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"content": "\u003cp>Born in Berkeley 90 years ago, James Ivory’s brilliant career as a film director has taken him around the world. He remains closely identified with India, however, where he made his first documentaries as well as his first narrative features. Ivory’s longtime partner, Ismail Merchant, was born in Bombay and their favorite screenwriter, novelist Ruth Prawer Jhabvala, wrote about and lived in India for almost a quarter century.\u003c/p>\n\u003cp>Ivory returns to Berkeley and \u003ca href=\"https://bampfa.org/program/james-ivory-person\" target=\"_blank\" rel=\"noopener\">BAMPFA\u003c/a> this week to present three early films shot in India or with an Indian protagonist—1965’s \u003cem>Shakespeare Wallah\u003c/em> (Feb. 22) and 1969’s \u003cem>The Guru\u003c/em> (Feb. 23), along with a sold-out screening of 1975’s \u003cem>Autobiography of a Princess\u003c/em> (Feb. 20). The director’s perceptive and empathetic attitude regarding culture clash, geographical dislocation, the discomfort of looming change and the disruptive force of romantic love presages his entire career.\u003c/p>\n\u003cfigure id=\"attachment_13851136\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/tongues.jpg\" alt=\"Still from Marlon Rigg's 'Tongues Untied,' 1989.\" width=\"1920\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1200x889.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Marlon Rigg’s ‘Tongues Untied,’ 1989. \u003ccite>(Courtesy of the Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marlon Riggs was born in Texas, but called the Bay Area home. After graduating from Harvard with honors, Riggs ventured west to do his graduate work in journalism at UC Berkeley (and stayed on as a professor). His first documentary, \u003cem>Ethnic Notions\u003c/em> (1987), brilliantly delineated \u003cem>in 59 minutes\u003c/em> the evolution of black stereotypes in mainstream American culture from the end of the Civil War onward. (Stream it for free on \u003ca href=\"https://sfpl.kanopy.com/video/ethnic-notions-0\">Kanopy\u003c/a>. You will be astonished.)\u003c/p>\n\u003cp>The \u003ca href=\"https://www.roxie.com/ai1ec_event/tongues-untied-30th-anniversary-screening/?instance_id=32349\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> marks the 30th anniversary of Marlon’s most personal, poetic, sexy and brave film, \u003cem>Tongues Untied\u003c/em>, with a screening on Feb. 20. At a time when homosexuality wasn’t acknowledged in the black community, Riggs did more than out himself: He celebrated every fiber of his being as an intellectual, an artist, a member of a community and a queer man. He died of AIDS in 1994, and his memory and his work inspire generations of Bay Area documentary makers to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, two masters are celebrated and remembered on both sides of the Bay this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Born in Berkeley 90 years ago, James Ivory’s brilliant career as a film director has taken him around the world. He remains closely identified with India, however, where he made his first documentaries as well as his first narrative features. Ivory’s longtime partner, Ismail Merchant, was born in Bombay and their favorite screenwriter, novelist Ruth Prawer Jhabvala, wrote about and lived in India for almost a quarter century.\u003c/p>\n\u003cp>Ivory returns to Berkeley and \u003ca href=\"https://bampfa.org/program/james-ivory-person\" target=\"_blank\" rel=\"noopener\">BAMPFA\u003c/a> this week to present three early films shot in India or with an Indian protagonist—1965’s \u003cem>Shakespeare Wallah\u003c/em> (Feb. 22) and 1969’s \u003cem>The Guru\u003c/em> (Feb. 23), along with a sold-out screening of 1975’s \u003cem>Autobiography of a Princess\u003c/em> (Feb. 20). The director’s perceptive and empathetic attitude regarding culture clash, geographical dislocation, the discomfort of looming change and the disruptive force of romantic love presages his entire career.\u003c/p>\n\u003cfigure id=\"attachment_13851136\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851136\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/tongues.jpg\" alt=\"Still from Marlon Rigg's 'Tongues Untied,' 1989.\" width=\"1920\" height=\"1422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/tongues-1200x889.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Marlon Rigg’s ‘Tongues Untied,’ 1989. \u003ccite>(Courtesy of the Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marlon Riggs was born in Texas, but called the Bay Area home. After graduating from Harvard with honors, Riggs ventured west to do his graduate work in journalism at UC Berkeley (and stayed on as a professor). His first documentary, \u003cem>Ethnic Notions\u003c/em> (1987), brilliantly delineated \u003cem>in 59 minutes\u003c/em> the evolution of black stereotypes in mainstream American culture from the end of the Civil War onward. (Stream it for free on \u003ca href=\"https://sfpl.kanopy.com/video/ethnic-notions-0\">Kanopy\u003c/a>. You will be astonished.)\u003c/p>\n\u003cp>The \u003ca href=\"https://www.roxie.com/ai1ec_event/tongues-untied-30th-anniversary-screening/?instance_id=32349\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> marks the 30th anniversary of Marlon’s most personal, poetic, sexy and brave film, \u003cem>Tongues Untied\u003c/em>, with a screening on Feb. 20. At a time when homosexuality wasn’t acknowledged in the black community, Riggs did more than out himself: He celebrated every fiber of his being as an intellectual, an artist, a member of a community and a queer man. He died of AIDS in 1994, and his memory and his work inspire generations of Bay Area documentary makers to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Artist's Way is the Only Way in 'Never Look Away'",
"headTitle": "The Artist’s Way is the Only Way in ‘Never Look Away’ | KQED",
"content": "\u003cp>The light above Florian Henckel von Donnersmarck’s head is flickering.\u003c/p>\n\u003cp>We’re in the empty bar of a Nob Hill hotel and I’m asking the 6-foot-9-inch-tall director about a scene in his third film, \u003cem>Never Look Away\u003c/em>. In it, a reporter at an art opening asks the painter Kurt Barnert (Tom Schilling) if he plans to create something other than “blurry copies of photographs.” (Barnert is a fictional analog of the German visual artist Gerhard Richter, whose early work might be easily, and incorrectly, dismissed as such.)\u003c/p>\n\u003cp>Unlike his cynical reporter, von Donnersmarck, the Academy Award-winning writer and director of \u003cem>The Lives of Others\u003c/em>, would never dismiss Barnert or Richter’s work. He found himself drawn to and transfixed by Richter’s paintings—so inspired by the man’s work, in fact, that he produced a three-hour movie about the formative years of the artist’s imagination.\u003c/p>\n\u003cfigure id=\"attachment_13850794\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850794\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/9.jpg\" alt=\"Cai Cohrs as Young Kurt Barnert in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Cai Cohrs as Young Kurt Barnert in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he starts to answer the question, von Donnersmarck frowns and narrows his eyes, clearly distracted by the light above. He stands on his chair to adjust the bulb, protecting his hands from the heat with the corner of a paper bag. Inside the bag is a book he just bought—\u003cem>The Magic Lantern\u003c/em>, Ingmar Bergman’s autobiography.\u003c/p>\n\u003cp>As he tightens the bulb, he recalls something he learned in film school: “If you have a flickering light, it’s one of the safest ways to put the audience into a kind of panic-mode.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s important, in any form of art, to trust only your own senses,” he says. We settle in an adjacent room where the lights didn’t induce a sense of panic and pick up where we left off. “It’s something that I tried to capture, also, through the title, \u003cem>Never Look Away\u003c/em>,” he explains. “If you portray what you feel and somebody then comes up to you and says, ‘I don’t like your face.’ Well, sorry, it’s the only one I’ve got.”\u003c/p>\n\u003cp>The German title of the film is \u003cem>Werk ohne Autor\u003c/em>, which he translates as “a body of work without an author or originator.” It’s a term, he says, used by critics of Richter’s work who believed he had no point of view, that he created his art mechanically and excluded biographical material. Von Donnersmarck’s film is a treatise that proves otherwise. The narrative shows just how personal Barnert’s (and therefore Richter’s) art actually is.\u003c/p>\n\u003cfigure id=\"attachment_13850795\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850795\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/1.jpg\" alt=\"L to R: Tom Schilling as Kurt Barnert, Paula Beer as Ellie Seeband in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Tom Schilling as Kurt Barnert, Paula Beer as Ellie Seeband in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Never Look Away\u003c/em> builds a mythology for the artist out of the ruins of World War II and the Cold War. Mingling narrative with the sweeping politics of a, von Donnersmarck creates a German epic. Barnert is the sole Romantic hero of a Bildungsroman wherein fascist, communist and liberal governments all weigh in on what an artist can and cannot say. Often placed in the role of an innocent bystander, Tom Schilling carries a purposefully blank (though not unintelligent) expression in his bright blue eyes.\u003c/p>\n\u003cp>Barnert doesn’t emerge from the war emotionally unscathed—his father, brothers and aunt all suffer tragic fates—but he retains an openness that allows an audience to approach him. We can project our own aspirations onto his, or wistfully reminisce about the ones we’ve forgotten. The actor weathers difficulty not stoically, but as if he’s impermeable to harm or supernaturally aware that his gifts will come to fruition. We watch as his artistic practice is curtailed (in East Germany) and later given free reign (in West Germany); as a result of that shift in geography and oversight, his work transforms.\u003c/p>\n\u003cfigure id=\"attachment_13850796\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/10.jpg\" alt=\"Sebastian Koch as Professor Carl Seeband in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Sebastian Koch as Professor Carl Seeband in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Never Look Away\u003c/em> is old-fashioned in that it contains and honors the essence of Rainer Maria Rilke’s \u003cem>Letters to a Young Poet\u003c/em>—an instruction manual for the soul of an artist-in-waiting. The director elaborates on that, suggesting it’s not our inner child but our inner adolescent who has access to artistic freedom.\u003c/p>\n\u003cp>“We all have a moment during our teenage years, where suddenly we feel like, yes, everything is possible. We can find the code of the world, the answer to all questions,” he says. “In a way we’re more right about that than we are when we take all the little setbacks and failures and troubles too much to heart.”\u003c/p>\n\u003cfigure id=\"attachment_13850797\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850797\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/6.jpg\" alt=\"Oliver Masucci as Professor Antonius van Verten in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Masucci as Professor Antonius van Verten in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Call me naive, but in person von Donnersmarck’s philosophy sounds pure; he’s unshaken and impassioned. He believes that art brings us closer to our humanity and that ideologies don’t. Fittingly, in his films, politicians and authority figures remain especially unmoved by art.\u003c/p>\n\u003cp>“Some people have shut themselves off so much. It’s some form of ideology. Ideology and art are things that are at diametrically opposite poles,” he says. “Art is something that I take incredibly seriously. It’s something to be taken as seriously, almost, as religion,” he concludes.\u003c/p>\n\u003cp>“It’s the strongest weapon that we have against political extremism. Art is the one thing that can change people.”\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>\n\u003cp>\u003cem>‘Never Look Away’ opens Friday, Feb. 15, in San Francisco at Landmark’s Clay Theatre.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In Florian Henckel von Donnersmarck's third film, the life story of painter Gerhard Richter inspires an epic tale of artistic expression in post-WWII and Cold War Germany. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The light above Florian Henckel von Donnersmarck’s head is flickering.\u003c/p>\n\u003cp>We’re in the empty bar of a Nob Hill hotel and I’m asking the 6-foot-9-inch-tall director about a scene in his third film, \u003cem>Never Look Away\u003c/em>. In it, a reporter at an art opening asks the painter Kurt Barnert (Tom Schilling) if he plans to create something other than “blurry copies of photographs.” (Barnert is a fictional analog of the German visual artist Gerhard Richter, whose early work might be easily, and incorrectly, dismissed as such.)\u003c/p>\n\u003cp>Unlike his cynical reporter, von Donnersmarck, the Academy Award-winning writer and director of \u003cem>The Lives of Others\u003c/em>, would never dismiss Barnert or Richter’s work. He found himself drawn to and transfixed by Richter’s paintings—so inspired by the man’s work, in fact, that he produced a three-hour movie about the formative years of the artist’s imagination.\u003c/p>\n\u003cfigure id=\"attachment_13850794\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850794\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/9.jpg\" alt=\"Cai Cohrs as Young Kurt Barnert in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/9-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Cai Cohrs as Young Kurt Barnert in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he starts to answer the question, von Donnersmarck frowns and narrows his eyes, clearly distracted by the light above. He stands on his chair to adjust the bulb, protecting his hands from the heat with the corner of a paper bag. Inside the bag is a book he just bought—\u003cem>The Magic Lantern\u003c/em>, Ingmar Bergman’s autobiography.\u003c/p>\n\u003cp>As he tightens the bulb, he recalls something he learned in film school: “If you have a flickering light, it’s one of the safest ways to put the audience into a kind of panic-mode.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s important, in any form of art, to trust only your own senses,” he says. We settle in an adjacent room where the lights didn’t induce a sense of panic and pick up where we left off. “It’s something that I tried to capture, also, through the title, \u003cem>Never Look Away\u003c/em>,” he explains. “If you portray what you feel and somebody then comes up to you and says, ‘I don’t like your face.’ Well, sorry, it’s the only one I’ve got.”\u003c/p>\n\u003cp>The German title of the film is \u003cem>Werk ohne Autor\u003c/em>, which he translates as “a body of work without an author or originator.” It’s a term, he says, used by critics of Richter’s work who believed he had no point of view, that he created his art mechanically and excluded biographical material. Von Donnersmarck’s film is a treatise that proves otherwise. The narrative shows just how personal Barnert’s (and therefore Richter’s) art actually is.\u003c/p>\n\u003cfigure id=\"attachment_13850795\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850795\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/1.jpg\" alt=\"L to R: Tom Schilling as Kurt Barnert, Paula Beer as Ellie Seeband in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/1-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Tom Schilling as Kurt Barnert, Paula Beer as Ellie Seeband in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Never Look Away\u003c/em> builds a mythology for the artist out of the ruins of World War II and the Cold War. Mingling narrative with the sweeping politics of a, von Donnersmarck creates a German epic. Barnert is the sole Romantic hero of a Bildungsroman wherein fascist, communist and liberal governments all weigh in on what an artist can and cannot say. Often placed in the role of an innocent bystander, Tom Schilling carries a purposefully blank (though not unintelligent) expression in his bright blue eyes.\u003c/p>\n\u003cp>Barnert doesn’t emerge from the war emotionally unscathed—his father, brothers and aunt all suffer tragic fates—but he retains an openness that allows an audience to approach him. We can project our own aspirations onto his, or wistfully reminisce about the ones we’ve forgotten. The actor weathers difficulty not stoically, but as if he’s impermeable to harm or supernaturally aware that his gifts will come to fruition. We watch as his artistic practice is curtailed (in East Germany) and later given free reign (in West Germany); as a result of that shift in geography and oversight, his work transforms.\u003c/p>\n\u003cfigure id=\"attachment_13850796\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/10.jpg\" alt=\"Sebastian Koch as Professor Carl Seeband in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/10-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Sebastian Koch as Professor Carl Seeband in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Never Look Away\u003c/em> is old-fashioned in that it contains and honors the essence of Rainer Maria Rilke’s \u003cem>Letters to a Young Poet\u003c/em>—an instruction manual for the soul of an artist-in-waiting. The director elaborates on that, suggesting it’s not our inner child but our inner adolescent who has access to artistic freedom.\u003c/p>\n\u003cp>“We all have a moment during our teenage years, where suddenly we feel like, yes, everything is possible. We can find the code of the world, the answer to all questions,” he says. “In a way we’re more right about that than we are when we take all the little setbacks and failures and troubles too much to heart.”\u003c/p>\n\u003cfigure id=\"attachment_13850797\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850797\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/6.jpg\" alt=\"Oliver Masucci as Professor Antonius van Verten in 'Never Look Away.'\" width=\"1118\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/6-1020x657.jpg 1020w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Masucci as Professor Antonius van Verten in ‘Never Look Away.’ \u003ccite>(Photo by Caleb Deschanel; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Call me naive, but in person von Donnersmarck’s philosophy sounds pure; he’s unshaken and impassioned. He believes that art brings us closer to our humanity and that ideologies don’t. Fittingly, in his films, politicians and authority figures remain especially unmoved by art.\u003c/p>\n\u003cp>“Some people have shut themselves off so much. It’s some form of ideology. Ideology and art are things that are at diametrically opposite poles,” he says. “Art is something that I take incredibly seriously. It’s something to be taken as seriously, almost, as religion,” he concludes.\u003c/p>\n\u003cp>“It’s the strongest weapon that we have against political extremism. Art is the one thing that can change people.”\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>\n\u003cp>\u003cem>‘Never Look Away’ opens Friday, Feb. 15, in San Francisco at Landmark’s Clay Theatre.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_dyS4iMD0w&feature=youtu.be\u003c/p>\n\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>[contextly_sidebar id=”oOMfIFbUUpwTvC4LCU80NDC52yYXPeBD”]\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” she says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d_dyS4iMD0w'\n title='//www.youtube.com/embed/d_dyS4iMD0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Britain’s impending exit from the European Union will have myriad consequences, many of which can’t be estimated or even predicted. The pervasive uncertainty extends to the UK film industry, which receives a significant chunk of funding from the EU. It’s quite possible that fewer movies will be produced in Britain next year, and the year after—if Anglophiles needed another thing to put their stomachs in a knot.\u003c/p>\n\u003cp>Ruthe Stein, the founder and director of the annual \u003ca href=\"http://mostlybritish.org\" rel=\"noopener\" target=\"_blank\">Mostly British Film Festival\u003c/a> (Feb. 14–21 at the Vogue Theatre in S.F.), isn’t stocking up on antacid tablets just yet. The lineup she’s assembled for the 2019 edition encompasses household names like Ralph Fiennes and Michael Caine, greatest hits such as Sir Laurence Olivier’s \u003cem>Richard III\u003c/em> and Mike Newell’s \u003cem>Four Weddings and a Funeral\u003c/em>, a wealth of indie charmers and chillers from fearless new talents, and the S.F. premiere of Mike Leigh’s period political epic, \u003cem>Peterloo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13850590\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Peterloo-1200.jpg\" alt=\"Still from 'Peterloo.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13850590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Peterloo.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fiennes directed the sold-out opening night film, the David-Hare scripted biopic \u003cem>The White Crow\u003c/em>, about budding ballet superstar Rudolf Nureyev. Caine is front and center as our guide through the massive upheaval of British society and culture in the Swinging ’60s in the documentary \u003cem>My Generation\u003c/em>. And the ambitious \u003cem>Peterloo\u003c/em> recreates the 1819 Manchester massacre of everyday Englishmen and women who’d gathered to rally for a more representative and responsive government.\u003c/p>\n\u003cp>Mostly British boasts a number of lower-profile, handpicked films from the UK, Australia and South Africa that might not otherwise play the Bay Area. Aussies Stephen Elliot and Guy Pearce reunite for the wild comedic romp \u003cem>Flammable Children\u003c/em> (a.k.a. \u003cem>Swinging Safari\u003c/em>), centered on three neighboring families in 1970s Sydney. In \u003cem>Lost & Found\u003c/em>, writer-director-star Liam O Mochain spins a delectable dramedy out of interconnected stories around a railroad station in rural Ireland.\u003c/p>\n\u003cp>Not everyone has the freedom and initiative to leave their home and circumstances. Suburban housewife Gemma Atherton has to dig deep—and confront husband Dominic Cooper—to extricate herself from a life of quiet desperation in writer-director Dominic Savage’s probing, intimate \u003cem>The Escape\u003c/em>. These days, it feels like every exit is traumatic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britain’s impending exit from the European Union will have myriad consequences, many of which can’t be estimated or even predicted. The pervasive uncertainty extends to the UK film industry, which receives a significant chunk of funding from the EU. It’s quite possible that fewer movies will be produced in Britain next year, and the year after—if Anglophiles needed another thing to put their stomachs in a knot.\u003c/p>\n\u003cp>Ruthe Stein, the founder and director of the annual \u003ca href=\"http://mostlybritish.org\" rel=\"noopener\" target=\"_blank\">Mostly British Film Festival\u003c/a> (Feb. 14–21 at the Vogue Theatre in S.F.), isn’t stocking up on antacid tablets just yet. The lineup she’s assembled for the 2019 edition encompasses household names like Ralph Fiennes and Michael Caine, greatest hits such as Sir Laurence Olivier’s \u003cem>Richard III\u003c/em> and Mike Newell’s \u003cem>Four Weddings and a Funeral\u003c/em>, a wealth of indie charmers and chillers from fearless new talents, and the S.F. premiere of Mike Leigh’s period political epic, \u003cem>Peterloo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13850590\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Peterloo-1200.jpg\" alt=\"Still from 'Peterloo.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13850590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Peterloo-1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Peterloo.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fiennes directed the sold-out opening night film, the David-Hare scripted biopic \u003cem>The White Crow\u003c/em>, about budding ballet superstar Rudolf Nureyev. Caine is front and center as our guide through the massive upheaval of British society and culture in the Swinging ’60s in the documentary \u003cem>My Generation\u003c/em>. And the ambitious \u003cem>Peterloo\u003c/em> recreates the 1819 Manchester massacre of everyday Englishmen and women who’d gathered to rally for a more representative and responsive government.\u003c/p>\n\u003cp>Mostly British boasts a number of lower-profile, handpicked films from the UK, Australia and South Africa that might not otherwise play the Bay Area. Aussies Stephen Elliot and Guy Pearce reunite for the wild comedic romp \u003cem>Flammable Children\u003c/em> (a.k.a. \u003cem>Swinging Safari\u003c/em>), centered on three neighboring families in 1970s Sydney. In \u003cem>Lost & Found\u003c/em>, writer-director-star Liam O Mochain spins a delectable dramedy out of interconnected stories around a railroad station in rural Ireland.\u003c/p>\n\u003cp>Not everyone has the freedom and initiative to leave their home and circumstances. Suburban housewife Gemma Atherton has to dig deep—and confront husband Dominic Cooper—to extricate herself from a life of quiet desperation in writer-director Dominic Savage’s probing, intimate \u003cem>The Escape\u003c/em>. These days, it feels like every exit is traumatic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You know BD Wong even if you think you don’t: he’s the actor who’s played forensic psychologist George Huang on \u003cem>Law & Order: Special Victims Unit\u003c/em>; Dr. Henry Wu in \u003cem>Jurassic Park\u003c/em>; Father Ray Mukada on \u003cem>Oz\u003c/em> and the voice of Shang in \u003cem>Mulan\u003c/em>. But Wong’s story really begins on the stage: his multiple-award-winning Broadway debut in \u003cem>M. Butterfly\u003c/em>, for one, but even before then, his lead roles in the drama department at Lincoln High School right here in San Francisco.\u003c/p>\n\u003cp>Wong returns to the San Francisco stage in March as a head coach in the basketball drama \u003cem>The Great Leap\u003c/em> at ACT, and he drops by the Asian Art Museum on Feb. 14 for a discussion about the play, his enduring career (he \u003ca href=\"https://www.facebook.com/BDWongFanpage/photos/a.136481546395923/2297703246940398/?type=3&theater\" rel=\"noopener\" target=\"_blank\">most recently appeared in \u003cem>Bird Box\u003c/em>\u003c/a>), and his life growing up in San Francisco. But it’s also Valentine’s Day on Thursday, and I’ve got my money on Wong opening up a little about his love life, too—he just married his partner of eight years this past October. It starts at 6:30pm, and general admission tickets are $25. \u003ca href=\"http://www.asianart.org/events/1593\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know BD Wong even if you think you don’t: he’s the actor who’s played forensic psychologist George Huang on \u003cem>Law & Order: Special Victims Unit\u003c/em>; Dr. Henry Wu in \u003cem>Jurassic Park\u003c/em>; Father Ray Mukada on \u003cem>Oz\u003c/em> and the voice of Shang in \u003cem>Mulan\u003c/em>. But Wong’s story really begins on the stage: his multiple-award-winning Broadway debut in \u003cem>M. Butterfly\u003c/em>, for one, but even before then, his lead roles in the drama department at Lincoln High School right here in San Francisco.\u003c/p>\n\u003cp>Wong returns to the San Francisco stage in March as a head coach in the basketball drama \u003cem>The Great Leap\u003c/em> at ACT, and he drops by the Asian Art Museum on Feb. 14 for a discussion about the play, his enduring career (he \u003ca href=\"https://www.facebook.com/BDWongFanpage/photos/a.136481546395923/2297703246940398/?type=3&theater\" rel=\"noopener\" target=\"_blank\">most recently appeared in \u003cem>Bird Box\u003c/em>\u003c/a>), and his life growing up in San Francisco. But it’s also Valentine’s Day on Thursday, and I’ve got my money on Wong opening up a little about his love life, too—he just married his partner of eight years this past October. It starts at 6:30pm, and general admission tickets are $25. \u003ca href=\"http://www.asianart.org/events/1593\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "do-we-want-netflix-amazon-and-the-like-deciding-whats-truthy-for-us",
"title": "Do We Want Netflix, Amazon and the Like Deciding What's Truthful?",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=4tLhstodpFI]\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "Do We Want Netflix, Amazon and the Like Deciding What's Truthful? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4tLhstodpFI'\n title='//www.youtube.com/embed/4tLhstodpFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Local Film Orgs Salute the Late, Great Jonas Mekas",
"headTitle": "Now Playing! Local Film Orgs Salute the Late, Great Jonas Mekas | KQED",
"content": "\u003cp>When Jonas Mekas reached New York in 1949, he was a shy Lithuanian refugee who had endured, with his brother Adolfas, a Nazi labor camp and various DP (displaced persons) camps in Europe. He kept diaries and walked a lot in those early years in America, seeking out other artists and filmmakers. In surprisingly short order, Jonas—friends and strangers alike called him Jonas—co-founded a screening series of primarily experimental works and wrote the program notes; he also found his voice with a camera.\u003c/p>\n\u003cp>As a devoted filmmaker and the \u003cem>Village Voice\u003c/em>’s first film critic in 1958, Mekas emerged as an influential champion of avant-garde filmmaking. It was an exciting period, with culture hounds from commercial directors to pop artists (Andy Warhol, notably) inspired by the freedom, beauty and expressiveness of experimental cinema. Mekas spearheaded essential infrastructure by founding the \u003ca href=\"http://film-makerscoop.com/\" rel=\"noopener\" target=\"_blank\">Filmmakers’ Cooperative\u003c/a> (for distribution) and \u003ca href=\"http://anthologyfilmarchives.org/\" rel=\"noopener\" target=\"_blank\">Anthology Film Archives\u003c/a> (exhibition and preservation), and continued his frequent, diary-style film shoots.\u003c/p>\n\u003cfigure id=\"attachment_13850107\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/JonasMekas.jpg.jpg\" alt=\"Jonas Mekas\" width=\"700\" height=\"306\" class=\"size-full wp-image-13850107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/JonasMekas.jpg.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/JonasMekas.jpg-160x70.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Jonas Mekas \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mekas’ contributions to several generations of filmmakers, in and beyond New York City, are unmatched. But his movies, including the 1976 epic \u003cem>Lost, Lost, Lost\u003c/em>, compiled from all that footage Mekas shot in the first years after his arrival in the States, are just as important. Mekas loved to film, to capture moments in images, and his work is vivid and incisive.\u003c/p>\n\u003cp>“I am afraid that most of my early material—and my early films too—are fading, going,” Mekas told film critic and historian Scott MacDonald in 1983 at the end of a lengthy interview. “It would take about $40,000 to preserve my films. That’s a lot of money. Money—or dust. Money against the dust of time into which all our works eventually disappear.”\u003c/p>\n\u003cfigure id=\"attachment_13850109\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mekas%E2%80%94Birth.jpg\" alt=\"Images from Jonas Mekas' 'Birth of a Nation,' 1997.\" width=\"1024\" height=\"821\" class=\"size-full wp-image-13850109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-1020x818.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Images from Jonas Mekas’ ‘Birth of a Nation,’ 1997. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas mined that vast trove of material, along with miles of celluloid he shot of other independent filmmakers and their supporters, for \u003cem>Birth of a Nation\u003c/em> (1997). To celebrate Jonas’ remarkable 96 years on the planet, and to mark his passing on Jan. 23, \u003ca href=\"http://www.sfcinematheque.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Cinematheque\u003c/a> and \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener\" target=\"_blank\">Canyon Cinema\u003c/a> (the Bay Area filmmakers’ enterprise that actually predates Filmmakers’ Cooperative) screen that vibrant film on Wed., \u003ca href=\"http://www.sfcinematheque.org/screenings/celebrating-jonas-mekas/\" target=\"_blank\" rel=\"noopener\">Feb. 13 at Artists’ Television Access\u003c/a>. (Not coincidentally, ATA is S.F.’s own long-running bastion of avant-garde, out-of-the-mainstream film.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Someday, perhaps, Jonas Mekas’ films will succumb to eons of indifference. But today we remember a relentless and selfless artist, a fighter and a friend to every filmmaker on the margins.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jonas Mekas reached New York in 1949, he was a shy Lithuanian refugee who had endured, with his brother Adolfas, a Nazi labor camp and various DP (displaced persons) camps in Europe. He kept diaries and walked a lot in those early years in America, seeking out other artists and filmmakers. In surprisingly short order, Jonas—friends and strangers alike called him Jonas—co-founded a screening series of primarily experimental works and wrote the program notes; he also found his voice with a camera.\u003c/p>\n\u003cp>As a devoted filmmaker and the \u003cem>Village Voice\u003c/em>’s first film critic in 1958, Mekas emerged as an influential champion of avant-garde filmmaking. It was an exciting period, with culture hounds from commercial directors to pop artists (Andy Warhol, notably) inspired by the freedom, beauty and expressiveness of experimental cinema. Mekas spearheaded essential infrastructure by founding the \u003ca href=\"http://film-makerscoop.com/\" rel=\"noopener\" target=\"_blank\">Filmmakers’ Cooperative\u003c/a> (for distribution) and \u003ca href=\"http://anthologyfilmarchives.org/\" rel=\"noopener\" target=\"_blank\">Anthology Film Archives\u003c/a> (exhibition and preservation), and continued his frequent, diary-style film shoots.\u003c/p>\n\u003cfigure id=\"attachment_13850107\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/JonasMekas.jpg.jpg\" alt=\"Jonas Mekas\" width=\"700\" height=\"306\" class=\"size-full wp-image-13850107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/JonasMekas.jpg.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/JonasMekas.jpg-160x70.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Jonas Mekas \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mekas’ contributions to several generations of filmmakers, in and beyond New York City, are unmatched. But his movies, including the 1976 epic \u003cem>Lost, Lost, Lost\u003c/em>, compiled from all that footage Mekas shot in the first years after his arrival in the States, are just as important. Mekas loved to film, to capture moments in images, and his work is vivid and incisive.\u003c/p>\n\u003cp>“I am afraid that most of my early material—and my early films too—are fading, going,” Mekas told film critic and historian Scott MacDonald in 1983 at the end of a lengthy interview. “It would take about $40,000 to preserve my films. That’s a lot of money. Money—or dust. Money against the dust of time into which all our works eventually disappear.”\u003c/p>\n\u003cfigure id=\"attachment_13850109\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mekas%E2%80%94Birth.jpg\" alt=\"Images from Jonas Mekas' 'Birth of a Nation,' 1997.\" width=\"1024\" height=\"821\" class=\"size-full wp-image-13850109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mekas—Birth-1020x818.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Images from Jonas Mekas’ ‘Birth of a Nation,’ 1997. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas mined that vast trove of material, along with miles of celluloid he shot of other independent filmmakers and their supporters, for \u003cem>Birth of a Nation\u003c/em> (1997). To celebrate Jonas’ remarkable 96 years on the planet, and to mark his passing on Jan. 23, \u003ca href=\"http://www.sfcinematheque.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Cinematheque\u003c/a> and \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener\" target=\"_blank\">Canyon Cinema\u003c/a> (the Bay Area filmmakers’ enterprise that actually predates Filmmakers’ Cooperative) screen that vibrant film on Wed., \u003ca href=\"http://www.sfcinematheque.org/screenings/celebrating-jonas-mekas/\" target=\"_blank\" rel=\"noopener\">Feb. 13 at Artists’ Television Access\u003c/a>. (Not coincidentally, ATA is S.F.’s own long-running bastion of avant-garde, out-of-the-mainstream film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Look, I don’t know how it happened, but somewhere along the way, the people decided that Jeff Goldblum was worthy of \u003ca href=\"https://www.youtube.com/watch?v=wJelEXaPhJ8&t=29s\" target=\"_blank\" rel=\"noopener noreferrer\">viral remixes\u003c/a>, enormous \u003ca href=\"https://www.instagram.com/p/BlYvP0sH9Oq/\" target=\"_blank\" rel=\"noopener noreferrer\">shirtless statues\u003c/a> and \u003ca href=\"https://www.inprnt.com/gallery/jlarriva/ian-malcolm-from-chaos/\" target=\"_blank\" rel=\"noopener noreferrer\">sensual oil paintings\u003c/a>. He of the oddly clipped delivery, the casual aside, the perfect pecs—he is no longer an actor, the world has now voted. He is \u003cem>irony’s figurehead\u003c/em>.\u003c/p>\n\u003cp>If I’ve witnessed anything on the internet in the past 20 years, it’s how easily we can elevate someone only to knock them down. Sometimes it’s simple overexposure, sometimes it’s “problematic” revelations, but sometimes it’s just that the joke has run its course and the subject material is out of gas. That’s where we sit with Jeff Goldblum now.\u003c/p>\n\u003cp>Look, I’d ordinarily say that I could revel in Jeff Goldblum infinitely. He sings jazz cabaret! He \u003ca href=\"https://www.kqed.org/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course\" target=\"_blank\" rel=\"noopener noreferrer\">genuinely seems like a good guy\u003c/a>! He has an approach to method acting that appears to be based on, I dunno, his past life as a cereal box!\u003c/p>\n\u003cp>But folks, we are approaching a saturation point. We are in danger of turning Jeff Goldblum into that most fragile of cultural creatures: the human meme.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is why it’s important to kick back, unfollow your Jeff Goldblum fan accounts, and return to what’s important by watching some of the guy’s damn movies. This Sunday, Feb. 3, the Alamo Drafthouse allows you to do just that with \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">The Goldblum Standard\u003c/a>\u003c/em>, a collection of four of the master’s films.\u003c/p>\n\u003cp>In a twist, you won’t know which ones until you get there, but you know what? Unlike the merciless churning cycle of internet celebrity, the man’s movies have never let me down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>‘The Goldblum Standard: A Jeff Goldblum Mystery Marathon’ runs Sunday, Feb. 3, at the Alamo Drafthouse in San Francisco. \u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Look, I don’t know how it happened, but somewhere along the way, the people decided that Jeff Goldblum was worthy of \u003ca href=\"https://www.youtube.com/watch?v=wJelEXaPhJ8&t=29s\" target=\"_blank\" rel=\"noopener noreferrer\">viral remixes\u003c/a>, enormous \u003ca href=\"https://www.instagram.com/p/BlYvP0sH9Oq/\" target=\"_blank\" rel=\"noopener noreferrer\">shirtless statues\u003c/a> and \u003ca href=\"https://www.inprnt.com/gallery/jlarriva/ian-malcolm-from-chaos/\" target=\"_blank\" rel=\"noopener noreferrer\">sensual oil paintings\u003c/a>. He of the oddly clipped delivery, the casual aside, the perfect pecs—he is no longer an actor, the world has now voted. He is \u003cem>irony’s figurehead\u003c/em>.\u003c/p>\n\u003cp>If I’ve witnessed anything on the internet in the past 20 years, it’s how easily we can elevate someone only to knock them down. Sometimes it’s simple overexposure, sometimes it’s “problematic” revelations, but sometimes it’s just that the joke has run its course and the subject material is out of gas. That’s where we sit with Jeff Goldblum now.\u003c/p>\n\u003cp>Look, I’d ordinarily say that I could revel in Jeff Goldblum infinitely. He sings jazz cabaret! He \u003ca href=\"https://www.kqed.org/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course\" target=\"_blank\" rel=\"noopener noreferrer\">genuinely seems like a good guy\u003c/a>! He has an approach to method acting that appears to be based on, I dunno, his past life as a cereal box!\u003c/p>\n\u003cp>But folks, we are approaching a saturation point. We are in danger of turning Jeff Goldblum into that most fragile of cultural creatures: the human meme.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is why it’s important to kick back, unfollow your Jeff Goldblum fan accounts, and return to what’s important by watching some of the guy’s damn movies. This Sunday, Feb. 3, the Alamo Drafthouse allows you to do just that with \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">The Goldblum Standard\u003c/a>\u003c/em>, a collection of four of the master’s films.\u003c/p>\n\u003cp>In a twist, you won’t know which ones until you get there, but you know what? Unlike the merciless churning cycle of internet celebrity, the man’s movies have never let me down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>‘The Goldblum Standard: A Jeff Goldblum Mystery Marathon’ runs Sunday, Feb. 3, at the Alamo Drafthouse in San Francisco. \u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It seems to be a big week for The \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a>: Director Peter Jackson is working on a documentary chronicling the recording process of the band’s final album with cooperation from Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.\u003c/p>\n\u003cp>[contextly_sidebar id=”Q1VMeIWecLL7zMCUgHagsbREjENGczcw”]\u003c/p>\n\u003cp>As was the case with \u003cem>They Shall Not Grow Old\u003c/em>, which found Jackson reviving a trove of archival World War I footage, the \u003cem>Lord of the Rings\u003c/em> filmmaker is mining 55 hours of unreleased footage of the band, using restoration techniques to render it in modern quality. The footage was originally intended for Michael Lindsay-Hogg’s 1970 documentary \u003cem>Let it Be\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”3G3S3V6JeGizHg9Ems42a1ch3wTQcOax”]\u003c/p>\n\u003cp>Jackson claims that the footage he’s working from reveals a dynamic counter to the prevailing narrative that tensions ran high during the creation of \u003cem>Let it Be\u003c/em>, which was released after The Beatles had broken up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was relieved to discover the reality is very different to the myth,” says Jackson in press material. “After reviewing all the footage and audio that Michael Lindsay-Hogg shot 18 months before they broke up, it’s simply an amazing historical treasure-trove. Sure, there’s moments of drama — but none of the discord this project has long been associated with. Watching John, Paul, George, and Ringo work together, creating now-classic songs from scratch, is not only fascinating — it’s funny, uplifting and surprisingly intimate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film, currently in production, does not yet have a release date set.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Jackson+To+Direct+Documentary+On+The+Beatles+Recording+%27Let+It+Be%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems to be a big week for The \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a>: Director Peter Jackson is working on a documentary chronicling the recording process of the band’s final album with cooperation from Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As was the case with \u003cem>They Shall Not Grow Old\u003c/em>, which found Jackson reviving a trove of archival World War I footage, the \u003cem>Lord of the Rings\u003c/em> filmmaker is mining 55 hours of unreleased footage of the band, using restoration techniques to render it in modern quality. The footage was originally intended for Michael Lindsay-Hogg’s 1970 documentary \u003cem>Let it Be\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jackson claims that the footage he’s working from reveals a dynamic counter to the prevailing narrative that tensions ran high during the creation of \u003cem>Let it Be\u003c/em>, which was released after The Beatles had broken up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was relieved to discover the reality is very different to the myth,” says Jackson in press material. “After reviewing all the footage and audio that Michael Lindsay-Hogg shot 18 months before they broke up, it’s simply an amazing historical treasure-trove. Sure, there’s moments of drama — but none of the discord this project has long been associated with. Watching John, Paul, George, and Ringo work together, creating now-classic songs from scratch, is not only fascinating — it’s funny, uplifting and surprisingly intimate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film, currently in production, does not yet have a release date set.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Jackson+To+Direct+Documentary+On+The+Beatles+Recording+%27Let+It+Be%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Forget the Oscars, SF IndieFest Delivers the Rare Stuff",
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"content": "\u003cp>This time of year, the world separates into two kinds of filmgoers: The ones who assiduously see all or most of the Oscar nominees, and those who adopt Melania’s mantra, “I really don’t care. Do U?” (Fact check: She never said it. Her coat did.) The \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" rel=\"noopener\" target=\"_blank\">San Francisco Independent Film Festival\u003c/a>, celebrating its milestone 21st edition Jan. 30 through Feb. 14, is for everyone who loves movies laden with the blood, sweat and thumbprints of their makers.\u003c/p>\n\u003cp>\u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" rel=\"noopener\" target=\"_blank\">SF IndieFest\u003c/a> is the one festival of the year where you should throw a dart at the program and take a chance. Not because you’re guaranteed a masterpiece, but because it’s the best fest to see something that would never, ever breach your filter otherwise.\u003c/p>\n\u003cp>If that’s a bridge too far, I would recommend you see and support the local filmmakers. Start with the world premiere of \u003cem>Overwhelm the Sky\u003c/em>, a black-and-white noir that the prodigious yet largely unknown writer-director Daniel Kremer loosely adapted and updated from the 1799 Gothic novel \u003cem>Edgar Huntly, or Memoirs of a Sleepwalker\u003c/em>. Adam Zbar also debuts a brand new work, \u003cem>Mermaids and Manatees\u003c/em>, about the nail-biting yet potentially transformative reunion between a techie mogul and an on-the-edge actor.\u003c/p>\n\u003cfigure id=\"attachment_13849608\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky.png\" alt=\"Still from Daniel Kremer's 'Overwhelm the Sky,' with Alexander Hero.\" width=\"1250\" height=\"600\" class=\"size-full wp-image-13849608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky.png 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-160x77.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-800x384.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-768x369.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-1020x490.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-1200x576.png 1200w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">Still from Daniel Kremer’s ‘Overwhelm the Sky,’ with Alexander Hero. \u003ccite>(Courtesy of Confluence-Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Levien’s wrenching debut \u003cem>Collisions\u003c/em> follows a 12-year-old San Francisco girl (played by Izabella Alvarez) struggling to keep her family afloat after her mother is picked up by ICE agents. Levien devoted years to getting \u003cem>Collisions\u003c/em> made—it premiered in October at the Mill Valley Film Festival—and the bad news is it’s as timely as the day he conceived of the idea.\u003c/p>\n\u003cp>On the nonfiction side, Cameron Bargerstock’s \u003cem>Exit Music\u003c/em> captures the last year of a young artist with cystic fibrosis with unflinching candor. Laura Vanzee Taylor employs animation and live action to depict another harrowing journey, that of a tormented teenager, in \u003cem>I Am Maris: Portrait of a Young Yogi\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stuart Swezey’s \u003cem>Desolation Center\u003c/em> recalls Mark Pauline’s Survival Research Labs antics (and vintage punk performances) in the Mojave. Prefer the solitude of the sea to the roar of the desert? Climb aboard \u003cem>Guardian\u003c/em>, Courtney Quinn’s portrait of maritime policemen north of the border. Bon voyage.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This time of year, the world separates into two kinds of filmgoers: The ones who assiduously see all or most of the Oscar nominees, and those who adopt Melania’s mantra, “I really don’t care. Do U?” (Fact check: She never said it. Her coat did.) The \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" rel=\"noopener\" target=\"_blank\">San Francisco Independent Film Festival\u003c/a>, celebrating its milestone 21st edition Jan. 30 through Feb. 14, is for everyone who loves movies laden with the blood, sweat and thumbprints of their makers.\u003c/p>\n\u003cp>\u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\" rel=\"noopener\" target=\"_blank\">SF IndieFest\u003c/a> is the one festival of the year where you should throw a dart at the program and take a chance. Not because you’re guaranteed a masterpiece, but because it’s the best fest to see something that would never, ever breach your filter otherwise.\u003c/p>\n\u003cp>If that’s a bridge too far, I would recommend you see and support the local filmmakers. Start with the world premiere of \u003cem>Overwhelm the Sky\u003c/em>, a black-and-white noir that the prodigious yet largely unknown writer-director Daniel Kremer loosely adapted and updated from the 1799 Gothic novel \u003cem>Edgar Huntly, or Memoirs of a Sleepwalker\u003c/em>. Adam Zbar also debuts a brand new work, \u003cem>Mermaids and Manatees\u003c/em>, about the nail-biting yet potentially transformative reunion between a techie mogul and an on-the-edge actor.\u003c/p>\n\u003cfigure id=\"attachment_13849608\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky.png\" alt=\"Still from Daniel Kremer's 'Overwhelm the Sky,' with Alexander Hero.\" width=\"1250\" height=\"600\" class=\"size-full wp-image-13849608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky.png 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-160x77.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-800x384.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-768x369.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-1020x490.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Overwhelm-the-Sky-1200x576.png 1200w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">Still from Daniel Kremer’s ‘Overwhelm the Sky,’ with Alexander Hero. \u003ccite>(Courtesy of Confluence-Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Levien’s wrenching debut \u003cem>Collisions\u003c/em> follows a 12-year-old San Francisco girl (played by Izabella Alvarez) struggling to keep her family afloat after her mother is picked up by ICE agents. Levien devoted years to getting \u003cem>Collisions\u003c/em> made—it premiered in October at the Mill Valley Film Festival—and the bad news is it’s as timely as the day he conceived of the idea.\u003c/p>\n\u003cp>On the nonfiction side, Cameron Bargerstock’s \u003cem>Exit Music\u003c/em> captures the last year of a young artist with cystic fibrosis with unflinching candor. Laura Vanzee Taylor employs animation and live action to depict another harrowing journey, that of a tormented teenager, in \u003cem>I Am Maris: Portrait of a Young Yogi\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stuart Swezey’s \u003cem>Desolation Center\u003c/em> recalls Mark Pauline’s Survival Research Labs antics (and vintage punk performances) in the Mojave. Prefer the solitude of the sea to the roar of the desert? Climb aboard \u003cem>Guardian\u003c/em>, Courtney Quinn’s portrait of maritime policemen north of the border. Bon voyage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Serenity’ Is All Wet. Literally. | KQED",
"content": "\u003cp>Call it the M. Night Shyamalan problem: Should a film distinguished by howlingly tin-eared dialogue, emaciated characters and a plodding, easily guessed plot be pardoned its crimes when its maker reveals after 90 or so minutes that he’s made his illusion less than fully persuasive … on purpose?\u003c/p>\n\u003cp>There are a million potential answers to this insoluble aesthetic quandary, but the only correct one is: \u003cem>Nnnnnnnnope!\u003c/em> \u003c/p>\n\u003cp>https://youtu.be/FXYK3U0UxT0\u003c/p>\n\u003cp>Certainly not when the movie comes to us from a proven storyteller like Steven Knight, screenwriter of the fine thrillers \u003cem>Eastern Promises\u003c/em> and \u003cem>Allied\u003c/em>, and the writer-director of \u003cem>Locke\u003c/em>—a drama in which he and Tom Hardy, owner of the only face seen in the entire film, held us rapt for 85 minutes without ever leaving the confines of an SUV. A filmmaker who can pull off something that formally audacious ought to be able to handle a seemingly conventional neo-noir like the new \u003cem>Serenity\u003c/em>, but the underwhelming results indicate Knight might’ve laid out in the sun for too long. (“I had so much bad [expletive] rum I lost my grease,” drawls its hero, diagnosing both himself and the movie.)\u003c/p>\n\u003cp>Knight’s daylight mystery is not without its soapy, dopey pleasures, and it would likely be more satisfying were it simply content to be the vaguely Caribbean-set, deeply McConaughey’d retread of \u003cem>Body Heat\u003c/em> its initial hour-plus suggests. The picture opens as so many episodes of \u003cem>Miami Vice\u003c/em> have, the camera skimming low across emerald waters towards a boat. On the deck salty sea captain Baker Dill (!!!)—Matthew McConaughey, as though any other movie star would be walking around under that moniker—has just pulled a knife on the two drunken tourists who hired him to take them on a fishing cruise. They’ve hooked one, all right, but Captain Dill refuses to hand over the line so one of his customers can reel ‘er in. That’s because—as Dill explains to his first mate, Djimon Hounsou, playing a character whose only job is to be the sounding board and conscience for the white star—this is the quarry he’s been chasing. “I can \u003cem>feel\u003c/em> it,” Dill says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his white whale gets away, leaving Baker Dill even broker and more agitated than he was before. He really wants to catch a big fish, but as one character tells him, “That’s a tuna that’s only in your mind.”\u003c/p>\n\u003cp>So Dill is in a dissipated state when Anne Hathaway, playing the ex-wife by whom Dill fathered a now-adolescent son, swoops in from Miami and offers him $10 million to arrange for her abusive current husband (Jason Clarke) to perish in an accident at sea. On the one hand, Baker Dill is not for sale, and his ethical code does not permit murder. On the other hand, Clarke’s character is a mobster and a violent sexual predator who’s fairly begging the star of \u003cem>Free State of Jones\u003c/em> to bury him in Davy Jones’ Locker. What’s Baker Dill to do?\u003c/p>\n\u003cp>Frankly, it’s the least interesting question that \u003cem>Serenity\u003c/em> asks. But Knight is dead set on stacking up the questions, and worse, supplying answers. Eventually, he covers everything—why every last resident of the sparsely populated fantasy island of Plymouth (the film was shot on Mauritius, in the Indian Ocean) is obsessed with Baker Dill’s personal beeswax; how they know things about him and his former spouse they could not possibly know; why Baker Dill is called “Baker Dill” instead of, say, “Mike Johnson” or “Candlestick Maker Sandalwood.”\u003c/p>\n\u003cp>Knight even gives himself an \u003cem>in situ\u003c/em> story reason for photographing the always-wet McConaughey in various states of sodden undress, his chin rough and his smooth chest toned and gleaming despite the fact that Baker Dill lives in a shipping container and subsists on a diet of rum and cigarettes. He always looks as though he’s just hopped off a VersaClimber instead of Hathaway or Diane Lane, both of whom are eager, nay, \u003cem>begging\u003c/em> recipients of Baker Dill’s furious open-water lovemaking. (Lane, the actor least served by Knight’s script, hands him a big wad of cash after one of their morning trysts.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a little charge that comes simply from seeing McConaughey and Hathaway, the star-crossed lovers from Christopher Nolan’s cosmic odyssey \u003ca href=\"https://www.npr.org/2014/11/06/361442269/interstellar-stunning-and-bold-with-lots-of-corn\">\u003cem>Interstellar\u003c/em>\u003c/a>, reunited. Too bad it’s in a movie that executes its Nolanesque ambition with middle-period Shyamalanesque skill. At least \u003cem>Interstellar\u003c/em> blasted us across the galaxy and gave us a half-dozen jaw-dropping set pieces before letting us down with its muddled, sentimental payoff. \u003cem>Serenity\u003c/em> barely leaves the harbor. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serenity%27+Is+All+Wet.+Literally.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call it the M. Night Shyamalan problem: Should a film distinguished by howlingly tin-eared dialogue, emaciated characters and a plodding, easily guessed plot be pardoned its crimes when its maker reveals after 90 or so minutes that he’s made his illusion less than fully persuasive … on purpose?\u003c/p>\n\u003cp>There are a million potential answers to this insoluble aesthetic quandary, but the only correct one is: \u003cem>Nnnnnnnnope!\u003c/em> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FXYK3U0UxT0'\n title='//www.youtube.com/embed/FXYK3U0UxT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Certainly not when the movie comes to us from a proven storyteller like Steven Knight, screenwriter of the fine thrillers \u003cem>Eastern Promises\u003c/em> and \u003cem>Allied\u003c/em>, and the writer-director of \u003cem>Locke\u003c/em>—a drama in which he and Tom Hardy, owner of the only face seen in the entire film, held us rapt for 85 minutes without ever leaving the confines of an SUV. A filmmaker who can pull off something that formally audacious ought to be able to handle a seemingly conventional neo-noir like the new \u003cem>Serenity\u003c/em>, but the underwhelming results indicate Knight might’ve laid out in the sun for too long. (“I had so much bad [expletive] rum I lost my grease,” drawls its hero, diagnosing both himself and the movie.)\u003c/p>\n\u003cp>Knight’s daylight mystery is not without its soapy, dopey pleasures, and it would likely be more satisfying were it simply content to be the vaguely Caribbean-set, deeply McConaughey’d retread of \u003cem>Body Heat\u003c/em> its initial hour-plus suggests. The picture opens as so many episodes of \u003cem>Miami Vice\u003c/em> have, the camera skimming low across emerald waters towards a boat. On the deck salty sea captain Baker Dill (!!!)—Matthew McConaughey, as though any other movie star would be walking around under that moniker—has just pulled a knife on the two drunken tourists who hired him to take them on a fishing cruise. They’ve hooked one, all right, but Captain Dill refuses to hand over the line so one of his customers can reel ‘er in. That’s because—as Dill explains to his first mate, Djimon Hounsou, playing a character whose only job is to be the sounding board and conscience for the white star—this is the quarry he’s been chasing. “I can \u003cem>feel\u003c/em> it,” Dill says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his white whale gets away, leaving Baker Dill even broker and more agitated than he was before. He really wants to catch a big fish, but as one character tells him, “That’s a tuna that’s only in your mind.”\u003c/p>\n\u003cp>So Dill is in a dissipated state when Anne Hathaway, playing the ex-wife by whom Dill fathered a now-adolescent son, swoops in from Miami and offers him $10 million to arrange for her abusive current husband (Jason Clarke) to perish in an accident at sea. On the one hand, Baker Dill is not for sale, and his ethical code does not permit murder. On the other hand, Clarke’s character is a mobster and a violent sexual predator who’s fairly begging the star of \u003cem>Free State of Jones\u003c/em> to bury him in Davy Jones’ Locker. What’s Baker Dill to do?\u003c/p>\n\u003cp>Frankly, it’s the least interesting question that \u003cem>Serenity\u003c/em> asks. But Knight is dead set on stacking up the questions, and worse, supplying answers. Eventually, he covers everything—why every last resident of the sparsely populated fantasy island of Plymouth (the film was shot on Mauritius, in the Indian Ocean) is obsessed with Baker Dill’s personal beeswax; how they know things about him and his former spouse they could not possibly know; why Baker Dill is called “Baker Dill” instead of, say, “Mike Johnson” or “Candlestick Maker Sandalwood.”\u003c/p>\n\u003cp>Knight even gives himself an \u003cem>in situ\u003c/em> story reason for photographing the always-wet McConaughey in various states of sodden undress, his chin rough and his smooth chest toned and gleaming despite the fact that Baker Dill lives in a shipping container and subsists on a diet of rum and cigarettes. He always looks as though he’s just hopped off a VersaClimber instead of Hathaway or Diane Lane, both of whom are eager, nay, \u003cem>begging\u003c/em> recipients of Baker Dill’s furious open-water lovemaking. (Lane, the actor least served by Knight’s script, hands him a big wad of cash after one of their morning trysts.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a little charge that comes simply from seeing McConaughey and Hathaway, the star-crossed lovers from Christopher Nolan’s cosmic odyssey \u003ca href=\"https://www.npr.org/2014/11/06/361442269/interstellar-stunning-and-bold-with-lots-of-corn\">\u003cem>Interstellar\u003c/em>\u003c/a>, reunited. Too bad it’s in a movie that executes its Nolanesque ambition with middle-period Shyamalanesque skill. At least \u003cem>Interstellar\u003c/em> blasted us across the galaxy and gave us a half-dozen jaw-dropping set pieces before letting us down with its muddled, sentimental payoff. \u003cem>Serenity\u003c/em> barely leaves the harbor. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serenity%27+Is+All+Wet.+Literally.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Mia Hansen-Løve’s Everyday People at BAMPFA",
"headTitle": "Now Playing! Mia Hansen-Løve’s Everyday People at BAMPFA | KQED",
"content": "\u003cp>French filmmaker Mia Hansen-Løve’s movies have a fluidity and a meandering momentum that’s inspired by life, not by other movies. That’s unusual, since most directors in their 30s grew up with a remote in each hand. In fact, it wasn’t until writer–director Olivier Assayas cast the teenage Hansen-Løve in a couple of his movies that she got turned on to cinema.\u003c/p>\n\u003cp>They eventually became a couple, if you must know, and had a child together. Equally important, Hansen-Løve enrolled in (and dropped out of) drama school, then became a film critic before making her first short film in 2004. She’s gone on to direct eight features; the latest, \u003cem>Maya\u003c/em>, will reach the Bay Area in the coming months while \u003cem>Bergman Island\u003c/em>, starring Mia Wasikowska, is tipped to premiere at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13849174\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200.jpg\" alt=\"Still from 'Things to Come,' 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13849174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Things to Come,’ 2016. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hansen-Løve is one of those self-effacing filmmakers who readily touts her influences, notably her French ancestors Jean Renoir and Éric Rohmer. Among the packed-house highlights of her visit to the Bay Area this week and next for the BAMPFA retrospective “\u003ca href=\"https://bampfa.org/program/life-goes-films-mia-hansen-love\" rel=\"noopener\" target=\"_blank\">Life Goes On: The Films of Mia Hansen-Løve\u003c/a>,” she’ll introduce Hou Hsiao-hsien’s \u003cem>Café Lumiere\u003c/em> (Jan. 26) and Gérard Blain’s 1974 rarity \u003cem>The Pelican\u003c/em> (Feb. 1).\u003c/p>\n\u003cp>Of course, Hansen-Løve will also be on hand to present her own work: \u003cem>Things to Come\u003c/em> (Jan. 26) starring the incomparable Isabel Huppert, the semiautobiographical \u003cem>Goodbye First Love\u003c/em> (Jan. 27), the quietly unsettling film-world drama \u003cem>Father of My Children\u003c/em> (Jan. 31) and her breakthrough debut \u003cem>All is Forgiven\u003c/em> (Feb. 2). “Life Goes On” goes on after Hansen-Løve’s departure, which is exactly how it should be. Call it meandering momentum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>French filmmaker Mia Hansen-Løve’s movies have a fluidity and a meandering momentum that’s inspired by life, not by other movies. That’s unusual, since most directors in their 30s grew up with a remote in each hand. In fact, it wasn’t until writer–director Olivier Assayas cast the teenage Hansen-Løve in a couple of his movies that she got turned on to cinema.\u003c/p>\n\u003cp>They eventually became a couple, if you must know, and had a child together. Equally important, Hansen-Løve enrolled in (and dropped out of) drama school, then became a film critic before making her first short film in 2004. She’s gone on to direct eight features; the latest, \u003cem>Maya\u003c/em>, will reach the Bay Area in the coming months while \u003cem>Bergman Island\u003c/em>, starring Mia Wasikowska, is tipped to premiere at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13849174\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200.jpg\" alt=\"Still from 'Things to Come,' 2016.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13849174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hansen-Love_Things-to-Come_001_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Things to Come,’ 2016. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hansen-Løve is one of those self-effacing filmmakers who readily touts her influences, notably her French ancestors Jean Renoir and Éric Rohmer. Among the packed-house highlights of her visit to the Bay Area this week and next for the BAMPFA retrospective “\u003ca href=\"https://bampfa.org/program/life-goes-films-mia-hansen-love\" rel=\"noopener\" target=\"_blank\">Life Goes On: The Films of Mia Hansen-Løve\u003c/a>,” she’ll introduce Hou Hsiao-hsien’s \u003cem>Café Lumiere\u003c/em> (Jan. 26) and Gérard Blain’s 1974 rarity \u003cem>The Pelican\u003c/em> (Feb. 1).\u003c/p>\n\u003cp>Of course, Hansen-Løve will also be on hand to present her own work: \u003cem>Things to Come\u003c/em> (Jan. 26) starring the incomparable Isabel Huppert, the semiautobiographical \u003cem>Goodbye First Love\u003c/em> (Jan. 27), the quietly unsettling film-world drama \u003cem>Father of My Children\u003c/em> (Jan. 31) and her breakthrough debut \u003cem>All is Forgiven\u003c/em> (Feb. 2). “Life Goes On” goes on after Hansen-Løve’s departure, which is exactly how it should be. Call it meandering momentum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"tagline": "True-life supernatural stories",
"info": "",
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