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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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"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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"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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"title": "'Roma' And 'The Favourite' Lead Oscar Nominations",
"headTitle": "‘Roma’ And ‘The Favourite’ Lead Oscar Nominations | KQED",
"content": "\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. Below is the complete list.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Paweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003c/p>\n\u003cp>Yorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Alfonso Cuarón (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Adam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Glenn Close (\u003cem>The Wife\u003c/em>)\u003c/p>\n\u003cp>Olivia Colman (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Lady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Melissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Bradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>At Eternity’s Gate\u003c/em>)\u003c/p>\n\u003cp>Rami Malek (\u003cem>Bohemian Rhapsody\u003c/em>)\u003c/p>\n\u003cp>Viggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Marina de Tavira (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Regina King (\u003cem>If Beale Street Could Talk\u003c/em>)\u003c/p>\n\u003cp>Emma Stone (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Rachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>Adam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Sam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Richard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle Of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mirai\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ralph Breaks The Internet\u003c/em>\u003c/p>\n\u003cp>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs \u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Free Solo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em>\u003c/p>\n\u003cp>\u003cem>Minding The Gap\u003c/em>\u003c/p>\n\u003cp>\u003cem>Of Fathers And Sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>RBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003c/em>\u003c/p>\n\u003cp>\u003cem>End Game\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Night At The Garden\u003c/em>\u003c/p>\n\u003cp>\u003cem>Period. End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. Below is the complete list.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Paweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003c/p>\n\u003cp>Yorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Alfonso Cuarón (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Adam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Glenn Close (\u003cem>The Wife\u003c/em>)\u003c/p>\n\u003cp>Olivia Colman (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Lady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Melissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Bradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>At Eternity’s Gate\u003c/em>)\u003c/p>\n\u003cp>Rami Malek (\u003cem>Bohemian Rhapsody\u003c/em>)\u003c/p>\n\u003cp>Viggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Marina de Tavira (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Regina King (\u003cem>If Beale Street Could Talk\u003c/em>)\u003c/p>\n\u003cp>Emma Stone (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Rachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>Adam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Sam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Richard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle Of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mirai\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ralph Breaks The Internet\u003c/em>\u003c/p>\n\u003cp>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs \u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Free Solo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em>\u003c/p>\n\u003cp>\u003cem>Minding The Gap\u003c/em>\u003c/p>\n\u003cp>\u003cem>Of Fathers And Sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>RBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003c/em>\u003c/p>\n\u003cp>\u003cem>End Game\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Night At The Garden\u003c/em>\u003c/p>\n\u003cp>\u003cem>Period. End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\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=%27Roma%27+And+%27The+Favourite%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Eastern Bloc(ked) Romance in Paweł Pawlikowski’s 'Cold War’",
"headTitle": "An Eastern Bloc(ked) Romance in Paweł Pawlikowski’s ‘Cold War’ | KQED",
"content": "\u003cp>Years after Polish jazz pianist Wiktor (played by Tomasz Kot) walks across the border from East to West Germany, “\u003ca href=\"https://www.youtube.com/watch?v=5LGl70VGvmg\" target=\"_blank\" rel=\"noopener\">Is You Is or Is You Ain’t My Baby\u003c/a>” drifts across the dance floor of a busy barroom. This jazzy song, sung by Louis Jordan, contains within it the main theme of Paweł Pawlikowski’s quasi-musical, \u003cem>Cold War\u003c/em>: the question of togetherness.\u003c/p>\n\u003cp>Zula (Joanna Kulig), “the woman of his life,” was supposed to accompany Wiktor on that border crossing, but—for reasons she barely elaborates on and may not understand herself—did not. In this film, the Academy Award-winning director of 2013’s \u003cem>Ida\u003c/em> sets two tense conflicts in relief against each other. Wiktor’s and Zula’s on-again, off-again relationship plays out against the backdrop of the first half of the Cold War, from 1949 through the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13848919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md.jpg\" alt=\"Tomasz Kot as Wiktor and Joanna Kulig as Zula in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomasz Kot as Wiktor and Joanna Kulig as Zula in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple is caught in the limbo of a political era defined by absolutes. Their passion for each other, accompanied by feelings of jealousy and ennui, is complicated by the inflexible dictates of Communism or, alternately, influenced by the liberal West’s idea of freedom. Neither of the lovers is an artful negotiator or willing to compromise. So the film becomes an episodic record, over time, of their coupling, uncoupling and recoupling on both sides of that East-West line. \u003c/p>\n\u003cp>While the characters’ emotions are often troubled (Wiktor) or vexing (Zula), Pawlikowski directs \u003cem>Cold War\u003c/em> with the graceful hands of a symphony conductor. There’s a lightness, an ease, with which he has assembled the film, even when he includes depictions of trauma and its aftermath.\u003c/p>\n\u003cfigure id=\"attachment_13848920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md.jpg\" alt=\"Tomasz Kot as Wiktor in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomasz Kot as Wiktor in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aiding Pawlikowski’s skillful direction is black-and-white cinematography by Lukasz Zal (which rivals the work of Sven Nykvist, who shot some of Ingmar Bergman’s greatest black-and-white films). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Cold War\u003c/i> is filled with remarkably staged scenes that linger in the viewer’s consciousness for days. In one, Zula declares her undying love for Wiktor in a summery field along a river. But an argument splits the couple apart; she follows him briefly, curses at him, then turns and jumps into the water. Concerned, Wiktor returns, the camera taking on his point of view. He (and we) see Zula floating on her back, only the circle of her round face exposed as she sings to him and up at the sky.\u003c/p>\n\u003cp>Throughout \u003ci>Cold War\u003c/i>, Kulig gives a performance James Dean would have envied. Her behavior is impetuous, whimsical, illogical and seldom accounted for. She’s a talented, charismatic singer who’s utterly indifferent to her art. It’s a vehicle that keeps her moving, but because this isn’t an American film, she lacks focus and ambition. Zula loves Wiktor no matter where they are, and yet she can’t settle down with him in the West. She fluctuates between knowing and not knowing her own mind.\u003c/p>\n\u003cfigure id=\"attachment_13848921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md.jpg\" alt=\"Joanna Kulig as Zula in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Kulig as Zula in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pawlikowski embraces his characters’ complexity by refusing to reduce their story to a standard melodrama. Their emotions move from tenderness to friction to rage to longing and then, unexpectedly, become the cinematic equivalent of a poem.\u003c/p>\n\u003cp>In another sequence, Pawlikowski shows a desiccated fresco on a church wall before pointing the camera at a hole blown \u003ci>through\u003c/i> the wall during the war. No one standing in the ruins comments on what they’re seeing, but the image resonates as we begin to see how the government and its citizens respond to the damage. \u003c/p>\n\u003cfigure id=\"attachment_13848922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md.jpg\" alt=\"Tomasz Kot as Wiktor in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomasz Kot as Wiktor in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Survivors of World War II, Wiktor and Zula can’t figure out how to repair themselves or each other. And neither side of the political divide can help them after they’ve been subjected to so much harm.\u003c/p>\n\u003cp>Such narrative elisions are part of Pawlikowski’s strategy. By leaving things unsaid, the director establishes the internal logic held between Wiktor and Zula, of that unique couple. Their hermetically sealed romance may not make rational sense to the audience—but that’s the point. Love is a private language.\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>\u003ci>‘Cold War,’ opens Friday, Jan. 18 at Landmark Embarcadero Center Cinema.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Polish contender for best Best Foreign Language Film follows an on-again, off-again relationship on both sides of the Cold War.",
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"title": "An Eastern Bloc(ked) Romance in Paweł Pawlikowski’s 'Cold War’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Years after Polish jazz pianist Wiktor (played by Tomasz Kot) walks across the border from East to West Germany, “\u003ca href=\"https://www.youtube.com/watch?v=5LGl70VGvmg\" target=\"_blank\" rel=\"noopener\">Is You Is or Is You Ain’t My Baby\u003c/a>” drifts across the dance floor of a busy barroom. This jazzy song, sung by Louis Jordan, contains within it the main theme of Paweł Pawlikowski’s quasi-musical, \u003cem>Cold War\u003c/em>: the question of togetherness.\u003c/p>\n\u003cp>Zula (Joanna Kulig), “the woman of his life,” was supposed to accompany Wiktor on that border crossing, but—for reasons she barely elaborates on and may not understand herself—did not. In this film, the Academy Award-winning director of 2013’s \u003cem>Ida\u003c/em> sets two tense conflicts in relief against each other. Wiktor’s and Zula’s on-again, off-again relationship plays out against the backdrop of the first half of the Cold War, from 1949 through the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13848919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md.jpg\" alt=\"Tomasz Kot as Wiktor and Joanna Kulig as Zula in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy193_proxy_md-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomasz Kot as Wiktor and Joanna Kulig as Zula in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple is caught in the limbo of a political era defined by absolutes. Their passion for each other, accompanied by feelings of jealousy and ennui, is complicated by the inflexible dictates of Communism or, alternately, influenced by the liberal West’s idea of freedom. Neither of the lovers is an artful negotiator or willing to compromise. So the film becomes an episodic record, over time, of their coupling, uncoupling and recoupling on both sides of that East-West line. \u003c/p>\n\u003cp>While the characters’ emotions are often troubled (Wiktor) or vexing (Zula), Pawlikowski directs \u003cem>Cold War\u003c/em> with the graceful hands of a symphony conductor. There’s a lightness, an ease, with which he has assembled the film, even when he includes depictions of trauma and its aftermath.\u003c/p>\n\u003cfigure id=\"attachment_13848920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md.jpg\" alt=\"Tomasz Kot as Wiktor in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy165_proxy_md-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomasz Kot as Wiktor in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aiding Pawlikowski’s skillful direction is black-and-white cinematography by Lukasz Zal (which rivals the work of Sven Nykvist, who shot some of Ingmar Bergman’s greatest black-and-white films). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Cold War\u003c/i> is filled with remarkably staged scenes that linger in the viewer’s consciousness for days. In one, Zula declares her undying love for Wiktor in a summery field along a river. But an argument splits the couple apart; she follows him briefly, curses at him, then turns and jumps into the water. Concerned, Wiktor returns, the camera taking on his point of view. He (and we) see Zula floating on her back, only the circle of her round face exposed as she sings to him and up at the sky.\u003c/p>\n\u003cp>Throughout \u003ci>Cold War\u003c/i>, Kulig gives a performance James Dean would have envied. Her behavior is impetuous, whimsical, illogical and seldom accounted for. She’s a talented, charismatic singer who’s utterly indifferent to her art. It’s a vehicle that keeps her moving, but because this isn’t an American film, she lacks focus and ambition. Zula loves Wiktor no matter where they are, and yet she can’t settle down with him in the West. She fluctuates between knowing and not knowing her own mind.\u003c/p>\n\u003cfigure id=\"attachment_13848921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md.jpg\" alt=\"Joanna Kulig as Zula in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_fotosy206_proxy_md-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Kulig as Zula in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pawlikowski embraces his characters’ complexity by refusing to reduce their story to a standard melodrama. Their emotions move from tenderness to friction to rage to longing and then, unexpectedly, become the cinematic equivalent of a poem.\u003c/p>\n\u003cp>In another sequence, Pawlikowski shows a desiccated fresco on a church wall before pointing the camera at a hole blown \u003ci>through\u003c/i> the wall during the war. No one standing in the ruins comments on what they’re seeing, but the image resonates as we begin to see how the government and its citizens respond to the damage. \u003c/p>\n\u003cfigure id=\"attachment_13848922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md.jpg\" alt=\"Tomasz Kot as Wiktor in 'Cold War.'\" width=\"800\" height=\"600\" class=\"size-full wp-image-13848922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/zimna_wojna_werki1507_proxy_md-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomasz Kot as Wiktor in ‘Cold War.’ \u003ccite>(Opus Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Survivors of World War II, Wiktor and Zula can’t figure out how to repair themselves or each other. And neither side of the political divide can help them after they’ve been subjected to so much harm.\u003c/p>\n\u003cp>Such narrative elisions are part of Pawlikowski’s strategy. By leaving things unsaid, the director establishes the internal logic held between Wiktor and Zula, of that unique couple. Their hermetically sealed romance may not make rational sense to the audience—but that’s the point. Love is a private language.\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>\u003ci>‘Cold War,’ opens Friday, Jan. 18 at Landmark Embarcadero Center Cinema.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Bay Area Film Fatales Killing it From Their Directors’ Chairs",
"headTitle": "Now Playing! Bay Area Film Fatales Killing it From Their Directors’ Chairs | KQED",
"content": "\u003cp>In 2016, Texas passed a law allowing people with concealed carry permits to bring guns on college campuses—at the same time that the possession of certain adult toys on campus violated the obscenity laws. Jessica Jin, a music student at UT Austin, mocked this Texas conundrum on social media (#CocksNotGlocks) and in a nanosecond found herself at the forefront of local and nationwide protests highlighted by raucous dildo giveaways. (Abbie Hoffman would have been proud.)\u003c/p>\n\u003cp>In 24 ricocheting minutes, \u003cem>Come and Take It\u003c/em> (2018) captures Jin’s roller-coaster of viral fame and the contagious joy of righteous activism. A character sketch, a PSA for political engagement and a snapshot of the United States of Absurdity rolled into one, Ellen Spiro and PJ Raval’s film is one of the highlights of the \u003ca href=\"https://www.roxie.com/ai1ec_event/bay-area-film-fatales-showcase/?instance_id=31352\" rel=\"noopener\" target=\"_blank\">Bay Area Film Fatales Showcase\u003c/a> at the Roxie on Tuesday, Jan. 15.\u003c/p>\n\u003cfigure id=\"attachment_13848741\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill.jpg\" alt=\"Still from Ellen Spiro and PJ Raval's 'Come and Take It,' 2018.\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13848741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-1200x800.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ellen Spiro and PJ Raval’s ‘Come and Take It,’ 2018. \u003ccite>(Courtesy of Film Fatales SF Chapter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The purpose of Film Fatales, which has chapters in 10 cities around the country and a handful abroad, is to reduce the gender disparity in the director’s chair. (In Hollywood, it’s happening more quickly in television than in movies.) Women filmmakers have long been a force in U.S. documentaries, though, partly in response to the incredible difficulty of getting an L.A. foothold in narrative film.\u003c/p>\n\u003cp>Movements and agendas matter, but the proof lies in the quality of the films. The BAFF Showcase lineup is packed with absorbing and moving new works by Bay Area filmmakers Emily Cohen Ibañez (\u003cem>Fruits of Labor\u003c/em>), Laetitia Jacquart (\u003cem>Swan\u003c/em>), Jessie Deeter (\u003cem>A Love Song for Larry Harvey\u003c/em>), Julie Wyman (\u003cem>Fatmob\u003c/em>), Cheryl Dunyé (\u003cem>DiAna’s Hair Ego Remix\u003c/em>, a sequel to Ellen Spiro’s 1991 short doc \u003cem>DiAna’s Hair Ego: AIDS Info Up Front\u003c/em>), Yuriko Romer (\u003cem>My Immigrant Story\u003c/em>) and Dana Nachman (\u003cem>Washed Away\u003c/em>).\u003c/p>\n\u003cp>This is going to be one hopping night at the Roxie. As Jessica Jin could tell you, when sisters do it for themselves, they’re doin’ it for everyone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Short documentaries by emerging and established local women filmmakers take over the Roxie's screen with stories of joyous protest and personal significance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2016, Texas passed a law allowing people with concealed carry permits to bring guns on college campuses—at the same time that the possession of certain adult toys on campus violated the obscenity laws. Jessica Jin, a music student at UT Austin, mocked this Texas conundrum on social media (#CocksNotGlocks) and in a nanosecond found herself at the forefront of local and nationwide protests highlighted by raucous dildo giveaways. (Abbie Hoffman would have been proud.)\u003c/p>\n\u003cp>In 24 ricocheting minutes, \u003cem>Come and Take It\u003c/em> (2018) captures Jin’s roller-coaster of viral fame and the contagious joy of righteous activism. A character sketch, a PSA for political engagement and a snapshot of the United States of Absurdity rolled into one, Ellen Spiro and PJ Raval’s film is one of the highlights of the \u003ca href=\"https://www.roxie.com/ai1ec_event/bay-area-film-fatales-showcase/?instance_id=31352\" rel=\"noopener\" target=\"_blank\">Bay Area Film Fatales Showcase\u003c/a> at the Roxie on Tuesday, Jan. 15.\u003c/p>\n\u003cfigure id=\"attachment_13848741\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill.jpg\" alt=\"Still from Ellen Spiro and PJ Raval's 'Come and Take It,' 2018.\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13848741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ComeTakeIt_2018FilmStill-1200x800.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ellen Spiro and PJ Raval’s ‘Come and Take It,’ 2018. \u003ccite>(Courtesy of Film Fatales SF Chapter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The purpose of Film Fatales, which has chapters in 10 cities around the country and a handful abroad, is to reduce the gender disparity in the director’s chair. (In Hollywood, it’s happening more quickly in television than in movies.) Women filmmakers have long been a force in U.S. documentaries, though, partly in response to the incredible difficulty of getting an L.A. foothold in narrative film.\u003c/p>\n\u003cp>Movements and agendas matter, but the proof lies in the quality of the films. The BAFF Showcase lineup is packed with absorbing and moving new works by Bay Area filmmakers Emily Cohen Ibañez (\u003cem>Fruits of Labor\u003c/em>), Laetitia Jacquart (\u003cem>Swan\u003c/em>), Jessie Deeter (\u003cem>A Love Song for Larry Harvey\u003c/em>), Julie Wyman (\u003cem>Fatmob\u003c/em>), Cheryl Dunyé (\u003cem>DiAna’s Hair Ego Remix\u003c/em>, a sequel to Ellen Spiro’s 1991 short doc \u003cem>DiAna’s Hair Ego: AIDS Info Up Front\u003c/em>), Yuriko Romer (\u003cem>My Immigrant Story\u003c/em>) and Dana Nachman (\u003cem>Washed Away\u003c/em>).\u003c/p>\n\u003cp>This is going to be one hopping night at the Roxie. As Jessica Jin could tell you, when sisters do it for themselves, they’re doin’ it for everyone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"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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