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At a time when the life expectancy for trans women of color is \u003ca href=\"https://theglowup.theroot.com/thriveover35-we-can-no-longer-accept-the-brief-life-e-1827050053\" target=\"_blank\" rel=\"noopener\">only 35 years old\u003c/a>, mostly due to hate crimes, it’s nothing short of a miracle that Miss Major is still organizing, fighting and providing crucial mentorship to LGBTQ activists at 78 years old.\u003c/p>\n\u003cp>https://vimeo.com/173784139\u003c/p>\n\u003cp>After two successful years on the festival film circuit,\u003cem> Major!\u003c/em> hit Amazon Prime Video earlier this year. A moving, personal look into Miss Major’s life and activism, one of its standout features is its newly released soundtrack by Oakland singer-songwriter Star Amerasu, a.k.a. \u003ca href=\"https://soundcloud.com/staramerasu\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, called \u003ca href=\"https://open.spotify.com/album/3GTBI1WN9YtC94LldfOqTl\" target=\"_blank\" rel=\"noopener\">\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The songs Ah Mer Ah Su created for \u003cem>Major!\u003c/em> cocoon listeners in airy, looped vocal melodies that nourish one’s fighting spirit rather than beating the drums of the revolution. Her tracks, some composed entirely of wordless hums and croons, contain a knowing calm, as if acknowledging the struggle while gathering the strength to keep pushing. [contextly_sidebar id=”3COpZkCrd7qVDYB1V5zNelNUHR1NCDgi”]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so important that this movie happened, because Miss Major is still alive and we’re uplifting her narrative while she’s here and can see her impact,” says Ah Mer Ah Su, who is trans herself. “I felt more in charge of my own destiny after seeing this movie.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12803807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12803807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg\" alt=\"Oakland singer-songwriter Star Amerasu composed the soundtrack for 'Major!'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer-songwriter Star Amerasu composed the soundtrack for ‘Major!’ \u003ccite>(Maria Fernanda Molins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"s1\">Throughout \u003cem>Major!\u003c/em>, music fuses with message in uplifting crescendos. And \u003c/span>though the documentary gets into the harsh realities of survival sex work and incarceration that Miss Major and many of her adopted daughters experienced, it captures so much of the tenderness and joy in their chosen family. “And there was anger / And there was glee / And there was sadness caught in between,” Ah Mer Ah Su sings on the track “7 / 15 / 13.”\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“There’s a trans trauma narrative that has infused documentary film,” says \u003cem>Major!\u003c/em> co-producer and editor StormMiguel Florez. “It was great to break from that to show complexity and joy and full range of human experience.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">One of these joyful moments comes when Miss Major and Janet Mock (the author, \u003cem>Pose\u003c/em> producer and trans activist) grand marshal at the 2014 San Francisco Pride Parade. The scene represents a full-circle moment: Mock, a gorgeous trans celebrity, joins forces with a selfless activist who paved the way for her success. Before Mock takes the stage, Miss Major implores her to remember that the fight is not over, sending her off with a warm embrace. As Mock addresses the crowd with a renewed sense of purpose, Ah Mer Ah Su’s hums propel her speech forward with a gentle pulse. [contextly_sidebar id=”p1IRpBnHkcqW4nHVVzx8PiHWSfmJzl7Z”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“For decades, Miss Major—with little resources, no pay or accolades—has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock says to the Pride crowd. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ah Mer Ah Su says she’s inspired by the ways Miss Major took care of people in her community on a person-to-person level, buying her sisters meals or helping with rent, even during times when she was struggling herself. She spent over a decade with the \u003ca href=\"http://www.tgijp.org/mission-and-staff.html\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for trans and gender non-conforming people in prison. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-800x1038.jpg\" alt=\"A flyer for a trans support group Miss Major hosted in San Francisco in the '90s.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So often, we feel powerless. And to take back your power from those who are trying to take it from you is so inspirational,” Ah Mer Ah Su says. “So much of our community is indebted to these folks who started a movement for liberation. It was trans women opening the door for all of the LGBT community to boldly walk forward.”\u003c/span>\u003c/p>\n\u003cp>\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em> is music you can light candles on your altar or write in your journal to, or just lay in bed and cry for a while. And in the documentary, that’s the vibe Miss Major conveys, too: not only is she an adopted mother to her community of trans and gender non-conforming people, to many, she is the definition of home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She relates, and she understands, and she just accepts,” says Lala Yantes, one of Miss Major’s adopted daughters and a former legal coordinator at TGIJP, in the documentary. “It’s what every family should be. It’s the definition of unconditional love.”\u003c/p>\n\n",
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"excerpt": "Ah Mer Ah Su's music fuses with the empowering message of 'Major!,' a documentary about a tireless advocate for the trans community.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before Pride became a mainstream celebration, complete with corporate parade floats and drunk straight people, it commemorated a riot where trans women of color put their bodies on the line to stand up against police brutality. Miss Major Griffin-Gracy, an activist who spent much of her life in the Bay Area, participated in the Stonewall uprising of 1969 in New York, when a confrontation between the Stonewall Inn’s LGBTQ patrons and police birthed the modern-day gay rights movement.\u003c/p>\n\u003cp>Unfortunately, the contributions of trans women like Miss Major are often erased from the mainstream LGBTQ narrative. And issues like trans people’s \u003ca href=\"https://www.nytimes.com/2018/10/26/us/transgender-lgbt-rights-trump.html\" target=\"_blank\" rel=\"noopener\">basic civil rights\u003c/a>—which are newly under attack under the current administration—don’t attract the same broad support as more conservative topics like marriage equality. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bay Area filmmaker Annalise Ophelian seeks to set the record straight with her documentary, \u003ca href=\"https://www.missmajorfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Major!\u003c/em>\u003c/a>, which chronicles Miss Major’s half-century of activism as well as her important role as an elder in the trans community, where, too often, trans people are ostracized from their biological families—on top of discrimination in jobs, housing and the criminal justice system. At a time when the life expectancy for trans women of color is \u003ca href=\"https://theglowup.theroot.com/thriveover35-we-can-no-longer-accept-the-brief-life-e-1827050053\" target=\"_blank\" rel=\"noopener\">only 35 years old\u003c/a>, mostly due to hate crimes, it’s nothing short of a miracle that Miss Major is still organizing, fighting and providing crucial mentorship to LGBTQ activists at 78 years old.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After two successful years on the festival film circuit,\u003cem> Major!\u003c/em> hit Amazon Prime Video earlier this year. A moving, personal look into Miss Major’s life and activism, one of its standout features is its newly released soundtrack by Oakland singer-songwriter Star Amerasu, a.k.a. \u003ca href=\"https://soundcloud.com/staramerasu\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a>, called \u003ca href=\"https://open.spotify.com/album/3GTBI1WN9YtC94LldfOqTl\" target=\"_blank\" rel=\"noopener\">\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The songs Ah Mer Ah Su created for \u003cem>Major!\u003c/em> cocoon listeners in airy, looped vocal melodies that nourish one’s fighting spirit rather than beating the drums of the revolution. Her tracks, some composed entirely of wordless hums and croons, contain a knowing calm, as if acknowledging the struggle while gathering the strength to keep pushing. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so important that this movie happened, because Miss Major is still alive and we’re uplifting her narrative while she’s here and can see her impact,” says Ah Mer Ah Su, who is trans herself. “I felt more in charge of my own destiny after seeing this movie.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12803807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12803807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg\" alt=\"Oakland singer-songwriter Star Amerasu composed the soundtrack for 'Major!'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star-12-e1487801017195.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer-songwriter Star Amerasu composed the soundtrack for ‘Major!’ \u003ccite>(Maria Fernanda Molins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"s1\">Throughout \u003cem>Major!\u003c/em>, music fuses with message in uplifting crescendos. And \u003c/span>though the documentary gets into the harsh realities of survival sex work and incarceration that Miss Major and many of her adopted daughters experienced, it captures so much of the tenderness and joy in their chosen family. “And there was anger / And there was glee / And there was sadness caught in between,” Ah Mer Ah Su sings on the track “7 / 15 / 13.”\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“There’s a trans trauma narrative that has infused documentary film,” says \u003cem>Major!\u003c/em> co-producer and editor StormMiguel Florez. “It was great to break from that to show complexity and joy and full range of human experience.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">One of these joyful moments comes when Miss Major and Janet Mock (the author, \u003cem>Pose\u003c/em> producer and trans activist) grand marshal at the 2014 San Francisco Pride Parade. The scene represents a full-circle moment: Mock, a gorgeous trans celebrity, joins forces with a selfless activist who paved the way for her success. Before Mock takes the stage, Miss Major implores her to remember that the fight is not over, sending her off with a warm embrace. As Mock addresses the crowd with a renewed sense of purpose, Ah Mer Ah Su’s hums propel her speech forward with a gentle pulse. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“For decades, Miss Major—with little resources, no pay or accolades—has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock says to the Pride crowd. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ah Mer Ah Su says she’s inspired by the ways Miss Major took care of people in her community on a person-to-person level, buying her sisters meals or helping with rent, even during times when she was struggling herself. She spent over a decade with the \u003ca href=\"http://www.tgijp.org/mission-and-staff.html\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for trans and gender non-conforming people in prison. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-800x1038.jpg\" alt=\"A flyer for a trans support group Miss Major hosted in San Francisco in the '90s.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“So often, we feel powerless. And to take back your power from those who are trying to take it from you is so inspirational,” Ah Mer Ah Su says. “So much of our community is indebted to these folks who started a movement for liberation. It was trans women opening the door for all of the LGBT community to boldly walk forward.”\u003c/span>\u003c/p>\n\u003cp>\u003cem>Major! A Self-Care Soundtrack for Revolutionaries\u003c/em> is music you can light candles on your altar or write in your journal to, or just lay in bed and cry for a while. And in the documentary, that’s the vibe Miss Major conveys, too: not only is she an adopted mother to her community of trans and gender non-conforming people, to many, she is the definition of home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She relates, and she understands, and she just accepts,” says Lala Yantes, one of Miss Major’s adopted daughters and a former legal coordinator at TGIJP, in the documentary. “It’s what every family should be. It’s the definition of unconditional love.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Filipino Family Affairs at Cinematografo",
"headTitle": "Now Playing! Filipino Family Affairs at Cinematografo | KQED",
"content": "\u003cp>\u003ca href=\"https://cinematografofilmfestival.com\" rel=\"noopener\" target=\"_blank\">The Cinematografo International Film Festival\u003c/a> is only in its second year, but its founders picked an excellent time to launch. Despite the perennial problem of budget constraints, Filipino cinema is currently enjoying a period of remarkably robust creativity. \u003cem>Signal Rock\u003c/em>, the opening-night film (Nov. 8) and the Philippines’ official submission for the Academy Award for Foreign Language Film, is an excellent entry point for Bay Area moviegoers looking to catch the buzz.\u003c/p>\n\u003cp>Intoy (played by Christian Bables), the underachieving protagonist of veteran director Chito S. Rono’s perceptive drama, lives in the small community of Biri with his parents and brother. The family’s main breadwinner, Intoy’s sister, lives and works in Finland. Her disembodied voice on a cell phone is best heard on the picturesque, elevated Signal Rock; when Intoy learns that she may lose custody of her daughter, he enlists the villagers in a clever scheme.\u003c/p>\n\u003cfigure id=\"attachment_13844353\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg\" alt=\"A scene from 'Signal Rock.'\" width=\"640\" height=\"279\" class=\"size-full wp-image-13844353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-160x70.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-240x105.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-375x163.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-520x227.jpeg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Signal Rock.’ \u003ccite>(Courtesy Cinematografo International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beautifully shot \u003cem>Signal Rock\u003c/em> deftly traverses a wide range of Filipino—and universal—concerns, from economic insecurity and lack of opportunity to casual corruption and community cooperation. Rono and Bables are scheduled to attend the Cinematografo International Film Festival, which runs Nov. 8–11 at the AMC Kabuki 8 in San Francico.\u003c/p>\n\u003cp>Closer to home, gifted local indie filmmaker H.P. Mendoza’s third feature, \u003cem>Bitter Melon\u003c/em>, unfolds at a family Christmas reunion in the Mission. The darkly comedic ensemble piece, which had its world premiere at CAAMFest in May, confronts some familiar sibling tensions—and the scars and specter of domestic violence—through a smartly constructed script and a talented cast that includes Jon Norman Schneider, L.A. Renigen, Theresa Navarro, Patrick Epino and Brian Rivera.\u003c/p>\n\u003cp>Mendoza is one of a small handful of Bay Area writer-directors who eschew an L.A. career path and whose work deserves a wider (read: mainstream) audience. \u003cem>Bitter Melon\u003c/em> is a step forward in a career well worth watching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Filipino cinema is enjoying a period of remarkably robust creativity; here are two local ways to catch the buzz.",
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"description": "Filipino cinema is enjoying a period of remarkably robust creativity; here are two local ways to catch the buzz.",
"title": "Now Playing! Filipino Family Affairs at Cinematografo | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://cinematografofilmfestival.com\" rel=\"noopener\" target=\"_blank\">The Cinematografo International Film Festival\u003c/a> is only in its second year, but its founders picked an excellent time to launch. Despite the perennial problem of budget constraints, Filipino cinema is currently enjoying a period of remarkably robust creativity. \u003cem>Signal Rock\u003c/em>, the opening-night film (Nov. 8) and the Philippines’ official submission for the Academy Award for Foreign Language Film, is an excellent entry point for Bay Area moviegoers looking to catch the buzz.\u003c/p>\n\u003cp>Intoy (played by Christian Bables), the underachieving protagonist of veteran director Chito S. Rono’s perceptive drama, lives in the small community of Biri with his parents and brother. The family’s main breadwinner, Intoy’s sister, lives and works in Finland. Her disembodied voice on a cell phone is best heard on the picturesque, elevated Signal Rock; when Intoy learns that she may lose custody of her daughter, he enlists the villagers in a clever scheme.\u003c/p>\n\u003cfigure id=\"attachment_13844353\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg\" alt=\"A scene from 'Signal Rock.'\" width=\"640\" height=\"279\" class=\"size-full wp-image-13844353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-160x70.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-240x105.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-375x163.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-520x227.jpeg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Signal Rock.’ \u003ccite>(Courtesy Cinematografo International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beautifully shot \u003cem>Signal Rock\u003c/em> deftly traverses a wide range of Filipino—and universal—concerns, from economic insecurity and lack of opportunity to casual corruption and community cooperation. Rono and Bables are scheduled to attend the Cinematografo International Film Festival, which runs Nov. 8–11 at the AMC Kabuki 8 in San Francico.\u003c/p>\n\u003cp>Closer to home, gifted local indie filmmaker H.P. Mendoza’s third feature, \u003cem>Bitter Melon\u003c/em>, unfolds at a family Christmas reunion in the Mission. The darkly comedic ensemble piece, which had its world premiere at CAAMFest in May, confronts some familiar sibling tensions—and the scars and specter of domestic violence—through a smartly constructed script and a talented cast that includes Jon Norman Schneider, L.A. Renigen, Theresa Navarro, Patrick Epino and Brian Rivera.\u003c/p>\n\u003cp>Mendoza is one of a small handful of Bay Area writer-directors who eschew an L.A. career path and whose work deserves a wider (read: mainstream) audience. \u003cem>Bitter Melon\u003c/em> is a step forward in a career well worth watching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Boy Erased' Director Joel Edgerton on the Childhood Fear of Separation",
"headTitle": "‘Boy Erased’ Director Joel Edgerton on the Childhood Fear of Separation | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">When \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">begins, we see Nancy Eamons (Nicole Kidman) driving her son Jared (Lucas Hedges) to a gay conversion facility. On the freeway, he extends his right arm out the window. Nancy glances over at him, frowns, and then asks him to retract it. He sighs and immediately complies.\u003c/span>\u003c/p>\n\u003cp>The director of the film, Joel Edgerton, captures Nancy and Joel’s dynamic in that understated moment. Nancy’s convinced that her son will get hurt if he doesn’t follow her rules. And Jared is as yet too unsure of himself to be assertive. He’s an unformed 19-year-old boy who trusts his parents, even if he has to deny his homosexuality in order to do so. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edgerton also wrote and adapted the screenplay from Garrard Conley’s memoir of the same name — \u003c/span>\u003cspan style=\"font-weight: 400\">although, at first glance, the Australian actor’s resume makes him seem an unlikely candidate for the job. His first feature film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Gift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2015) is a creepy, psychological thriller. But in films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Loving \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2016)\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Warrior \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2011) and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Animal Kingdom\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2010), \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton can play macho characters who aren’t afraid to be vulnerable.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843982\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton stars as Victor Sykes in ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent press tour in San Francisco, he explains what drew him to the book: “\u003cspan style=\"font-weight: 400\">When I was young, I was terrified of institutions like boarding school and prison.” \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton says that once, his dad once made a joke at the dinner table about exchanging Joel and his brother Nash for two kids from faraway Perth, and he burst into tears. “I was so terrified of being separated from my family,” he says.\u003c/span>\u003c/p>\n\u003cp>Garrard’s situation, then, tapped right into his childhood fears. “Imagine being fearful of prison or being abducted,” he says, “and then imagine that your parents were your abductors.” In the movie, as in real life, Jared’s coming out is further complicated by the fact that his father Marshall (Russell Crowe) is a minister in an Arkansas church. It’s Marshall who decides upon the course of sending him away for conversion therapy, while Nancy silently complies. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For audiences who embraced the liberating gay love story in Luca Guadagnino’s film \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13817260/call-me-by-your-name-luca-guadagnino\">\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Jared’s obedience and willingness to suppress his sexuality may feel regressive. But Jared isn’t Elio. Edgerton says, “\u003c/span>\u003cspan style=\"font-weight: 400\">He wasn’t that boy. This movie speaks to the majority of us who do grow up without that rebellious streak, without that self-possessed agency to grab a machete and cut our own way through the forest. Most of us like to hold our parents’ hands through a certain section of the first part of life.” The director adds that, otherwise, “It would have been a short film about a kid whose parents say, ‘We don’t accept your sexuality,’ and he goes, ‘F-ck you,’ and moves to New York City or San Francisco or Sydney. But it’s not.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-520x281.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597.jpg 1480w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucas Hedges stars as Jared, and Russell Crowe and Nicole Kidman as Jared’s parents, Marshall and Nancy, in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for the film, Edgerton interviewed Garrard and other survivors of conversion therapy. For a while, he felt that he wasn’t qualified to make the movie. “And then I was like, ‘Well, wait. I’m just a conduit for Garrard and he’s with me all the way.’ He approved of me to do it, because I think he saw how passionate I was,” he says.\u003c/span>\u003c/p>\n\u003cp>While making the recent spy film \u003ci>\u003cspan style=\"font-weight: 400\">Red Sparrow\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Edgerton found himself returning to the project to push it forward. \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">This book chose me,” he says. “I felt safe being involved as a non-LGBTQ person because I related to so many other aspects of the story, the sense of obligation to family, the fear of being institutionalized.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In his memoir, Garrard describes his mother when she drops him off at the conversion camp. “She was all blond hair and heavy blue mascara, blue eyes and a perennial floral-print top: a spot of Technicolor in this drab place.” The filmmaker made a conscious decision to create that same drab palate on screen and to showcase Kidman’s Nancy as a bird-of-paradise in the midst of it. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is as much about Jared’s waking up to himself as it is the story of his mother’s taking responsibility for the damage she and her husband have caused. However, as the memoir and the movie both point out, not everyone who attends conversion therapy is lucky enough to have a mother like Garrard’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theodore Pellerin stars as Xavier and Lucas Hedges stars as Jared in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When he ran into Guadagnino at a film festival in Paris last month, Edgerton told the Italian director, “You realize I made the movie about the phone call at the end of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> when Oliver (Armie Hammer) says to Elio, ‘If that was me, I would’ve been sent to some institution.’” He made the movie about Armie’s coming out story, the one that’s set in a religiously oppressive America.\u003c/span>\u003c/p>\n\u003cp>Before \u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> had even been released, Edgerton received a comment on social media that said, “Oh, enough of these negative gay stories.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His response? “I get it. I feel you. It’s beautiful that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love, Simon \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are in the world because you need positive coming-out stories. For Elio, it was almost like when he came out, his parents said, ‘I know, pass the salt.’ And yet, when I read that comment, I was like, “Yes, but this shit’s still going on. It’s very much still going on.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"http://www.focusfeatures.com/boy-erased\">Boy Erased\u003c/a>‘ opens Friday, Nov. 2, at Landmark Embarcadero Center Cinema in San Francisco. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">When \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">begins, we see Nancy Eamons (Nicole Kidman) driving her son Jared (Lucas Hedges) to a gay conversion facility. On the freeway, he extends his right arm out the window. Nancy glances over at him, frowns, and then asks him to retract it. He sighs and immediately complies.\u003c/span>\u003c/p>\n\u003cp>The director of the film, Joel Edgerton, captures Nancy and Joel’s dynamic in that understated moment. Nancy’s convinced that her son will get hurt if he doesn’t follow her rules. And Jared is as yet too unsure of himself to be assertive. He’s an unformed 19-year-old boy who trusts his parents, even if he has to deny his homosexuality in order to do so. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edgerton also wrote and adapted the screenplay from Garrard Conley’s memoir of the same name — \u003c/span>\u003cspan style=\"font-weight: 400\">although, at first glance, the Australian actor’s resume makes him seem an unlikely candidate for the job. His first feature film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Gift\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2015) is a creepy, psychological thriller. But in films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Loving \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2016)\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Warrior \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(2011) and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Animal Kingdom\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (2010), \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton can play macho characters who aren’t afraid to be vulnerable.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843982\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_04_R11534788749.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton stars as Victor Sykes in ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent press tour in San Francisco, he explains what drew him to the book: “\u003cspan style=\"font-weight: 400\">When I was young, I was terrified of institutions like boarding school and prison.” \u003c/span>\u003cspan style=\"font-weight: 400\">Edgerton says that once, his dad once made a joke at the dinner table about exchanging Joel and his brother Nash for two kids from faraway Perth, and he burst into tears. “I was so terrified of being separated from my family,” he says.\u003c/span>\u003c/p>\n\u003cp>Garrard’s situation, then, tapped right into his childhood fears. “Imagine being fearful of prison or being abducted,” he says, “and then imagine that your parents were your abductors.” In the movie, as in real life, Jared’s coming out is further complicated by the fact that his father Marshall (Russell Crowe) is a minister in an Arkansas church. It’s Marshall who decides upon the course of sending him away for conversion therapy, while Nancy silently complies. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For audiences who embraced the liberating gay love story in Luca Guadagnino’s film \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13817260/call-me-by-your-name-luca-guadagnino\">\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Jared’s obedience and willingness to suppress his sexuality may feel regressive. But Jared isn’t Elio. Edgerton says, “\u003c/span>\u003cspan style=\"font-weight: 400\">He wasn’t that boy. This movie speaks to the majority of us who do grow up without that rebellious streak, without that self-possessed agency to grab a machete and cut our own way through the forest. Most of us like to hold our parents’ hands through a certain section of the first part of life.” The director adds that, otherwise, “It would have been a short film about a kid whose parents say, ‘We don’t accept your sexuality,’ and he goes, ‘F-ck you,’ and moves to New York City or San Francisco or Sydney. But it’s not.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597-520x281.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_r3_20180606_07_R25v21535475597.jpg 1480w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucas Hedges stars as Jared, and Russell Crowe and Nicole Kidman as Jared’s parents, Marshall and Nancy, in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for the film, Edgerton interviewed Garrard and other survivors of conversion therapy. For a while, he felt that he wasn’t qualified to make the movie. “And then I was like, ‘Well, wait. I’m just a conduit for Garrard and he’s with me all the way.’ He approved of me to do it, because I think he saw how passionate I was,” he says.\u003c/span>\u003c/p>\n\u003cp>While making the recent spy film \u003ci>\u003cspan style=\"font-weight: 400\">Red Sparrow\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Edgerton found himself returning to the project to push it forward. \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">This book chose me,” he says. “I felt safe being involved as a non-LGBTQ person because I related to so many other aspects of the story, the sense of obligation to family, the fear of being institutionalized.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In his memoir, Garrard describes his mother when she drops him off at the conversion camp. “She was all blond hair and heavy blue mascara, blue eyes and a perennial floral-print top: a spot of Technicolor in this drab place.” The filmmaker made a conscious decision to create that same drab palate on screen and to showcase Kidman’s Nancy as a bird-of-paradise in the midst of it. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is as much about Jared’s waking up to himself as it is the story of his mother’s taking responsibility for the damage she and her husband have caused. However, as the memoir and the movie both point out, not everyone who attends conversion therapy is lucky enough to have a mother like Garrard’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/boy_erased_20180503_03_R251534788748.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theodore Pellerin stars as Xavier and Lucas Hedges stars as Jared in Joel Edgerton’s ‘Boy Erased.’ (Focus Features)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When he ran into Guadagnino at a film festival in Paris last month, Edgerton told the Italian director, “You realize I made the movie about the phone call at the end of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> when Oliver (Armie Hammer) says to Elio, ‘If that was me, I would’ve been sent to some institution.’” He made the movie about Armie’s coming out story, the one that’s set in a religiously oppressive America.\u003c/span>\u003c/p>\n\u003cp>Before \u003ci>\u003cspan style=\"font-weight: 400\">Boy Erased\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> had even been released, Edgerton received a comment on social media that said, “Oh, enough of these negative gay stories.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His response? “I get it. I feel you. It’s beautiful that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love, Simon \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call Me By Your Name\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are in the world because you need positive coming-out stories. For Elio, it was almost like when he came out, his parents said, ‘I know, pass the salt.’ And yet, when I read that comment, I was like, “Yes, but this shit’s still going on. It’s very much still going on.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"http://www.focusfeatures.com/boy-erased\">Boy Erased\u003c/a>‘ opens Friday, Nov. 2, at Landmark Embarcadero Center Cinema in San Francisco. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\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>\u003cem>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Paul Dano's 'Wildlife,' an Affecting Study of a Family in Financial Peril",
"headTitle": "In Paul Dano’s ‘Wildlife,’ an Affecting Study of a Family in Financial Peril | KQED",
"content": "\u003cp>America is on fire and the nuclear family is burning in Paul Dano’s melancholic film, \u003cem>Wildlife\u003c/em>.\u003c/p>\n\u003cp>Based on the novel of the same name by Richard Ford, the film follows the end of a marriage through the eyes of the couple’s teenage son, Joe Brinson (Ed Oxenbould). The family moves from place to place because father Jerry (Jake Gyllenhaal) can’t hold down a job for long. Despite this, mother Jeanette (Carey Mulligan) remains supportive of her husband. But when he takes a job as a firefighter and moves out of their apartment to join the front lines, she’s left without income and—in 1960—with few options.\u003c/p>\n\u003cp>While husband and wife struggle to stave off poverty, a fire rages in the background, an affecting metaphor for a marriage in peril. But Dano, who was in San Francisco earlier this month, adds that what’s being threatened is the American dream, and it’s combustible. “I think that both of these parents are suddenly faced with what their present lives \u003cem>are\u003c/em> rather than the idea of what they were meant to be,” the director explains. “And they implode.”\u003c/p>\n\u003cfigure id=\"attachment_13843517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wildlife\u003c/em> quickly conveys the kind of madness that can infect a family without a way to earn money. In a shot that establishes Jerry’s position in society, the camera, low to the ground, focuses on a hand shining a golf shoe. Dano pulls back and widens the frame to reveal Jerry on his knees. When he loses his job at the golf course for being overly familiar with the patrons, we understand his sense of powerlessness and frustration. It’s not enough for his employer that he performs part of his job on his knees, his spirit has to be cowed too. He’s a servant, and not their equal.\u003c/p>\n\u003cp>With Jerry off fighting fires, Jeanette’s employment options are just similarly limited. And it is during this transition from marital strife to job search as, essentially, a single mom, that \u003cem>Wildlife\u003c/em> becomes Carey Mulligan’s film. Asking for work and repeatedly rejected, Mulligan smiles all the while, refusing to betray her desperation.\u003c/p>\n\u003cfigure id=\"attachment_13843518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg\" alt=\"Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1180x637.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-960x518.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What most drew the director to the source material was a scene in which Ford writes about Joe watching his mother teach a swim class. “He’s seeing everybody around her, probably thinking, ‘There’s a woman who’s got a nice smile. Or there’s a woman who’s got a good figure, or there’s a woman who looks happy,'” Dano says. “But he knows something is wrong. And that’s where the duality is in us, the presentation versus the layers. That excited me.” As the pressure builds, Jeanette loses the ability to hide that duality from her son.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of Dano and Zoe Kazan’s challenges (his life and writing partner who co-wrote the script with him) was the depiction of Joe as an unsophisticated innocent. When his mother introduces him to, or rather, stops shielding him from adult realities, he stares at her blankly. He’s helpless, often silent, because he doesn’t understand why she’s behaving the way she is.\u003c/p>\n\u003cfigure id=\"attachment_13843519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was also Dano’s response to things that happened in his own life. “For me, when the ground started to shake in my house, I wanted things not to tip. I wanted to keep things together. I was scared and, because things felt unstable, my reaction was stable,” he says. “This was how I was forced to be an adult at a young age. That was my reaction, it’s not going to be everybody’s. And that’s Joe’s. It’s there in the book and it’s in the film and I was really moved by that.”\u003c/p>\n\u003cp>In one beautiful scene, Joe runs at night along a snowy, deserted highway. Dano sums up the moment, if not the film’s allusive message, by saying, “To me this kid has to break from his parents.” He needs to avoid making their mistakes in his own life. After all, Jerry can only express that hard transition of moving away from childhood and toward adulthood to Joe obliquely, saying, “This is a wild life, isn’t it, son?”\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>‘Wildlife’ is playing in San Francisco at the AMC Kabuki 8 and Landmark’s Embarcadero Center and in Berkeley at Shattuck Cinemas. \u003ca href=\"http://www.ifcfilms.com/films/wildlife\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In Paul Dano's directorial debut, co-written with Zoe Kazan, he tells the story of the end of a marriage through the innocent eyes of the couple's teenage son.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America is on fire and the nuclear family is burning in Paul Dano’s melancholic film, \u003cem>Wildlife\u003c/em>.\u003c/p>\n\u003cp>Based on the novel of the same name by Richard Ford, the film follows the end of a marriage through the eyes of the couple’s teenage son, Joe Brinson (Ed Oxenbould). The family moves from place to place because father Jerry (Jake Gyllenhaal) can’t hold down a job for long. Despite this, mother Jeanette (Carey Mulligan) remains supportive of her husband. But when he takes a job as a firefighter and moves out of their apartment to join the front lines, she’s left without income and—in 1960—with few options.\u003c/p>\n\u003cp>While husband and wife struggle to stave off poverty, a fire rages in the background, an affecting metaphor for a marriage in peril. But Dano, who was in San Francisco earlier this month, adds that what’s being threatened is the American dream, and it’s combustible. “I think that both of these parents are suddenly faced with what their present lives \u003cem>are\u003c/em> rather than the idea of what they were meant to be,” the director explains. “And they implode.”\u003c/p>\n\u003cfigure id=\"attachment_13843517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wildlife\u003c/em> quickly conveys the kind of madness that can infect a family without a way to earn money. In a shot that establishes Jerry’s position in society, the camera, low to the ground, focuses on a hand shining a golf shoe. Dano pulls back and widens the frame to reveal Jerry on his knees. When he loses his job at the golf course for being overly familiar with the patrons, we understand his sense of powerlessness and frustration. It’s not enough for his employer that he performs part of his job on his knees, his spirit has to be cowed too. He’s a servant, and not their equal.\u003c/p>\n\u003cp>With Jerry off fighting fires, Jeanette’s employment options are just similarly limited. And it is during this transition from marital strife to job search as, essentially, a single mom, that \u003cem>Wildlife\u003c/em> becomes Carey Mulligan’s film. Asking for work and repeatedly rejected, Mulligan smiles all the while, refusing to betray her desperation.\u003c/p>\n\u003cfigure id=\"attachment_13843518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg\" alt=\"Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1180x637.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-960x518.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What most drew the director to the source material was a scene in which Ford writes about Joe watching his mother teach a swim class. “He’s seeing everybody around her, probably thinking, ‘There’s a woman who’s got a nice smile. Or there’s a woman who’s got a good figure, or there’s a woman who looks happy,'” Dano says. “But he knows something is wrong. And that’s where the duality is in us, the presentation versus the layers. That excited me.” As the pressure builds, Jeanette loses the ability to hide that duality from her son.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of Dano and Zoe Kazan’s challenges (his life and writing partner who co-wrote the script with him) was the depiction of Joe as an unsophisticated innocent. When his mother introduces him to, or rather, stops shielding him from adult realities, he stares at her blankly. He’s helpless, often silent, because he doesn’t understand why she’s behaving the way she is.\u003c/p>\n\u003cfigure id=\"attachment_13843519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was also Dano’s response to things that happened in his own life. “For me, when the ground started to shake in my house, I wanted things not to tip. I wanted to keep things together. I was scared and, because things felt unstable, my reaction was stable,” he says. “This was how I was forced to be an adult at a young age. That was my reaction, it’s not going to be everybody’s. And that’s Joe’s. It’s there in the book and it’s in the film and I was really moved by that.”\u003c/p>\n\u003cp>In one beautiful scene, Joe runs at night along a snowy, deserted highway. Dano sums up the moment, if not the film’s allusive message, by saying, “To me this kid has to break from his parents.” He needs to avoid making their mistakes in his own life. After all, Jerry can only express that hard transition of moving away from childhood and toward adulthood to Joe obliquely, saying, “This is a wild life, isn’t it, son?”\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>‘Wildlife’ is playing in San Francisco at the AMC Kabuki 8 and Landmark’s Embarcadero Center and in Berkeley at Shattuck Cinemas. \u003ca href=\"http://www.ifcfilms.com/films/wildlife\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Rodents of Unusual Size,’ Truth is Stranger Than Fiction",
"headTitle": "In ‘Rodents of Unusual Size,’ Truth is Stranger Than Fiction | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Bay Area filmmakers Quinn Costello, Chris Metzler and Jeff Springer, it’s the suspense of not knowing where a story will end up that makes documentaries so exciting. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they started working on \u003cem>Rodents of Unusual Size\u003c/em> four years ago, they didn’t know if they’d be able to gain the trust of the Louisiana communities fighting to eradicate nutria—an invasive species of monstrous, 20-pound swamp rats wreaking havoc on the wetlands that prevent coastal erosion and help protect residents from hurricanes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People were really used to TV crews coming and caricaturing them, blowing their stories up and kind of making fun of them,” says Costello. But Costello, Metzler and Springer weren’t just another reality television crew. The trio shared a genuine curiosity about the nutria hunters and their families, forming close relationships with their subjects on over a dozen visits to Louisiana during hunting four seasons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13843390 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales in ‘Rodents of Unusual Size’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The filmmakers are no strangers to unusual stories. They routinely tackle projects most would dismiss as impossible, whether that’s \u003ca href=\"https://www.kqed.org/trulyca/57/plagues-and-pleasures-on-the-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">documenting the eccentric community around the stagnant Salton Sea \u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">or the \u003ca href=\"https://www.kqed.org/trulyca/87/everyday-sunshine-the-story-of-fishbone\" target=\"_blank\" rel=\"noopener noreferrer\">unclassifiable, tumultuous band of Fishbone\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for the trio behind \u003cem>Rodents of Unusual Size\u003c/em>, which screens with the filmmakers present at \u003ca href=\"https://rafaelfilm.cafilm.org/rodents-of-unusual-size/?fbclid=IwAR14S-Q8aYGvTwdGVeKFDY8ulrWlzFksIP2YCOjQqJ5NF1pKtoCOIZmmk8o\" target=\"_blank\" rel=\"noopener noreferrer\">the Smith Rafael Center on Thursday, Oct. 25,\u003c/a> and premieres on PBS’ \u003cem>Independent Lens\u003c/em> in January 2019, there’s far more to their film than the drama of the hunt.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Local audiences should also note giant swamp rats are not just a Louisiana problem: \u003ca href=\"https://www.sfgate.com/news/article/nutria-California-swamp-rats-300-dead-hunt-traps-13303143.php\" target=\"_blank\" rel=\"noopener noreferrer\">The California Department of Fish and Wildlife recently caught their 300th nutria at a pond in Merced County\u003c/a>.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts sat down with Costello, Metzler and Springer to find out more about making a film with three directors and how documentaries can be portals into other worlds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get your start in documentary filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">Chris and I met at USC as undergraduates, and later we ended up in film school making more narrative-oriented projects together. Toward the end of school, we both found that nonfiction film was really a lot more interesting than fiction. A few years later, we made our first feature-length documentary film, \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember when Jeff and I went and saw [the documentary] \u003cem>Fast, Cheap and Out of Control\u003c/em>. It gave me the permission to say, documentaries can be a lot like narrative films and you could take on interesting, unique subject matter that you wouldn’t normally think a film could be made of.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">One of my first jobs in film was working as an assistant editor for two veteran documentary filmmakers in the Bay Area, Will Parrinello and John Antonelli. That experience was really priceless because it gave me an access point to see how people are making a living as independent documentary filmmakers. This is one path that you can take. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How did the three of you team up to make this film? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Chris serendipitously at a KQED \u003cem>Truly CA\u003c/em> filmmakers party and was always interested in the films he and Jeff were making. There was some overlap in that I was working on a lot of environmental films. I had this idea, originally, to make a short in Louisiana about nutria, and as it turned out, Chris and Jeff also knew about the subject. We started talking about collaborating and how we could pull this off and eventually we decided to buy plane tickets, head down to Louisiana and just start filming.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">A lot of people wonder, how can you have three directors on a film? I think it’s worked out really well because I think we each bring different skill sets to the team. I also shot the film, Quinn edited it, and Chris does a lot of the producing. So I think that we can collaborate very well that way, because we kind of have our craft area that we are also able to focus on. If there’s any disagreement, we take it to vote, and with three of us, it’s easy to make decisions.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you define success?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, there really isn’t any kind of a point in the film [when you can say], “Okay, we’ve succeeded.” Some people ask, “What about your world premiere, or getting your film on TV, or a sold-out crowd to a screening, is that the thing that kind of makes you excited?” Those things are always fun, but they’re kind of expectations going in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s really about meeting all these people and winding up in these unique situations and places, whether it’s the deserts of California, on tour with a punk rock band like Fishbone, or being down in Louisiana chasing giant swamp rats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like opening a door, a portal into all of these different parts of the world that maybe you wouldn’t get to see otherwise and you get to share that experience for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s something you would tell your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">Put one foot in front of the other. Don’t think about the end product; just think about the next right step. Don’t let what you want this film to be at the end get in the way of getting the film started. Start the film and the end will figure itself out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003cem>Rodents of Unusual Size\u003c/em>, we thought we would be finished years ago, and if we had known it was going to take as long as it did—not that we wouldn’t have done it—we would have been a little bewildered by that.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>Making a documentary is a marathon and while it sounds a little bit trite, there are just highs and lows throughout. There’s times when you love the project that you’re working on and other times that you hate it; hopefully you choose a project that you can continue to fall in love with. —\u003ci style=\"font-weight: 400\"> \u003c/i>\u003ci>Introductory\u003c/i>\u003ci style=\"font-weight: 400\"> text by Sarah Hotchkiss, and interview by Kelly Whalen\u003c/i>\u003c/p>\n\n",
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"excerpt": "Documentary filmmakers Quinn Costello, Chris Metzler and Jeff Springer spent four years following giant swamp rats decimating the Louisiana coastline—and the local hunters committed to stopping them.\r\n",
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"description": "Documentary filmmakers Quinn Costello, Chris Metzler and Jeff Springer spent four years following giant swamp rats decimating the Louisiana coastline—and the local hunters committed to stopping them.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Bay Area filmmakers Quinn Costello, Chris Metzler and Jeff Springer, it’s the suspense of not knowing where a story will end up that makes documentaries so exciting. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they started working on \u003cem>Rodents of Unusual Size\u003c/em> four years ago, they didn’t know if they’d be able to gain the trust of the Louisiana communities fighting to eradicate nutria—an invasive species of monstrous, 20-pound swamp rats wreaking havoc on the wetlands that prevent coastal erosion and help protect residents from hurricanes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People were really used to TV crews coming and caricaturing them, blowing their stories up and kind of making fun of them,” says Costello. But Costello, Metzler and Springer weren’t just another reality television crew. The trio shared a genuine curiosity about the nutria hunters and their families, forming close relationships with their subjects on over a dozen visits to Louisiana during hunting four seasons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13843390 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales in ‘Rodents of Unusual Size’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The filmmakers are no strangers to unusual stories. They routinely tackle projects most would dismiss as impossible, whether that’s \u003ca href=\"https://www.kqed.org/trulyca/57/plagues-and-pleasures-on-the-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">documenting the eccentric community around the stagnant Salton Sea \u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">or the \u003ca href=\"https://www.kqed.org/trulyca/87/everyday-sunshine-the-story-of-fishbone\" target=\"_blank\" rel=\"noopener noreferrer\">unclassifiable, tumultuous band of Fishbone\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for the trio behind \u003cem>Rodents of Unusual Size\u003c/em>, which screens with the filmmakers present at \u003ca href=\"https://rafaelfilm.cafilm.org/rodents-of-unusual-size/?fbclid=IwAR14S-Q8aYGvTwdGVeKFDY8ulrWlzFksIP2YCOjQqJ5NF1pKtoCOIZmmk8o\" target=\"_blank\" rel=\"noopener noreferrer\">the Smith Rafael Center on Thursday, Oct. 25,\u003c/a> and premieres on PBS’ \u003cem>Independent Lens\u003c/em> in January 2019, there’s far more to their film than the drama of the hunt.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Local audiences should also note giant swamp rats are not just a Louisiana problem: \u003ca href=\"https://www.sfgate.com/news/article/nutria-California-swamp-rats-300-dead-hunt-traps-13303143.php\" target=\"_blank\" rel=\"noopener noreferrer\">The California Department of Fish and Wildlife recently caught their 300th nutria at a pond in Merced County\u003c/a>.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts sat down with Costello, Metzler and Springer to find out more about making a film with three directors and how documentaries can be portals into other worlds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get your start in documentary filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">Chris and I met at USC as undergraduates, and later we ended up in film school making more narrative-oriented projects together. Toward the end of school, we both found that nonfiction film was really a lot more interesting than fiction. A few years later, we made our first feature-length documentary film, \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember when Jeff and I went and saw [the documentary] \u003cem>Fast, Cheap and Out of Control\u003c/em>. It gave me the permission to say, documentaries can be a lot like narrative films and you could take on interesting, unique subject matter that you wouldn’t normally think a film could be made of.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">One of my first jobs in film was working as an assistant editor for two veteran documentary filmmakers in the Bay Area, Will Parrinello and John Antonelli. That experience was really priceless because it gave me an access point to see how people are making a living as independent documentary filmmakers. This is one path that you can take. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How did the three of you team up to make this film? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Chris serendipitously at a KQED \u003cem>Truly CA\u003c/em> filmmakers party and was always interested in the films he and Jeff were making. There was some overlap in that I was working on a lot of environmental films. I had this idea, originally, to make a short in Louisiana about nutria, and as it turned out, Chris and Jeff also knew about the subject. We started talking about collaborating and how we could pull this off and eventually we decided to buy plane tickets, head down to Louisiana and just start filming.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">A lot of people wonder, how can you have three directors on a film? I think it’s worked out really well because I think we each bring different skill sets to the team. I also shot the film, Quinn edited it, and Chris does a lot of the producing. So I think that we can collaborate very well that way, because we kind of have our craft area that we are also able to focus on. If there’s any disagreement, we take it to vote, and with three of us, it’s easy to make decisions.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you define success?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, there really isn’t any kind of a point in the film [when you can say], “Okay, we’ve succeeded.” Some people ask, “What about your world premiere, or getting your film on TV, or a sold-out crowd to a screening, is that the thing that kind of makes you excited?” Those things are always fun, but they’re kind of expectations going in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s really about meeting all these people and winding up in these unique situations and places, whether it’s the deserts of California, on tour with a punk rock band like Fishbone, or being down in Louisiana chasing giant swamp rats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like opening a door, a portal into all of these different parts of the world that maybe you wouldn’t get to see otherwise and you get to share that experience for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s something you would tell your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">Put one foot in front of the other. Don’t think about the end product; just think about the next right step. Don’t let what you want this film to be at the end get in the way of getting the film started. Start the film and the end will figure itself out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003cem>Rodents of Unusual Size\u003c/em>, we thought we would be finished years ago, and if we had known it was going to take as long as it did—not that we wouldn’t have done it—we would have been a little bewildered by that.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>Making a documentary is a marathon and while it sounds a little bit trite, there are just highs and lows throughout. There’s times when you love the project that you’re working on and other times that you hate it; hopefully you choose a project that you can continue to fall in love with. —\u003ci style=\"font-weight: 400\"> \u003c/i>\u003ci>Introductory\u003c/i>\u003ci style=\"font-weight: 400\"> text by Sarah Hotchkiss, and interview by Kelly Whalen\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/658251028/659203378\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As Amandla Stenberg prepared for her lead role in the film adaptation of \u003cem>The Hate U Give, \u003c/em>she devoured Angie Thomas’ 2017 \u003ca href=\"https://www.npr.org/books/titles/522191657/the-hate-u-give\" target=\"_blank\" rel=\"noopener\">young adult novel\u003c/a>. “Reading the book became this strange, spiritual thing because it started to feel like I was reading my own diary,” she says.\u003c/p>\n\u003cp>Like protagonist Starr Carter, Stenberg grew up in a black neighborhood, but attended an overwhelmingly white school. “I had a very parallel experience,” she says. Stenberg was 10 when she began attending a school across town; she was one of just four black girls in her grade.\u003c/p>\n\u003cp>“I became really familiar with the experience of being isolated in my ethnicity,” Stenberg says. She found it hard to “show all the way up” or be fully herself.\u003c/p>\n\u003cp>“I wanted to fit into this space in which the culture was really white and privileged and kind of alternative,” she says. “So I learned how to adapt to that environment in order to feel included.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the movie, Starr also learns to code switch to fit in. “That means flipping a switch in my brain” around her prep school classmates, she says. But she’s proud of where she’s from — Starr “loves her blackness,” Stenberg explains.\u003c/p>\n\u003cp>One night, Starr and her childhood friend Khalil are pulled over by a white police officer who shoots Khalil when he mistakes his hairbrush for a weapon.\u003c/p>\n\u003cp>Thomas \u003ca href=\"https://www.npr.org/2017/02/26/517305270/the-hate-u-give-explores-racism-and-police-violence\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> she was inspired to write \u003cem>The Hate U Give\u003c/em> after the fatal shooting of Oscar Grant—a young, African-American man who was killed by a white transit officer in Oakland on New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant was unarmed when he was shot, and Thomas was struck by the media coverage that focused on Grant’s criminal record rather than the circumstances of his death. “More people were talking about what he had done in his past than the fact that he unjustly lost his life,” Thomas said.\u003c/p>\n\u003cp>Starr is the only witness to Khalil’s killing. While she wants the police officer to face justice, she’s afraid to speak out. Without giving too much away, she has good reasons for wanting to hold back.\u003c/p>\n\u003cp>But Starr’s father doesn’t accept her silence—he raised his children to fight to be heard. He’s taught them the Black Panther’s Ten-Point Program—including “an immediate end to police brutality and murder of black people”—and to work for justice “by any means necessary.”\u003c/p>\n\u003cp>“So why you gonna be quiet?” he asks Starr.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/517305270/517305271\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There were special screenings of the film around the country before its official release. Students at Washington, D.C., area public schools had the opportunity to see the film at the Smithsonian National Museum of American History.\u003c/p>\n\u003cp>Tiana Minor, 16, who attends Fauquier High School in Virginia, says society tries to “overlook” or “sugarcoat” issues of racial injustice. She thinks the film will help people open their eyes to what she knows are “real-life problems.”\u003c/p>\n\u003cp>Minor’s classmate, Devon Lewis, 16, says he understands Starr’s reluctance to speak out. “She wants to talk, but she can’t because she just doesn’t have the voice yet,” he says. Lewis adds that he liked the way the father in the story named his daughter “Starr” for “light.” That’s a detail Stenberg likes, too.\u003c/p>\n\u003cp>“Something that’s so beautiful about black culture is that we give our children power in their names,” Stenberg says. “My name actually means ‘power’ in Zulu and Xhosa. It was something that my mom was very intentional with. I think we recognize that it’s a tough world out there, and so we give our children names that they can use as superpowers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This notion of what you “give your children” is referenced in the title of the book and movie:\u003cem> The Hate U Give\u003c/em>. It comes from Tupac Shakur’s THUG LIFE: The Hate U Give Little Infants F***** Everybody. As Amandla Stenberg says—the love you give is even more powerful.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Hate+U+Give%27+Star+Says+The+Novel+Was+Like+%27Reading+My+Own+Diary%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the movie, Starr also learns to code switch to fit in. “That means flipping a switch in my brain” around her prep school classmates, she says. But she’s proud of where she’s from — Starr “loves her blackness,” Stenberg explains.\u003c/p>\n\u003cp>One night, Starr and her childhood friend Khalil are pulled over by a white police officer who shoots Khalil when he mistakes his hairbrush for a weapon.\u003c/p>\n\u003cp>Thomas \u003ca href=\"https://www.npr.org/2017/02/26/517305270/the-hate-u-give-explores-racism-and-police-violence\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> she was inspired to write \u003cem>The Hate U Give\u003c/em> after the fatal shooting of Oscar Grant—a young, African-American man who was killed by a white transit officer in Oakland on New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant was unarmed when he was shot, and Thomas was struck by the media coverage that focused on Grant’s criminal record rather than the circumstances of his death. “More people were talking about what he had done in his past than the fact that he unjustly lost his life,” Thomas said.\u003c/p>\n\u003cp>Starr is the only witness to Khalil’s killing. While she wants the police officer to face justice, she’s afraid to speak out. Without giving too much away, she has good reasons for wanting to hold back.\u003c/p>\n\u003cp>But Starr’s father doesn’t accept her silence—he raised his children to fight to be heard. He’s taught them the Black Panther’s Ten-Point Program—including “an immediate end to police brutality and murder of black people”—and to work for justice “by any means necessary.”\u003c/p>\n\u003cp>“So why you gonna be quiet?” he asks Starr.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/517305270/517305271\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There were special screenings of the film around the country before its official release. Students at Washington, D.C., area public schools had the opportunity to see the film at the Smithsonian National Museum of American History.\u003c/p>\n\u003cp>Tiana Minor, 16, who attends Fauquier High School in Virginia, says society tries to “overlook” or “sugarcoat” issues of racial injustice. She thinks the film will help people open their eyes to what she knows are “real-life problems.”\u003c/p>\n\u003cp>Minor’s classmate, Devon Lewis, 16, says he understands Starr’s reluctance to speak out. “She wants to talk, but she can’t because she just doesn’t have the voice yet,” he says. Lewis adds that he liked the way the father in the story named his daughter “Starr” for “light.” That’s a detail Stenberg likes, too.\u003c/p>\n\u003cp>“Something that’s so beautiful about black culture is that we give our children power in their names,” Stenberg says. “My name actually means ‘power’ in Zulu and Xhosa. It was something that my mom was very intentional with. I think we recognize that it’s a tough world out there, and so we give our children names that they can use as superpowers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This notion of what you “give your children” is referenced in the title of the book and movie:\u003cem> The Hate U Give\u003c/em>. It comes from Tupac Shakur’s THUG LIFE: The Hate U Give Little Infants F***** Everybody. As Amandla Stenberg says—the love you give is even more powerful.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Hate+U+Give%27+Star+Says+The+Novel+Was+Like+%27Reading+My+Own+Diary%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The movies, as Vittorio De Sica’s neorealist classic \u003cem>Bicycle Thieves\u003c/em> proved way, way back in 1948, can movingly convey the narrow margin that separates the working poor from disaster. But many filmmakers find it difficult to practice restraint given the temptation to elevate and sentimentalize their characters while upping their daily hardships to the point of melodramatic tragedy.\u003c/p>\n\u003cp>In the Florida-set \u003cem>Life & Nothing More\u003c/em>, opening Friday, Oct. 26 (at the Alamo Drafthouse in San Francisco, the Grand Lake in Oakland and the Smith Rafael Film Center in San Rafael), writer-director Antonio Méndez Esparza balances the essence of inner lives with larger social forces and big-picture moralizing. The film opens on 14-year-old Andrew (played by Andrew Bleechington), a taciturn black kid seemingly unaffected by his introduction to the justice system. But his mom, Regina (Regina Williams), who’s raising Andrew and his three-year-old sister on her own (her ex-husband is in prison) while working in a diner, feels the screws tightening even more.\u003c/p>\n\u003cfigure id=\"attachment_13843313\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg\" alt=\"Andrew Bleechington in 'Life & Nothing More.'\" width=\"1030\" height=\"579\" class=\"size-full wp-image-13843313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-520x292.jpg 520w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Bleechington in ‘Life & Nothing More.’ \u003ccite>(Courtesy of CFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regina is a hard case, but gradually she responds to a suitor offering the possibility of comfort and support. Andrew’s reaction to the interloper makes Regina’s life even tougher, but \u003cem>Life & Nothing More\u003c/em>—like Charles Burnett’s piercing \u003cem>Killer of Sheep\u003c/em>, made exactly four decades ago in Los Angeles—makes us see that domestic pressures are exacerbated by external forces like economic anxiety, pernicious racism and lack of opportunity.\u003c/p>\n\u003cp>Esparza employs time-honored neorealist techniques like nonprofessional actors and longer-than-average takes, but he avoids the contemporary cliché of handheld cameras. His approach works not to distract us from Regina and Andrew’s everyday struggles, and to insinuate us into their reality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The movies, as Vittorio De Sica’s neorealist classic \u003cem>Bicycle Thieves\u003c/em> proved way, way back in 1948, can movingly convey the narrow margin that separates the working poor from disaster. But many filmmakers find it difficult to practice restraint given the temptation to elevate and sentimentalize their characters while upping their daily hardships to the point of melodramatic tragedy.\u003c/p>\n\u003cp>In the Florida-set \u003cem>Life & Nothing More\u003c/em>, opening Friday, Oct. 26 (at the Alamo Drafthouse in San Francisco, the Grand Lake in Oakland and the Smith Rafael Film Center in San Rafael), writer-director Antonio Méndez Esparza balances the essence of inner lives with larger social forces and big-picture moralizing. The film opens on 14-year-old Andrew (played by Andrew Bleechington), a taciturn black kid seemingly unaffected by his introduction to the justice system. But his mom, Regina (Regina Williams), who’s raising Andrew and his three-year-old sister on her own (her ex-husband is in prison) while working in a diner, feels the screws tightening even more.\u003c/p>\n\u003cfigure id=\"attachment_13843313\" class=\"wp-caption aligncenter\" style=\"max-width: 1030px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg\" alt=\"Andrew Bleechington in 'Life & Nothing More.'\" width=\"1030\" height=\"579\" class=\"size-full wp-image-13843313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579.jpg 1030w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/lanm_01-1030x579-520x292.jpg 520w\" sizes=\"(max-width: 1030px) 100vw, 1030px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Bleechington in ‘Life & Nothing More.’ \u003ccite>(Courtesy of CFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regina is a hard case, but gradually she responds to a suitor offering the possibility of comfort and support. Andrew’s reaction to the interloper makes Regina’s life even tougher, but \u003cem>Life & Nothing More\u003c/em>—like Charles Burnett’s piercing \u003cem>Killer of Sheep\u003c/em>, made exactly four decades ago in Los Angeles—makes us see that domestic pressures are exacerbated by external forces like economic anxiety, pernicious racism and lack of opportunity.\u003c/p>\n\u003cp>Esparza employs time-honored neorealist techniques like nonprofessional actors and longer-than-average takes, but he avoids the contemporary cliché of handheld cameras. His approach works not to distract us from Regina and Andrew’s everyday struggles, and to insinuate us into their reality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Trauma is not neat and pretty to deal with; it is not easily diagnosed, it does not vanish on its own, and its lingering effects can touch those around us. In the latest sequel to the long and winding \u003cem>Halloween \u003c/em>series, trauma plays an important role in the narrative arc of famed final girl Laurie Strode (Jamie Lee Curtis). You might remember her from the original 1978 John Carpenter film, which saw her screaming, running, discovering her friends brutally murdered, then fending off a serial killer to protect the kids she was babysitting. \u003c/p>\n\u003cp>The 2018 sequel picks up several decades later, and while it largely conforms to the retro thrills of the “serial killer on the loose” subgenre, it makes something interesting out of Laurie’s earlier experience. In this film, trauma and survivor’s guilt are not swept under the rug, as often happens in sequels. Instead, Laurie’s experience shapes her behavior and her relationship with both her loved ones and the wider world.\u003c/p>\n\u003cp>Horror movies have lightly toyed with a character’s trauma for dramatic effect before. In Neil Marshall’s \u003cem>The Descent\u003c/em>, Sarah (Shauna Macdonald) tries to cope with the loss of her family in an accident by reuniting with friends and taking a girl’s trip. Things go terribly wrong on the group’s cave-diving adventure, and the memory of her daughter as well as her survivor’s guilt haunt her as she fights off cannibalistic monsters. Wes Craven’s \u003cem>Scream \u003c/em>features Sidney Prescott (Neve Campbell) struggling to cope with her mother’s murder. When a similar killer starts attacking her classmates, it brings her worst fears back to her doorstep.\u003c/p>\n\u003cp>But in this present-day \u003cem>Halloween\u003c/em>, directed by David Gordon Green, trauma is no mere plot device; it’s the film’s explicit subject. Laurie has become a virtual hermit, closing herself off from a world that saw her more like a freak show than a survivor. She’s quick to shut out journalists looking to make a sensational story out of her experience. In this timeline, which skips all of the other sequels, Laurie arms herself in case serial killer Michael Myers returns. She teaches her daughter how to survive, how to shoot, and when to seek shelter in the family panic room. She’s trying to inoculate her daughter from fully inheriting her trauma, as when young women are taught to walk to their cars with their keys between their fingers. This \u003cem>Halloween \u003c/em>sets out to explore the emotional cost of seeing a monster in every shadow.\u003c/p>\n\u003cp>https://youtu.be/ek1ePFp-nBI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF Cinematheque Salutes the Tenderloin’s Transgender History",
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"content": "\u003cp>Urban history is both concrete and fleeting, as we know firsthand from the breakneck pace of development in the Mission, SOMA and Dogpatch neighborhoods. In early 2017, local opposition to a proposed mid-Market residential and hotel complex compelled Supervisor Jane Kim to introduce legislation establishing the Compton’s Transgender, Lesbian, Gay and Bisexual District. Her bill represented a deal whereby the developer of 950-974 Market—which was wiping out some old-line gay bars in the Tenderloin—funded a venture to preserve the area’s cultural and historical legacy.\u003c/p>\n\u003cp>Whence the name? Victor Silverman and Susan Stryker’s dramatic 2005 documentary, \u003cem>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/em>, unearthed the largely forgotten story of the transgender women and drag queens who got fed up with systemic police harassment in 1966 at the titular establishment at Turk and Taylor (three years before the Stonewall riots, which receive most of the credit for jumpstarting the gay rights movement).\u003c/p>\n\u003cfigure id=\"attachment_13842872\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg\" alt=\"Finn Paul & Roy Perez, Still from 'Things We Both Know (Not Our Real Names).'\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13842872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Finn Paul & Roy Perez, Still from ‘Things We Both Know (Not Our Real Names).’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Cinematheque, the city’s stalwart exhibitor of experimental film, tapped guest programmer Malic Amalya to assemble \u003ca href=\"http://www.sfcinematheque.org/screenings/infrared/\" rel=\"noopener\" target=\"_blank\">Infrared—In Celebration of the Compton Transgender District\u003c/a>, four programs exploring private and public sexuality, identity and activism. The collection of personal portraits in “Dislocation of Existence” (Tuesday, Oct. 16 at CounterPulse, 80 Turk St.), Amalya writes, “offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen.” The Oct. 30 program, “Slow/Sheltering/Shattering,” positions individual experiences and actions as catalysts for larger social movements. \u003c/p>\n\u003cp>Infrared concludes with Jeff Preiss’ ambitious personal doc \u003cem>Stop\u003c/em> (Nov. 6), which depicts his son’s coming of age over 16 years as well as the myriad changes in the physical world around him. The notion of the present slipping into history (urban and otherwise) is poignant territory for an astute filmmaker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Urban history is both concrete and fleeting, as we know firsthand from the breakneck pace of development in the Mission, SOMA and Dogpatch neighborhoods. In early 2017, local opposition to a proposed mid-Market residential and hotel complex compelled Supervisor Jane Kim to introduce legislation establishing the Compton’s Transgender, Lesbian, Gay and Bisexual District. Her bill represented a deal whereby the developer of 950-974 Market—which was wiping out some old-line gay bars in the Tenderloin—funded a venture to preserve the area’s cultural and historical legacy.\u003c/p>\n\u003cp>Whence the name? Victor Silverman and Susan Stryker’s dramatic 2005 documentary, \u003cem>Screaming Queens: The Riot at Compton’s Cafeteria\u003c/em>, unearthed the largely forgotten story of the transgender women and drag queens who got fed up with systemic police harassment in 1966 at the titular establishment at Turk and Taylor (three years before the Stonewall riots, which receive most of the credit for jumpstarting the gay rights movement).\u003c/p>\n\u003cfigure id=\"attachment_13842872\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg\" alt=\"Finn Paul & Roy Perez, Still from 'Things We Both Know (Not Our Real Names).'\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13842872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Things-We-Both-Know-520x293.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Finn Paul & Roy Perez, Still from ‘Things We Both Know (Not Our Real Names).’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Cinematheque, the city’s stalwart exhibitor of experimental film, tapped guest programmer Malic Amalya to assemble \u003ca href=\"http://www.sfcinematheque.org/screenings/infrared/\" rel=\"noopener\" target=\"_blank\">Infrared—In Celebration of the Compton Transgender District\u003c/a>, four programs exploring private and public sexuality, identity and activism. The collection of personal portraits in “Dislocation of Existence” (Tuesday, Oct. 16 at CounterPulse, 80 Turk St.), Amalya writes, “offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen.” The Oct. 30 program, “Slow/Sheltering/Shattering,” positions individual experiences and actions as catalysts for larger social movements. \u003c/p>\n\u003cp>Infrared concludes with Jeff Preiss’ ambitious personal doc \u003cem>Stop\u003c/em> (Nov. 6), which depicts his son’s coming of age over 16 years as well as the myriad changes in the physical world around him. The notion of the present slipping into history (urban and otherwise) is poignant territory for an astute filmmaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“You’re bouncing off the atmosphere.”\u003c/p>\n\u003cp>Early in director Damien Chazelle’s \u003cem>First Man\u003c/em>, this is one of the cautions given to Neil Armstrong (Ryan Gosling) during his pilot training, years before he walked on the moon. That idea of the barrier between Earth and space, the violence of making the journey through it and the almost mystical experience of being on the other side of it forms the spine of the film.\u003c/p>\n\u003cp>We encounter Armstrong at three points: 1961, leading up to the start of his training as an astronaut; 1965, just before his first space flight; and 1968, as he prepares to be the first person to walk on the moon. His family life progresses alongside his much more famous professional one: the loss of his two-year-old daughter from brain cancer, the grief that nearly consumes him after, the sacrifices that his service demands from his wife, Janet (Claire Foy), and his relationship with his two boys, to whom he hesitates to explain the dangers of space travel.\u003c/p>\n\u003cp>https://youtu.be/PSoRx87OO6k\u003c/p>\n\u003cp>It makes all the sense in the world that this screenplay is written by Josh Singer, who has screenwriting credits on \u003cem>Spotlight\u003c/em> and \u003cem>The Post\u003c/em> and, long ago, \u003cem>The West Wing\u003c/em>. Singer seems drawn to stories that often make up a certain American integrity narrative—the noble presidency, a justice-seeking press, and here, the moon landing. But while those pieces favor high drama in their declaration of principle, this one is a little quieter. It shows streaks of rah-rah nostalgia for a terribly troubled age with not a lot of discussion of what made it so troubled (save for a reading of Gil Scott-Heron’s “Whitey On The Moon”). But Gosling’s version of Armstrong is intriguingly turned inward, deeply feeling but outwardly passive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This comes up first in his relationship with his daughter, with whom he is warm and affectionate, far from the distant ’50s and ’60s dad often drawn in popular culture as a symbol of regressive and emotionless ideas about masculinity. This despite the fact that his work requires—as we learn in the opening sequence—an almost impossible level of detached poise as his cockpit shakes and bangs and gives every indication that it is about to blow apart.\u003c/p>\n\u003cp>Chazelle shoots the cockpit scenes with claustrophobic disorientation, so that the clanging and banging and vibrating is all that exists in the small spaces astronauts inhabit. You see a similar setup several times in the film. The technique creates a sharper sense of the violence—and therefore the risk—of space flight. It’s impossible to watch these scenes and not wonder whether these men are doing something that they are not meant to do. The wonder of all this, as it were, is not an abstract concept of the grandeur of space, or at least it is not only that. It is that we are more than obviously not designed to pass through this barrier, except in that we are designed to find ways to do unlikely things.\u003c/p>\n\u003cp>Astronauts, and the many many many \u003cem>many\u003c/em> people who support them, suppress every natural instinct that tells you that when you are vomiting and shaking and everything in your ears is roaring and there’s no air to breathe, you stop going wherever you are going, and you go back where you came from. That understanding informs the film’s idea of Armstrong as a man who, both changed by grief and committed to flight and to duty, can take enormous risks to explore space, but must be forced by his wife to face his young sons and explain those risks. There are risks and there are risks.\u003c/p>\n\u003cp>Foy’s character is unavoidably secondary to what we might call the HGM (Historically Great Man) to whom she is married. But she carries a significant piece of the emotional weight of the story. Her husband doesn’t always understand that Janet sits and listens to the radio when he’s on a flight, just in case he dies. He doesn’t initially grasp the burden on her of being responsible for managing their sons’ anxieties. There’s an excellent sequence in which the administrators at NASA decide that in a dangerous situation, the best thing to do is just turn off the radio so families can’t listen—which, obviously, is an absurd miscalculation if the idea is to reduce worry. Foy drives the scene with her balanced presentation of Janet’s understanding of command and her expectations as a person who also serves.\u003c/p>\n\u003cp>Structurally, the film leads up to Armstrong’s walk on the moon. But it leads to that moment tonally as well. The peace and silence of that sequence underscore that on the other side of this historically difficult barrier to cross was an end to the shaking and banging and defiance of every sign of … well, doom. This is hope, really; not just the hope of space travel, but every hope. Your capsule shakes, the air roars, you even risk your life, all because maybe there is something on the other side that nobody has ever seen before. And maybe over there, you stop shaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>First Man \u003c/em>does romanticize space travel and some of the iconography of the Historically Great Man (and, as critic Yolanda Machado \u003ca href=\"https://twitter.com/SassyMamainLA/status/1049470438609276929\" target=\"_blank\" rel=\"noopener\">has noted\u003c/a>, its vision of NASA in the 1960s seems awfully white, even for NASA in the 1960s). But the imagery of a struggle against an unforgiving onslaught of heat and hazards, and against the forces that constantly try to return you to your place, is effective. Whether it’s grief or gravity you fight, those battles are won only with great steadfastness and support—and the hope that they will end in peace.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You’re bouncing off the atmosphere.”\u003c/p>\n\u003cp>Early in director Damien Chazelle’s \u003cem>First Man\u003c/em>, this is one of the cautions given to Neil Armstrong (Ryan Gosling) during his pilot training, years before he walked on the moon. That idea of the barrier between Earth and space, the violence of making the journey through it and the almost mystical experience of being on the other side of it forms the spine of the film.\u003c/p>\n\u003cp>We encounter Armstrong at three points: 1961, leading up to the start of his training as an astronaut; 1965, just before his first space flight; and 1968, as he prepares to be the first person to walk on the moon. His family life progresses alongside his much more famous professional one: the loss of his two-year-old daughter from brain cancer, the grief that nearly consumes him after, the sacrifices that his service demands from his wife, Janet (Claire Foy), and his relationship with his two boys, to whom he hesitates to explain the dangers of space travel.\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/PSoRx87OO6k'\n title='//www.youtube.com/embed/PSoRx87OO6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes all the sense in the world that this screenplay is written by Josh Singer, who has screenwriting credits on \u003cem>Spotlight\u003c/em> and \u003cem>The Post\u003c/em> and, long ago, \u003cem>The West Wing\u003c/em>. Singer seems drawn to stories that often make up a certain American integrity narrative—the noble presidency, a justice-seeking press, and here, the moon landing. But while those pieces favor high drama in their declaration of principle, this one is a little quieter. It shows streaks of rah-rah nostalgia for a terribly troubled age with not a lot of discussion of what made it so troubled (save for a reading of Gil Scott-Heron’s “Whitey On The Moon”). But Gosling’s version of Armstrong is intriguingly turned inward, deeply feeling but outwardly passive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This comes up first in his relationship with his daughter, with whom he is warm and affectionate, far from the distant ’50s and ’60s dad often drawn in popular culture as a symbol of regressive and emotionless ideas about masculinity. This despite the fact that his work requires—as we learn in the opening sequence—an almost impossible level of detached poise as his cockpit shakes and bangs and gives every indication that it is about to blow apart.\u003c/p>\n\u003cp>Chazelle shoots the cockpit scenes with claustrophobic disorientation, so that the clanging and banging and vibrating is all that exists in the small spaces astronauts inhabit. You see a similar setup several times in the film. The technique creates a sharper sense of the violence—and therefore the risk—of space flight. It’s impossible to watch these scenes and not wonder whether these men are doing something that they are not meant to do. The wonder of all this, as it were, is not an abstract concept of the grandeur of space, or at least it is not only that. It is that we are more than obviously not designed to pass through this barrier, except in that we are designed to find ways to do unlikely things.\u003c/p>\n\u003cp>Astronauts, and the many many many \u003cem>many\u003c/em> people who support them, suppress every natural instinct that tells you that when you are vomiting and shaking and everything in your ears is roaring and there’s no air to breathe, you stop going wherever you are going, and you go back where you came from. That understanding informs the film’s idea of Armstrong as a man who, both changed by grief and committed to flight and to duty, can take enormous risks to explore space, but must be forced by his wife to face his young sons and explain those risks. There are risks and there are risks.\u003c/p>\n\u003cp>Foy’s character is unavoidably secondary to what we might call the HGM (Historically Great Man) to whom she is married. But she carries a significant piece of the emotional weight of the story. Her husband doesn’t always understand that Janet sits and listens to the radio when he’s on a flight, just in case he dies. He doesn’t initially grasp the burden on her of being responsible for managing their sons’ anxieties. There’s an excellent sequence in which the administrators at NASA decide that in a dangerous situation, the best thing to do is just turn off the radio so families can’t listen—which, obviously, is an absurd miscalculation if the idea is to reduce worry. Foy drives the scene with her balanced presentation of Janet’s understanding of command and her expectations as a person who also serves.\u003c/p>\n\u003cp>Structurally, the film leads up to Armstrong’s walk on the moon. But it leads to that moment tonally as well. The peace and silence of that sequence underscore that on the other side of this historically difficult barrier to cross was an end to the shaking and banging and defiance of every sign of … well, doom. This is hope, really; not just the hope of space travel, but every hope. Your capsule shakes, the air roars, you even risk your life, all because maybe there is something on the other side that nobody has ever seen before. And maybe over there, you stop shaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>First Man \u003c/em>does romanticize space travel and some of the iconography of the Historically Great Man (and, as critic Yolanda Machado \u003ca href=\"https://twitter.com/SassyMamainLA/status/1049470438609276929\" target=\"_blank\" rel=\"noopener\">has noted\u003c/a>, its vision of NASA in the 1960s seems awfully white, even for NASA in the 1960s). But the imagery of a struggle against an unforgiving onslaught of heat and hazards, and against the forces that constantly try to return you to your place, is effective. Whether it’s grief or gravity you fight, those battles are won only with great steadfastness and support—and the hope that they will end in peace.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ryan Coogler, the Oakland-raised film director behind Fruitvale Station and Black Panther, has signed on to write and direct Black Panther II, according to \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/black-panther-2-ryan-coogler-write-direct-sequel-1151626?utm_source=twitter&utm_source=t.co&utm_medium=referral\">a report\u003c/a> by \u003cem>The Hollywood Reporter\u003c/em>.\u003c/p>\n\u003cp>Though Coogler was the obvious choice to direct a sequel to Black Panther—a smash hit which made $700 million at the domestic box office—today’s news includes the detail that Coogler will write the script next year with an eye to start production in either late 2019 or early 2020.\u003c/p>\n\u003cp>Coogler has long talked about the ways that Oakland shaped his creative vision. He appeared at premieres for both \u003cem>Fruitvale Station\u003c/em> and \u003cem>Black Panther\u003c/em> at the Grand Lake Theater, testifying to the city’s inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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