\u003cp>We have to read the story of this spacecraft as if it were Earth. The apocalypse looks like this. We’re in the middle of it, right? Destroying Earth.\u003c/p>\n\u003cp>\u003cstrong>The most beautiful scenes in the movie come from an A.I. program called “Mima” that recreates the experience of being on Earth for the passengers. It temporarily restores their sanity.\u003c/strong>\u003c/p>\n\u003cp>Mima in the poem was more or less described as a big TV screen. We understood pretty early on that that wouldn’t impress an audience or the people that would go onboard Aniara today. So we thought of it as more of a spiritual practice like yoga—being thrown back to your strongest memories of Earth and nature, and how good it feels to almost experience that.\u003c/p>\n\u003cfigure id=\"attachment_13857108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/aniara_d.jpg\" alt=\"A scene from 'Aniara.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13857108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/aniara_d-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Aniara.’ \u003ccite>(Courtesy of Magnet Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As the protagonist, Emelie Jonsson’s character doesn’t lose faith in the possibility of being rescued. She’s the only ray of light in the film. Is that why you cast her in the role?\u003c/strong>\u003c/p>\n\u003cp>We wrote \u003ci>Aniara\u003c/i> with her in mind because she has this naïveté to her. Her character will somehow continue fighting. In this blue, pessimistic world, the main character really has to carry the hope. We think that she has that.\u003c/p>\n\u003cp>\u003cstrong> Could you clarify one plot point? Despite the incredible advance in technology, why can’t the Aniara, this floating city, contact anyone else?\u003c/strong>\u003c/p>\n\u003cp>Because space is enormous. And when the poem was written in the 1950’s, they hadn’t found that many planets. Yes, they would know that they existed. Now they’ve discovered one planet that might actually be inhabited but it would take five million years to get to. Most of space is just empty. And also, you just have this spacecraft that’s been taken off course. No one could have the speed to rescue it.\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>\u003ci>‘\u003ca href=\"https://www.aniarafilm.com/trailer/\" target=\"_blank\" rel=\"noopener\">Aniara\u003c/a>‘ opens Friday, May 17 at Landmark’s Opera Plaza Cinema in San Francisco and Landmark’s Shattuck Cinema in Berkeley.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Exquisite Corpse\u003c/em>, Kerry Tribe’s beautifully constructed and quietly affecting sojourn down and around the L.A. River, devotes precisely 51 minutes to traversing the waterway’s 51 miles. This sublime film embraces any number of additional symmetries—picturesque landmark and garbage dump, abandoned infrastructure and Angeleno exercise area, freeway neighbor and loner’s retreat—on its way along Los Angeles’ most underappreciated landmark.\u003c/p>\n\u003cp>On view at The Anderson Collection at Stanford University, May 16—July 29, \u003cem>Exquisite Corpse\u003c/em> is accompanied by Tribe’s 2017 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/13824790/video-of-medical-training-breaks-down-art-and-science-divide\" target=\"_blank\" rel=\"noopener\">Standardized Patient\u003c/a>\u003c/i>. The Anderson will also host an \u003ca href=\"https://anderson.stanford.edu/programs-exhibitions/outdoor-film-screening-kerry-tribes-exquisite-corpse/\" target=\"_blank\" rel=\"noopener\">outdoor screening\u003c/a> of \u003cem>Exquisite Corpse\u003c/em> on May 28 at 8pm, with the artist in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13857207\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8.jpg\" alt=\"Still from Kerry Tribe's 'Exquisite Corpse,' 2016.\" width=\"1280\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-768x343.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1020x456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1200x536.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kerry Tribe’s ‘Exquisite Corpse,’ 2016. \u003ccite>(Courtesy of the artist and The Anderson Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exquisite Corpse\u003c/em> is that rare piece that works brilliantly as both an immersive full-length film and as a short or long gallery dip. The big screen is the best way to appreciate Tribe’s photographer’s eye, while the installation experience brings out the newspaper-feature quality of various vignettes and characters—an ecologist, an urban farmer, a trailer-park resident (and his young daughter), an admirer of a long-dead hobo graffiti artist—that Tribe gracefully strings into a wending urban tale.\u003c/p>\n\u003cp>In sync with the filmmaker’s approach, the title evokes the Surrealist game of creating a text out of the random contributions of different people. It’s also a pretty fair description of the lengthy concrete corridor bisecting the Southern California landscape that hardly ever carries more than a couple inches of water (let alone serves to provide protection against flooding) in the 21st century.\u003c/p>\n\u003cp>A thinking- (and feeling-)person’s travelogue, \u003cem>Exquisite Corpse\u003c/em> is observational rather than critical, and evocative rather than activist. Tribe showers the viewer with a steady stream of pleasures, from sublime urban snapshots to snippets of slice-of-life interviews, that coalesce into a contemplation of the resilience and creativity of people surviving in the middle of a megalopolis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Exquisite Corpse\u003c/em>, Kerry Tribe’s beautifully constructed and quietly affecting sojourn down and around the L.A. River, devotes precisely 51 minutes to traversing the waterway’s 51 miles. This sublime film embraces any number of additional symmetries—picturesque landmark and garbage dump, abandoned infrastructure and Angeleno exercise area, freeway neighbor and loner’s retreat—on its way along Los Angeles’ most underappreciated landmark.\u003c/p>\n\u003cp>On view at The Anderson Collection at Stanford University, May 16—July 29, \u003cem>Exquisite Corpse\u003c/em> is accompanied by Tribe’s 2017 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/13824790/video-of-medical-training-breaks-down-art-and-science-divide\" target=\"_blank\" rel=\"noopener\">Standardized Patient\u003c/a>\u003c/i>. The Anderson will also host an \u003ca href=\"https://anderson.stanford.edu/programs-exhibitions/outdoor-film-screening-kerry-tribes-exquisite-corpse/\" target=\"_blank\" rel=\"noopener\">outdoor screening\u003c/a> of \u003cem>Exquisite Corpse\u003c/em> on May 28 at 8pm, with the artist in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13857207\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8.jpg\" alt=\"Still from Kerry Tribe's 'Exquisite Corpse,' 2016.\" width=\"1280\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-768x343.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1020x456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8-1200x536.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kerry Tribe’s ‘Exquisite Corpse,’ 2016. \u003ccite>(Courtesy of the artist and The Anderson Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exquisite Corpse\u003c/em> is that rare piece that works brilliantly as both an immersive full-length film and as a short or long gallery dip. The big screen is the best way to appreciate Tribe’s photographer’s eye, while the installation experience brings out the newspaper-feature quality of various vignettes and characters—an ecologist, an urban farmer, a trailer-park resident (and his young daughter), an admirer of a long-dead hobo graffiti artist—that Tribe gracefully strings into a wending urban tale.\u003c/p>\n\u003cp>In sync with the filmmaker’s approach, the title evokes the Surrealist game of creating a text out of the random contributions of different people. It’s also a pretty fair description of the lengthy concrete corridor bisecting the Southern California landscape that hardly ever carries more than a couple inches of water (let alone serves to provide protection against flooding) in the 21st century.\u003c/p>\n\u003cp>A thinking- (and feeling-)person’s travelogue, \u003cem>Exquisite Corpse\u003c/em> is observational rather than critical, and evocative rather than activist. Tribe showers the viewer with a steady stream of pleasures, from sublime urban snapshots to snippets of slice-of-life interviews, that coalesce into a contemplation of the resilience and creativity of people surviving in the middle of a megalopolis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The lighthearted title of Bay Area filmmaker Valerie Soe’s brand new documentary, \u003cem>Love Boat: Taiwan\u003c/em>, also serves to evoke a sense of mystery. That just comes with the territory when romance is involved. Except the Taiwanese government steadfastly maintains (wink wink) that matchmaking wasn’t and isn’t an ulterior motive for luring countless young Chinese-Americans to the island over the years on free cultural vacations—dubbed “the love boat” by irreverent travelers—primarily designed to heighten and tighten connections to their heritage.\u003c/p>\n\u003cfigure id=\"attachment_13856782\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Love_Boat_01_640.jpg\" alt=\"Still from 'Love Boat: Taiwan.'\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Love_Boat_01_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Love_Boat_01_640-160x232.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Love Boat: Taiwan.’\u003c/figcaption>\u003c/figure>\n\u003cp>Soe effortlessly blends irreverence with insight, steering \u003cem>Love Boat: Taiwan\u003c/em> (May 17 at the Roxie) from the pleasant shoals of awkward personal experience into deep-water themes of assimilation, identity and obligation. It’s natural that Soe’s doc would premiere at \u003ca href=\"https://caamfest.com/2019/\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a>, the Center for Asian American Media’s annual film festival, which runs May 9–19 in San Francisco and Oakland. But the film’s relevance to all immigrants shouldn’t be overlooked.\u003c/p>\n\u003cp>The night before (May 16 at the Asian Art Museum), CAAMFest honors Soe with a survey of her previous short films and Mila Zuo’s short portrait, \u003cem>Detourning Asia/America with Valerie Soe\u003c/em>. The program includes episodes of performance artist Kristina Wong’s seriocomic web series, for a doubleheader of witty feminist truths.\u003c/p>\n\u003cp>The spotlight also falls on another essential local woman filmmaker, Deann Borshay Liem, with the closing night world premiere of \u003cem>Geographies of Kinship\u003c/em> (May 19 at the Roxie). Borshay Liem’s latest shocking investigation into the lives of Korean children adopted by Western families in the 1950s manages to be both shattering and hopeful. If you’ve never seen Borshay Liem’s stunning debut, \u003cem>First Person Plural\u003c/em>, that 1999 landmark of personal documentary will be reprised at the San Francisco Public Library on May 18.\u003c/p>\n\u003cp>Borshay Liem and Soe are emblematic of the 37th edition of CAAMFest, which ventures near, far and wide. This is one festival where you don’t actually have to see a film to experience stereotypes being smashed. Just read the program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lighthearted title of Bay Area filmmaker Valerie Soe’s brand new documentary, \u003cem>Love Boat: Taiwan\u003c/em>, also serves to evoke a sense of mystery. That just comes with the territory when romance is involved. Except the Taiwanese government steadfastly maintains (wink wink) that matchmaking wasn’t and isn’t an ulterior motive for luring countless young Chinese-Americans to the island over the years on free cultural vacations—dubbed “the love boat” by irreverent travelers—primarily designed to heighten and tighten connections to their heritage.\u003c/p>\n\u003cfigure id=\"attachment_13856782\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13856782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Love_Boat_01_640.jpg\" alt=\"Still from 'Love Boat: Taiwan.'\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Love_Boat_01_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Love_Boat_01_640-160x232.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Love Boat: Taiwan.’\u003c/figcaption>\u003c/figure>\n\u003cp>Soe effortlessly blends irreverence with insight, steering \u003cem>Love Boat: Taiwan\u003c/em> (May 17 at the Roxie) from the pleasant shoals of awkward personal experience into deep-water themes of assimilation, identity and obligation. It’s natural that Soe’s doc would premiere at \u003ca href=\"https://caamfest.com/2019/\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a>, the Center for Asian American Media’s annual film festival, which runs May 9–19 in San Francisco and Oakland. But the film’s relevance to all immigrants shouldn’t be overlooked.\u003c/p>\n\u003cp>The night before (May 16 at the Asian Art Museum), CAAMFest honors Soe with a survey of her previous short films and Mila Zuo’s short portrait, \u003cem>Detourning Asia/America with Valerie Soe\u003c/em>. The program includes episodes of performance artist Kristina Wong’s seriocomic web series, for a doubleheader of witty feminist truths.\u003c/p>\n\u003cp>The spotlight also falls on another essential local woman filmmaker, Deann Borshay Liem, with the closing night world premiere of \u003cem>Geographies of Kinship\u003c/em> (May 19 at the Roxie). Borshay Liem’s latest shocking investigation into the lives of Korean children adopted by Western families in the 1950s manages to be both shattering and hopeful. If you’ve never seen Borshay Liem’s stunning debut, \u003cem>First Person Plural\u003c/em>, that 1999 landmark of personal documentary will be reprised at the San Francisco Public Library on May 18.\u003c/p>\n\u003cp>Borshay Liem and Soe are emblematic of the 37th edition of CAAMFest, which ventures near, far and wide. This is one festival where you don’t actually have to see a film to experience stereotypes being smashed. Just read the program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Elio and Oliver are back! That’s right, your favorite 1980s will-they-won’t-they couple of sun-drenched Italian summer fame return to the silver screen—and this time, with a live score.\u003c/p>\n\u003cp>For a \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Call-Me-by-Your-Name-%E2%80%93-Feature-Film-with-the.aspx?utm_medium=cpc&utm_source=BayTimes&utm_campaign=CMBYN&utm_content=ROS_660x1500\" target=\"_blank\" rel=\"noopener\">special presentation\u003c/a> of \u003ci>Call Me By Your Name\u003c/i> at Davies Symphony Hall on June 18, the SF Symphony performs Sufjan Stevens’ sumptuous score live. It’s a fitting complement—a full orchestra, that is—to the opulence and warmth depicted in the film, which is, at its core, a heartfelt coming-of-age story (that just happened to launch a million fan sites about Timothée Chalamet).\u003c/p>\n\u003cp>(If you have no idea what I’m talking about, perhaps it’s time to see this dang thing, which won James Ivory a best adapted screenplay Oscar at the 2018 awards.)\u003c/p>\n\u003cp>Tickets are already on sale, ranging in price from $35 to $155, depending on your seat. So why wait at home, crying into your crackling fireplace, when you can relive someone else’s first love?\u003c/p>\n\u003cp>In the meantime, may I highly recommend the \u003ca href=\"https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer\" target=\"_blank\" rel=\"noopener\">audiobook\u003c/a> of André Aciman’s novel, upon which Luca Guadagnino’s film is based. It’s narrated by Armie Hammer. I don’t think I need to say more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>You’re most likely to hear the magic words “live cinema” at experimental-film venues and (paradoxically) top-tier film festivals. The phrase typically refers to a creative presentation of images (i.e., dual asynchronous projectors) or live musical (or verbal) accompaniment to a completed film. In every case, the tangible goal and fundamental appeal is a unique evening that can never be precisely duplicated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.silentfilm.org/festivalevents/festival-2019\" rel=\"noopener\" target=\"_blank\">The San Francisco Silent Film Festival\u003c/a>, which Art Deco-rates the Castro Theater May 1–5, has been in the forefront of the live cinema movement for 24 years. SFSFF founders Melissa Chittick and Stephen Salmons didn’t aspire to be trendsetters or jargon coiners; they simply wanted to spread their love for silent movies. Circa 1995, the silent era was the least-respected period in cinema history—for the simple reason that it was the least-remembered and the most poorly presented on television and in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13856219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg\" alt=\"Still from 'L'inferno,' Directed by Francesco Bertolini and Adolfo Padovan.\" width=\"1200\" height=\"903\" class=\"size-full wp-image-13856219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-1020x768.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’inferno,’ Directed by Francesco Bertolini and Adolfo Padovan. \u003ccite>(Courtesy of SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFSFF screens new or recently restored prints, at their proper speed, accompanied by the top musical ensembles specializing in silent film accompaniment around the globe. A slew of slides with delicious trivia and background info precede each film, while the free program is packed with expert essays about each title. The environment, scholarship and performance are designed to not merely entertain, but to revive and celebrate an art form that reached its first—and to some, greatest—peak before technology regaled us with “talkies.” \u003c/p>\n\u003cp>The upshot, if you’ve never attended the San Francisco Silent Film Festival, is that you can pick any program and get the gestalt of the entire enterprise. The evening screenings, of course, draw more people in period dress among the enormous, rapt crowds. You’ll need to hurry to nab tickets to the hot Saturday night shows: Erich von Stroheim’s \u003cem>The Wedding March\u003c/em> (1928), accompanied by the Mont Alto Motion Picture Orchestra and starring Fay Wray of \u003cem>King Kong\u003c/em> fame (whose daughter and biographer, Victoria Riskin, will introduce the film), and \u003cem>L’inferno\u003c/em> (1911), a stunning dramatization of Dante’s circles accompanied by the Matti Bye Ensemble. As we say every year, silents is golden.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re most likely to hear the magic words “live cinema” at experimental-film venues and (paradoxically) top-tier film festivals. The phrase typically refers to a creative presentation of images (i.e., dual asynchronous projectors) or live musical (or verbal) accompaniment to a completed film. In every case, the tangible goal and fundamental appeal is a unique evening that can never be precisely duplicated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.silentfilm.org/festivalevents/festival-2019\" rel=\"noopener\" target=\"_blank\">The San Francisco Silent Film Festival\u003c/a>, which Art Deco-rates the Castro Theater May 1–5, has been in the forefront of the live cinema movement for 24 years. SFSFF founders Melissa Chittick and Stephen Salmons didn’t aspire to be trendsetters or jargon coiners; they simply wanted to spread their love for silent movies. Circa 1995, the silent era was the least-respected period in cinema history—for the simple reason that it was the least-remembered and the most poorly presented on television and in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13856219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg\" alt=\"Still from 'L'inferno,' Directed by Francesco Bertolini and Adolfo Padovan.\" width=\"1200\" height=\"903\" class=\"size-full wp-image-13856219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LInferno_1200-1020x768.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘L’inferno,’ Directed by Francesco Bertolini and Adolfo Padovan. \u003ccite>(Courtesy of SF Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFSFF screens new or recently restored prints, at their proper speed, accompanied by the top musical ensembles specializing in silent film accompaniment around the globe. A slew of slides with delicious trivia and background info precede each film, while the free program is packed with expert essays about each title. The environment, scholarship and performance are designed to not merely entertain, but to revive and celebrate an art form that reached its first—and to some, greatest—peak before technology regaled us with “talkies.” \u003c/p>\n\u003cp>The upshot, if you’ve never attended the San Francisco Silent Film Festival, is that you can pick any program and get the gestalt of the entire enterprise. The evening screenings, of course, draw more people in period dress among the enormous, rapt crowds. You’ll need to hurry to nab tickets to the hot Saturday night shows: Erich von Stroheim’s \u003cem>The Wedding March\u003c/em> (1928), accompanied by the Mont Alto Motion Picture Orchestra and starring Fay Wray of \u003cem>King Kong\u003c/em> fame (whose daughter and biographer, Victoria Riskin, will introduce the film), and \u003cem>L’inferno\u003c/em> (1911), a stunning dramatization of Dante’s circles accompanied by the Matti Bye Ensemble. As we say every year, silents is golden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! The Serious Comedy of Ugo Tognazzi at the Castro",
"headTitle": "Now Playing! The Serious Comedy of Ugo Tognazzi at the Castro | KQED",
"content": "\u003cp>As the straight-arrow prosecutor nipping at the Ferragamo heels of Vittorio Gassman’s amoral industrialist in the 1971 satire \u003cem>In the Name of the Italian People\u003c/em>, Ugo Tognazzi necessarily defers the comic overplaying to his slick costar. But Tognazzi’s flawless timing—he deploys a devastating arsenal of pauses and reactions amid a nonstop flow of rat-a-tat dialogue—evokes his roots in comedy. It’s a measure of the actor’s skill that he can anchor the moral center of Dino Risi’s skewering movie and also suggest (and suppress) an anarchic impulse. \u003c/p>\n\u003cp>Drawn from Luce Cinecittá’s extensive 25-film retrospective last December at New York’s Museum of Modern Art—which encompassed a mere sixth of Tognazzi’s mammoth body of screen work—\u003cem>In the Name of the Italian People\u003c/em> is more relevant and resonant for contemporary U.S. audiences steeped in corruption than the pre-Watergate viewers of its initial release. In fact, its basic assertion that the masters of the universe can be brought to heel by one incorruptible member of the justice system feels almost naïve today (say what you will of the efforts of one Robert Mueller).\u003c/p>\n\u003cfigure id=\"attachment_13855591\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg\" alt=\"Still from 'In Nome del Popolo Italiano,' featuring Vittorio Gassman and Ugo Tognazzi.\" width=\"1200\" height=\"790\" class=\"size-full wp-image-13855591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘In Nome del Popolo Italiano,’ featuring Vittorio Gassman and Ugo Tognazzi. \u003ccite>(Courtesy of Rialto Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Risi’s savagely civilized work screens Saturday, April 27 as part of \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ugo Tognazzi: A Film Series\u003c/a>. The all-day marathon, curated and organized by Cinema Italia San Francisco under the patronage of the Italian Consul General and presented by Luce Cinecittá and The Italian Cultural Institute San Francisco, features his breakthrough international hits, \u003cem>La Grande Bouffe\u003c/em> (1973) and \u003cem>La Cage aux Folles\u003c/em> (1978), as well as the lesser-known \u003cem>Property Is No Longer a Theft\u003c/em> (1973) and Bernardo Bertolucci’s \u003cem>Tragedy of a Ridiculous Man\u003c/em> (1981).\u003c/p>\n\u003cp>Tognazzi’s stardom beyond Italy has faded, especially compared to his colleague Marcello Mastroianni, in the nearly three decades since his death. Ugo Tognazzi: A Film Series invites us to discover—or discover anew—the actor’s unique mixture of dignity, intelligence and joyous abandon. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the straight-arrow prosecutor nipping at the Ferragamo heels of Vittorio Gassman’s amoral industrialist in the 1971 satire \u003cem>In the Name of the Italian People\u003c/em>, Ugo Tognazzi necessarily defers the comic overplaying to his slick costar. But Tognazzi’s flawless timing—he deploys a devastating arsenal of pauses and reactions amid a nonstop flow of rat-a-tat dialogue—evokes his roots in comedy. It’s a measure of the actor’s skill that he can anchor the moral center of Dino Risi’s skewering movie and also suggest (and suppress) an anarchic impulse. \u003c/p>\n\u003cp>Drawn from Luce Cinecittá’s extensive 25-film retrospective last December at New York’s Museum of Modern Art—which encompassed a mere sixth of Tognazzi’s mammoth body of screen work—\u003cem>In the Name of the Italian People\u003c/em> is more relevant and resonant for contemporary U.S. audiences steeped in corruption than the pre-Watergate viewers of its initial release. In fact, its basic assertion that the masters of the universe can be brought to heel by one incorruptible member of the justice system feels almost naïve today (say what you will of the efforts of one Robert Mueller).\u003c/p>\n\u003cfigure id=\"attachment_13855591\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg\" alt=\"Still from 'In Nome del Popolo Italiano,' featuring Vittorio Gassman and Ugo Tognazzi.\" width=\"1200\" height=\"790\" class=\"size-full wp-image-13855591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘In Nome del Popolo Italiano,’ featuring Vittorio Gassman and Ugo Tognazzi. \u003ccite>(Courtesy of Rialto Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Risi’s savagely civilized work screens Saturday, April 27 as part of \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ugo Tognazzi: A Film Series\u003c/a>. The all-day marathon, curated and organized by Cinema Italia San Francisco under the patronage of the Italian Consul General and presented by Luce Cinecittá and The Italian Cultural Institute San Francisco, features his breakthrough international hits, \u003cem>La Grande Bouffe\u003c/em> (1973) and \u003cem>La Cage aux Folles\u003c/em> (1978), as well as the lesser-known \u003cem>Property Is No Longer a Theft\u003c/em> (1973) and Bernardo Bertolucci’s \u003cem>Tragedy of a Ridiculous Man\u003c/em> (1981).\u003c/p>\n\u003cp>Tognazzi’s stardom beyond Italy has faded, especially compared to his colleague Marcello Mastroianni, in the nearly three decades since his death. Ugo Tognazzi: A Film Series invites us to discover—or discover anew—the actor’s unique mixture of dignity, intelligence and joyous abandon. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Donté Clark is a poet and thespian from North Richmond, you can tell by the way he talks. His southern drawl on certain words shows his family roots, while his proper pronunciation of other terms is evidence of his upbringing in Northern California.\u003c/p>\n\u003cp>Clark combines both, while speaking passionately about social issues, community empowerment and the things he’s seen. His new book \u003ca href=\"https://www.amazon.com/KnowFreedom-1-Donte-D-Clark/dp/1727349059\">\u003cem>KnowFreedom\u003c/em>\u003c/a>, a collection of his poetry and writing, exemplifies this work.\u003c/p>\n\u003cfigure id=\"attachment_13855455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-800x535.jpg\" alt=\"Donté Clark in Richmond's Nichol Park.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donté Clark in Richmond’s Nicholl Park. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clark’s craft has taken him to stages for \u003ca href=\"https://www.youtube.com/watch?v=Lh8TzfnySFI&t=58s\">Youth Speaks\u003c/a> and a role in the film \u003ca href=\"https://www.youtube.com/watch?v=EE6m_05dQfw\">\u003cem>Romeo is Bleeding\u003c/em>\u003c/a>—which led to an appearance on \u003ca href=\"https://www.youtube.com/watch?v=r6705w7WcJY\">\u003cem>Sway’s Universe\u003c/em>\u003c/a>, where Clark was introduced by none other than Russell Simmons. Recently he landed a role in the \u003ca href=\"https://www.kqed.org/arts/13808042/the-north-pole-i-feel-you\" target=\"_blank\" rel=\"noopener\">web series about gentrification and global warming, \u003cem>The North Pole\u003c/em>\u003c/a>, which just wrapped shooting for its second season.\u003c/p>\n\u003cp>I caught up with Clark at Nicholl Park in Richmond, not too far from where he went to school. He told me how his experiences in Richmond helped him to find his voice—both in the sense of what to talk about, and how to say it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Donté Clark performs as part of ‘Word of Resilience’ on Thursday, April 25 at the Oakland Public Library Main Branch. The 6pm event is free and open to all ages. \u003ca href=\"http://www.oaklandlibrary.org/events/main-library/national-poetry-month-celebration-words-resilience\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donté Clark is a poet and thespian from North Richmond, you can tell by the way he talks. His southern drawl on certain words shows his family roots, while his proper pronunciation of other terms is evidence of his upbringing in Northern California.\u003c/p>\n\u003cp>Clark combines both, while speaking passionately about social issues, community empowerment and the things he’s seen. His new book \u003ca href=\"https://www.amazon.com/KnowFreedom-1-Donte-D-Clark/dp/1727349059\">\u003cem>KnowFreedom\u003c/em>\u003c/a>, a collection of his poetry and writing, exemplifies this work.\u003c/p>\n\u003cfigure id=\"attachment_13855455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-800x535.jpg\" alt=\"Donté Clark in Richmond's Nichol Park.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donté Clark in Richmond’s Nicholl Park. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clark’s craft has taken him to stages for \u003ca href=\"https://www.youtube.com/watch?v=Lh8TzfnySFI&t=58s\">Youth Speaks\u003c/a> and a role in the film \u003ca href=\"https://www.youtube.com/watch?v=EE6m_05dQfw\">\u003cem>Romeo is Bleeding\u003c/em>\u003c/a>—which led to an appearance on \u003ca href=\"https://www.youtube.com/watch?v=r6705w7WcJY\">\u003cem>Sway’s Universe\u003c/em>\u003c/a>, where Clark was introduced by none other than Russell Simmons. Recently he landed a role in the \u003ca href=\"https://www.kqed.org/arts/13808042/the-north-pole-i-feel-you\" target=\"_blank\" rel=\"noopener\">web series about gentrification and global warming, \u003cem>The North Pole\u003c/em>\u003c/a>, which just wrapped shooting for its second season.\u003c/p>\n\u003cp>I caught up with Clark at Nicholl Park in Richmond, not too far from where he went to school. He told me how his experiences in Richmond helped him to find his voice—both in the sense of what to talk about, and how to say it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>\u003c/div>",
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"title": "Director Madeleine Olnek Wants You to Know, Emily Dickinson Was No Spinster Recluse",
"headTitle": "Director Madeleine Olnek Wants You to Know, Emily Dickinson Was No Spinster Recluse | KQED",
"content": "\u003cp>Director Madeleine Olnek thinks Terence Davies got it all wrong. \u003c/p>\n\u003cp>“Terence Davies’ movie [\u003cem>\u003ca href=\"https://www.kqed.org/arts/13158871/emily-dickinson-corresponds-with-god-in-a-quiet-passion\" target=\"_blank\" rel=\"noopener\">A Quiet Passion\u003c/a>\u003c/em>]—it’s a travesty that the Susan character is just a church mouse,” she says in our telephone interview. \u003c/p>\n\u003cp>\u003cem>Her\u003c/em> Emily Dickinson biopic, \u003cem>Wild Nights with Emily\u003c/em>, starring Molly Shannon, is a corrective to Davies’ film. Olnek disputes his, and many other popularized portrayals of the 19th century poet as “a spinster recluse too frightened to leave her room.” \u003c/p>\n\u003cp>According to Olnek’s extensive research—she had access to Dickinson’s papers from Harvard University Press—Susan Dickinson (played by Susan Ziegler) wasn’t just her brother Austin’s wife and Amherst neighbor. She was Emily’s intellectual companion and her lover.\u003c/p>\n\u003cp>“They read literature together. They referred to Shakespeare characters and quotes in shorthand, communicating ideas to each other,” Olnek says. “That’s a full rich life. We have those letters, we know that this is what happened.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Olnek chatted with KQED about previous depictions of Dickinson, casting an SNL alum and leaving audiences with an experience of the poet’s rich language. \u003c/p>\n\u003cfigure id=\"attachment_13855058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg\" alt=\"Emily (Molly Shannon) and Susan (Susan Ziegler) in 'Wild Nights with Emily.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13855058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emily (Molly Shannon) and Susan (Susan Ziegler) in ‘Wild Nights with Emily.’ \u003ccite>(Courtesy of Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before she was on \u003cem>Saturday Night Live\u003c/em>, you’d worked with Molly Shannon when you were both at NYU. But what made you think of casting her as Dickinson?\u003c/strong>\u003c/p>\n\u003cp>It’s casting where the performer connects with a deep truth inside of them as a person. Emily Dickinson had an original mind and Molly Shannon is one of a kind. If you don’t think of Molly as Emily Dickinson before you see the movie, you certainly do think of her as Emily Dickinson after you see it. One of the shocks for me wasn’t just finding out about her romantic life, but it was finding out that, actually, Emily Dickinson had a sense of humor and was very funny and warm. Molly brings to light who the true Emily was.\u003c/p>\n\u003cp>\u003cstrong>Although the film is set in the 19th century, you wrote the script with contemporary colloquial expressions. Did you want to avoid the trappings of a period piece?\u003c/strong>\u003c/p>\n\u003cp>I’ve been really moved, if that’s the right word, by \u003cem>\u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>\u003c/em>. It’s shown us that historical pieces, when they’re stripped of all the pretension that we associate with them, are really about people in situations dealing with ideas. When I was reading Dickinson’s letters, I was surprised by how contemporary so much of the language was. It shocked me: jokes and things that you would never think someone in the 1800s would say. So I didn’t want the actors’ attention on presenting the period. We’ve seen that in a million films. I was interested in everyone focusing on what each person felt in that situation, the connections with other people and what they were struggling with.\u003c/p>\n\u003cfigure id=\"attachment_13855059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg\" alt=\"Emily (Molly Shannon) thinking at her desk in 'Wild Nights with Emily.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13855059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emily (Molly Shannon) thinking at her desk in ‘Wild Nights with Emily.’ \u003ccite>(Courtesy of Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before I read her poetry, I grew up with the image of Julie Harris as Emily Dickinson in the one-woman show \u003cem>The Belle of Amherst\u003c/em>. Did you?\u003c/strong>\u003c/p>\n\u003cp>Oh, of course. The thing to remember about Julie Harris and \u003ca href=\"https://archive.org/details/thebelleofamherst\" target=\"_blank\" rel=\"noopener\">\u003cem>The Belle of Amherst\u003c/em>\u003c/a> is that Emily Dickinson wrote those letters [that the play is based upon] when she was in her early teens. Having a middle-aged woman perform those sentiments as if they were current, made her into a weird adult child. There was a gap between what she was expressing and the age she was at, which added to that feeling of, “There’s something wrong here.”\u003c/p>\n\u003cp>I definitely had that \u003cem>Belle of Amherst\u003c/em> idea in my head. And it wasn’t appealing to me as someone growing up in the 1970s. What first made me interested in Emily Dickinson was Philip Weiss’ \u003ca href=\"https://www.nytimes.com/1998/11/29/magazine/beethoven-s-hair-tells-all.html\" target=\"_blank\" rel=\"noopener\">article\u003c/a> in the \u003cem>New York Times\u003c/em> that we reference in the end credits. I hadn’t had any interest in Emily Dickinson and that article floored me. Martha Nell Smith, who wrote \u003cem>\u003ca href=\"https://utpress.utexas.edu/books/smirow\" rel=\"noopener\" target=\"_blank\">Rowing in Eden: Rereading Emily Dickinson\u003c/a>\u003c/em>, was profiled about using spectrographic technology to look at the erasures in Emily’s letters.\u003c/p>\n\u003cp>\u003cstrong>That article referenced an unexpurgated letter from Emily to her sister-in-law Susan.\u003c/strong>\u003c/p>\n\u003cp>Dickinson wrote out this whole long letter that was so passionate and so clearly the letter of someone in love. I thought, that letter was never erased or marked up and it’s just been sitting out there a few years? It was hiding in plain sight. Emily’s letters to Susan were published in 1998. Other material like \u003cem>The Riddle of Emily Dickinson\u003c/em>, about Emily and Kate Anthon [another possible lover], was published in 1951. Every time a piece of information about her would come out, the spin factory would forcefully say the opposite. I was interested in why were we told the opposite about this person, what was the reason for it?\u003c/p>\n\u003cfigure id=\"attachment_13855060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg\" alt=\"Higginson (Brett Gelman) takes a knife to Emily's poems in 'Wild Nights with Emily.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13855060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Higginson (Brett Gelman) takes a knife to Emily’s poems in ‘Wild Nights with Emily.’ \u003ccite>(Courtesy of Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dickinson’s poetry sometimes appears on screen in subtitles, but you also interpreted two of her poems visually.\u003c/strong>\u003c/p>\n\u003cp>I tried to think if I was having a dream in the 1800s what would that dream be like. One of the great disappointments in so many literary biopics is that you often leave the theater maybe knowing some more facts about that writer’s life, but never really drilling into their words and ideas. I wanted to make a biopic about a writer where we got to experience what was so exciting about their language and that we would leave the theater having experienced the language, not just having heard it or seen it. As much as possible, we tried to give people those experiences as opposed to just seeing someone trying to write and crumple up pieces of paper as movies often show writers.\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>\u003ci>‘\u003ca href=\"https://www.wildnightswithemily.com/\" target=\"_blank\" rel=\"noopener\">Wild Nights with Emily\u003c/a>‘ opens Friday, April 19, at the Embarcadero Center Cinema.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In 'Wild Nights With Emily,' Molly Shannon plays the 19th century poet as we've never seen her before.",
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"description": "In 'Wild Nights With Emily,' Molly Shannon plays the 19th century poet as we've never seen her before.",
"title": "Director Madeleine Olnek Wants You to Know, Emily Dickinson Was No Spinster Recluse | KQED",
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"headline": "Director Madeleine Olnek Wants You to Know, Emily Dickinson Was No Spinster Recluse",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Madeleine Olnek thinks Terence Davies got it all wrong. \u003c/p>\n\u003cp>“Terence Davies’ movie [\u003cem>\u003ca href=\"https://www.kqed.org/arts/13158871/emily-dickinson-corresponds-with-god-in-a-quiet-passion\" target=\"_blank\" rel=\"noopener\">A Quiet Passion\u003c/a>\u003c/em>]—it’s a travesty that the Susan character is just a church mouse,” she says in our telephone interview. \u003c/p>\n\u003cp>\u003cem>Her\u003c/em> Emily Dickinson biopic, \u003cem>Wild Nights with Emily\u003c/em>, starring Molly Shannon, is a corrective to Davies’ film. Olnek disputes his, and many other popularized portrayals of the 19th century poet as “a spinster recluse too frightened to leave her room.” \u003c/p>\n\u003cp>According to Olnek’s extensive research—she had access to Dickinson’s papers from Harvard University Press—Susan Dickinson (played by Susan Ziegler) wasn’t just her brother Austin’s wife and Amherst neighbor. She was Emily’s intellectual companion and her lover.\u003c/p>\n\u003cp>“They read literature together. They referred to Shakespeare characters and quotes in shorthand, communicating ideas to each other,” Olnek says. “That’s a full rich life. We have those letters, we know that this is what happened.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Olnek chatted with KQED about previous depictions of Dickinson, casting an SNL alum and leaving audiences with an experience of the poet’s rich language. \u003c/p>\n\u003cfigure id=\"attachment_13855058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg\" alt=\"Emily (Molly Shannon) and Susan (Susan Ziegler) in 'Wild Nights with Emily.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13855058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-and-Susan-Susan-Ziegler-reading-in-the-kitchen-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emily (Molly Shannon) and Susan (Susan Ziegler) in ‘Wild Nights with Emily.’ \u003ccite>(Courtesy of Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before she was on \u003cem>Saturday Night Live\u003c/em>, you’d worked with Molly Shannon when you were both at NYU. But what made you think of casting her as Dickinson?\u003c/strong>\u003c/p>\n\u003cp>It’s casting where the performer connects with a deep truth inside of them as a person. Emily Dickinson had an original mind and Molly Shannon is one of a kind. If you don’t think of Molly as Emily Dickinson before you see the movie, you certainly do think of her as Emily Dickinson after you see it. One of the shocks for me wasn’t just finding out about her romantic life, but it was finding out that, actually, Emily Dickinson had a sense of humor and was very funny and warm. Molly brings to light who the true Emily was.\u003c/p>\n\u003cp>\u003cstrong>Although the film is set in the 19th century, you wrote the script with contemporary colloquial expressions. Did you want to avoid the trappings of a period piece?\u003c/strong>\u003c/p>\n\u003cp>I’ve been really moved, if that’s the right word, by \u003cem>\u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>\u003c/em>. It’s shown us that historical pieces, when they’re stripped of all the pretension that we associate with them, are really about people in situations dealing with ideas. When I was reading Dickinson’s letters, I was surprised by how contemporary so much of the language was. It shocked me: jokes and things that you would never think someone in the 1800s would say. So I didn’t want the actors’ attention on presenting the period. We’ve seen that in a million films. I was interested in everyone focusing on what each person felt in that situation, the connections with other people and what they were struggling with.\u003c/p>\n\u003cfigure id=\"attachment_13855059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg\" alt=\"Emily (Molly Shannon) thinking at her desk in 'Wild Nights with Emily.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13855059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Emily-Molly-Shannon-thinking-at-her-desk-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emily (Molly Shannon) thinking at her desk in ‘Wild Nights with Emily.’ \u003ccite>(Courtesy of Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before I read her poetry, I grew up with the image of Julie Harris as Emily Dickinson in the one-woman show \u003cem>The Belle of Amherst\u003c/em>. Did you?\u003c/strong>\u003c/p>\n\u003cp>Oh, of course. The thing to remember about Julie Harris and \u003ca href=\"https://archive.org/details/thebelleofamherst\" target=\"_blank\" rel=\"noopener\">\u003cem>The Belle of Amherst\u003c/em>\u003c/a> is that Emily Dickinson wrote those letters [that the play is based upon] when she was in her early teens. Having a middle-aged woman perform those sentiments as if they were current, made her into a weird adult child. There was a gap between what she was expressing and the age she was at, which added to that feeling of, “There’s something wrong here.”\u003c/p>\n\u003cp>I definitely had that \u003cem>Belle of Amherst\u003c/em> idea in my head. And it wasn’t appealing to me as someone growing up in the 1970s. What first made me interested in Emily Dickinson was Philip Weiss’ \u003ca href=\"https://www.nytimes.com/1998/11/29/magazine/beethoven-s-hair-tells-all.html\" target=\"_blank\" rel=\"noopener\">article\u003c/a> in the \u003cem>New York Times\u003c/em> that we reference in the end credits. I hadn’t had any interest in Emily Dickinson and that article floored me. Martha Nell Smith, who wrote \u003cem>\u003ca href=\"https://utpress.utexas.edu/books/smirow\" rel=\"noopener\" target=\"_blank\">Rowing in Eden: Rereading Emily Dickinson\u003c/a>\u003c/em>, was profiled about using spectrographic technology to look at the erasures in Emily’s letters.\u003c/p>\n\u003cp>\u003cstrong>That article referenced an unexpurgated letter from Emily to her sister-in-law Susan.\u003c/strong>\u003c/p>\n\u003cp>Dickinson wrote out this whole long letter that was so passionate and so clearly the letter of someone in love. I thought, that letter was never erased or marked up and it’s just been sitting out there a few years? It was hiding in plain sight. Emily’s letters to Susan were published in 1998. Other material like \u003cem>The Riddle of Emily Dickinson\u003c/em>, about Emily and Kate Anthon [another possible lover], was published in 1951. Every time a piece of information about her would come out, the spin factory would forcefully say the opposite. I was interested in why were we told the opposite about this person, what was the reason for it?\u003c/p>\n\u003cfigure id=\"attachment_13855060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg\" alt=\"Higginson (Brett Gelman) takes a knife to Emily's poems in 'Wild Nights with Emily.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13855060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Higginson-Brett-Gelman-takes-a-knife-to-Emilys-Molly-Shannon-poems-WILD-NIGHTS-WITH-EMILY-Courtesy-of-Greenwich-Entertainment-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Higginson (Brett Gelman) takes a knife to Emily’s poems in ‘Wild Nights with Emily.’ \u003ccite>(Courtesy of Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dickinson’s poetry sometimes appears on screen in subtitles, but you also interpreted two of her poems visually.\u003c/strong>\u003c/p>\n\u003cp>I tried to think if I was having a dream in the 1800s what would that dream be like. One of the great disappointments in so many literary biopics is that you often leave the theater maybe knowing some more facts about that writer’s life, but never really drilling into their words and ideas. I wanted to make a biopic about a writer where we got to experience what was so exciting about their language and that we would leave the theater having experienced the language, not just having heard it or seen it. As much as possible, we tried to give people those experiences as opposed to just seeing someone trying to write and crumple up pieces of paper as movies often show writers.\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>\u003ci>‘\u003ca href=\"https://www.wildnightswithemily.com/\" target=\"_blank\" rel=\"noopener\">Wild Nights with Emily\u003c/a>‘ opens Friday, April 19, at the Embarcadero Center Cinema.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://sffilm.org\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a> (SFFILM) continues through April 23, with a few fresh-as-a-daisy oldies stirred into the contemporary state-of-cinema mix. This year, a \u003ca href=\"https://sffilm.org/event/warpaint-live-score-films-by-maya-deren/\" rel=\"noopener\" target=\"_blank\">Castro Theater event on April 19\u003c/a> pairing live music with silent films is typically inspired. It matches live music from Warpaint’s Theresa Wayman and Stella Mozgawa with the immortal Maya Deren’s amazing mid-century works of avant-garde ethnography: \u003cem>At Land\u003c/em>, \u003cem>Meshes of the Afternoon\u003c/em>, \u003cem>Ritual in Transfigured Time\u003c/em> and \u003cem>The Very Eye of Night\u003c/em>. Entrancing, transporting and not to be missed.\u003c/p>\n\u003cp>One of my more memorable, and confounding, experiences at the San Francisco International Film Festival was the 2000 press screening of \u003cem>Wisconsin Death Trip\u003c/em>. I recall James Marsh’s genre-defying adaptation of Michael Lesy’s 1973 cult-fave compilation of 19th century photographs and newspaper accounts of Midwestern self-destruction and suffering as an amalgam of black-and-white poetry, historical curiosity, death tourism (Marsh is British) and bullet-punctuated eulogy. Decide for yourself on Saturday, April 20, when \u003ca href=\"https://bampfa.org/event/wisconsin-death-trip\" rel=\"noopener\" target=\"_blank\">\u003cem>Wisconsin Death Trip\u003c/em> screens at BAMPFA in Berkeley\u003c/a> as part of the Mel Novikoff Award presentation to editor and executive producer Anthony Wall of BBC Arena, the long-running strand of stellar arts documentaries. (James Marsh, incidentally, went on to win the Best Documentary Oscar for \u003cem>Man on Wire\u003c/em> before segueing to narrative features.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://sffilm.org\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a> (SFFILM) continues through April 23, with a few fresh-as-a-daisy oldies stirred into the contemporary state-of-cinema mix. This year, a \u003ca href=\"https://sffilm.org/event/warpaint-live-score-films-by-maya-deren/\" rel=\"noopener\" target=\"_blank\">Castro Theater event on April 19\u003c/a> pairing live music with silent films is typically inspired. It matches live music from Warpaint’s Theresa Wayman and Stella Mozgawa with the immortal Maya Deren’s amazing mid-century works of avant-garde ethnography: \u003cem>At Land\u003c/em>, \u003cem>Meshes of the Afternoon\u003c/em>, \u003cem>Ritual in Transfigured Time\u003c/em> and \u003cem>The Very Eye of Night\u003c/em>. Entrancing, transporting and not to be missed.\u003c/p>\n\u003cp>One of my more memorable, and confounding, experiences at the San Francisco International Film Festival was the 2000 press screening of \u003cem>Wisconsin Death Trip\u003c/em>. I recall James Marsh’s genre-defying adaptation of Michael Lesy’s 1973 cult-fave compilation of 19th century photographs and newspaper accounts of Midwestern self-destruction and suffering as an amalgam of black-and-white poetry, historical curiosity, death tourism (Marsh is British) and bullet-punctuated eulogy. Decide for yourself on Saturday, April 20, when \u003ca href=\"https://bampfa.org/event/wisconsin-death-trip\" rel=\"noopener\" target=\"_blank\">\u003cem>Wisconsin Death Trip\u003c/em> screens at BAMPFA in Berkeley\u003c/a> as part of the Mel Novikoff Award presentation to editor and executive producer Anthony Wall of BBC Arena, the long-running strand of stellar arts documentaries. (James Marsh, incidentally, went on to win the Best Documentary Oscar for \u003cem>Man on Wire\u003c/em> before segueing to narrative features.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The spaceship hurtling away from Earth is staffed with men and women sprung from death row to aid in a mysterious science experiment. The once-condemned crew believe they’ve been given a chance to redeem themselves and do one final good deed for humanity. Only later, as their signals to Earth begin to go unanswered and their true mission comes into focus, do they realize they have in fact been condemned twice. \u003c/p>\n\u003cp>\u003cem>High Life \u003c/em>is strange and wondrous, less a traditional sci-fi film than it is a seductive journey into the long, black night of death. For many Americans it will also be a wormhole into the work of French director Claire Denis, who’s been active in cinephile circles for three decades but has never before helmed a movie entirely in English. Of course, having the hipness cred of A24 and Robert Pattinson providing the rocket fuel doesn’t hurt.\u003c/p>\n\u003cp>https://youtu.be/AtOwfo1ypOw\u003c/p>\n\u003cp>A prologue that wouldn’t be out of place in a Tarkovsky film shows Pattinson’s human guinea pig Monte in the aftermath of something horrible, wandering alone on the deck of this rocket to nowhere, with only a mysterious baby keeping him company. It’s a great hook — \u003cem>what the hell happened here? \u003c/em>— shot at Denis’ familiar meandering pace, proving that even lightspeed won’t rush her story. It’s also a mission statement. As he hurtles toward oblivion, Monte’s acts of paternal care exist in a kind of vacuum. Maybe life and love are possible within a universe of infinite cruelty, and it’s up to the individual to determine their worth.\u003c/p>\n\u003cp>Flashbacks soon fill in some of the story, though not all of it. For much of the mission Monte (minus the baby) has been in the company of several other inmates. They’re all beholden to Dr. Dibs, the ship’s sexpot mad scientist, played with ecstatic camp glee by Juliette Binoche. Dibs, like Dr. Frankenstein before her, is obsessed with conjuring life from nothing, and the thriving greenhouse on the ship, combined with the turkey basters she employs with surgical precision, give a clue as to what she might want from her captives … or perhaps more specifically from Monte, whom she clearly lusts after. (Pattinson is terrific in this, playing Monte as someone who’s practiced at the art of concealing his true soul from the world.) But Dibs’ other subjects are less than cooperative. Some have a streak of sexual violence you might expect of the circumstances that brought them onboard, while the powder-keg Boyse (Mia Goth) simply resents the idea of becoming someone else’s experiment, even with the limited options she has available to her at such a prematurely late stage of life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Denis grew up in colonial French Africa, where she’s staged many of her films, and it often feels like every landscape is a form of outer space to her. Over output as disparate as the Djibouti-set military-exercise symphony \u003cem>Beau Travail\u003c/em>, the deeply unsettling cannibal horror “romance” \u003cem>Trouble Every Day \u003c/em>and well into this brave new foray, she demonstrates an eerie, clinical fascination with the human body in moments of both monotony and crisis. What do our routines, our thoughtless movements, tell us about ourselves? And what are we capable of doing to each other’s bodies, or to our own, when given the chance? \u003c/p>\n\u003cp>Maybe such a description of Denis’ work is necessary to newcomers because otherwise something like \u003cem>High Life\u003c/em>, with its cloudy, elliptical narrative, uncomfortable sex stuff and spats of truly nasty behavior, could be… well, an alienating experience. The film frames the cosmos not as a new frontier of exploration, a land of wonder and hope, but as a delayed death sentence: No return from the undiscovered country. And our brief glimpses of Earth don’t fare much better. Through the eyes of the prisoners, we can only see a world that neglected and abandoned them until it was too late, and then formally expelled them from its orbit.\u003c/p>\n\u003cp>Another trademark of Denis, the salacious imagery, becomes \u003cem>High Life\u003c/em>‘s clearest bond to Earth: Humans are creatures of sex and violence, after all. There’s an inky black chamber on the ship that’s equipped only for self-gratification. There’s some business with sperm that will make you think less of eroticism and more of an animal testing lab. There’s a shocking attack involving glass shards. All of this is made even more uneasy because the ship (designed with muted tones and a chilling sterility by sculpture artist Ólafur Eliasson) throws off our equilibrium, its close quarters making mincemeat of the idea of personal space. \u003cem>High Life \u003c/em>confirms something we’ve long expected in the movies: From \u003cem>2001 \u003c/em>to \u003cem>Alien \u003c/em>and beyond, every spaceship inevitably becomes a prison. \u003c/p>\n\u003cp>There are moments when it seems the film isn’t grandiose enough for its vision, leading to some underdeveloped characters (like André Benjamin’s soft-spoken gardener Tcherny) who feel like afterthoughts. All the same, \u003cem>High Life \u003c/em>has hard things to say about our species, and about what it means to push people beyond the point of no return. In those outer limits we find pain and life, and a singular filmmaker unafraid of the dark. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Denis grew up in colonial French Africa, where she’s staged many of her films, and it often feels like every landscape is a form of outer space to her. Over output as disparate as the Djibouti-set military-exercise symphony \u003cem>Beau Travail\u003c/em>, the deeply unsettling cannibal horror “romance” \u003cem>Trouble Every Day \u003c/em>and well into this brave new foray, she demonstrates an eerie, clinical fascination with the human body in moments of both monotony and crisis. What do our routines, our thoughtless movements, tell us about ourselves? And what are we capable of doing to each other’s bodies, or to our own, when given the chance? \u003c/p>\n\u003cp>Maybe such a description of Denis’ work is necessary to newcomers because otherwise something like \u003cem>High Life\u003c/em>, with its cloudy, elliptical narrative, uncomfortable sex stuff and spats of truly nasty behavior, could be… well, an alienating experience. The film frames the cosmos not as a new frontier of exploration, a land of wonder and hope, but as a delayed death sentence: No return from the undiscovered country. And our brief glimpses of Earth don’t fare much better. Through the eyes of the prisoners, we can only see a world that neglected and abandoned them until it was too late, and then formally expelled them from its orbit.\u003c/p>\n\u003cp>Another trademark of Denis, the salacious imagery, becomes \u003cem>High Life\u003c/em>‘s clearest bond to Earth: Humans are creatures of sex and violence, after all. There’s an inky black chamber on the ship that’s equipped only for self-gratification. There’s some business with sperm that will make you think less of eroticism and more of an animal testing lab. There’s a shocking attack involving glass shards. All of this is made even more uneasy because the ship (designed with muted tones and a chilling sterility by sculpture artist Ólafur Eliasson) throws off our equilibrium, its close quarters making mincemeat of the idea of personal space. \u003cem>High Life \u003c/em>confirms something we’ve long expected in the movies: From \u003cem>2001 \u003c/em>to \u003cem>Alien \u003c/em>and beyond, every spaceship inevitably becomes a prison. \u003c/p>\n\u003cp>There are moments when it seems the film isn’t grandiose enough for its vision, leading to some underdeveloped characters (like André Benjamin’s soft-spoken gardener Tcherny) who feel like afterthoughts. All the same, \u003cem>High Life \u003c/em>has hard things to say about our species, and about what it means to push people beyond the point of no return. In those outer limits we find pain and life, and a singular filmmaker unafraid of the dark. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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