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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bernardo Bertolucci, the Oscar-winning director whose groundbreaking films set in turbulent times, including \u003cem>Last Tango In Paris \u003c/em>and\u003cem> The Last Emperor, \u003c/em>died Monday at 77.\u003c/p>\n\u003cp>His publicist \u003ca href=\"https://variety.com/2018/film/global/bernardo-bertolucci-dead-dies-director-the-last-emperor-1203036077/\">confirmed to Variety\u003c/a> that Bertolucci died Monday morning in his home from cancer.\u003c/p>\n\u003cp>Bertolucci’s provocative five decades as a filmmaker left audiences thrilled and shocked thanks to his brazen subject matter and pristine visual talent. A key figure in Italian cinema, Bertolucci is the only filmmaker of his nationality to have won the Academy Award for best director.\u003c/p>\n\u003cp>His best films depicted “human nature as it messily expresses itself among others, in society,” Tomas Hachard has written\u003ca href=\"https://www.npr.org/2014/07/03/327657398/isolation-spells-frustration-in-bertoluccis-me-and-you\"> for NPR\u003c/a>.\u003c/p>\n\u003cp>“The word transgression, which was so common in the ’60s, I think I never hear it today,” Bertolucci \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1647586\">told NPR in 2004\u003c/a> upon the release of his film \u003cem>The Dreamers\u003c/em>. “It’s like a forgotten word.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His 1987 film \u003cem>The Last Emperor\u003c/em> swept up a total of nine Academy Awards, including Best Picture and Best Director — winning every category for which it recieved a nomination.\u003c/p>\n\u003cp>An adaptation of the autobiography of Pu Yi, China’s last imperial ruler, “was also the first Western epic about China made with the Chinese government’s cooperation,” \u003cem>Variety\u003c/em> reports.\u003c/p>\n\u003cp>Bertolucci was born in 1941 to a wealthy family in northern Italy. His father, Attilio Bertolucci, was a well-regarded poet. The elder Bertolucci was married to his third wife, British screenwriter and director \u003ca href=\"http://www.moviemaker.com/archives/moviemaking/directing/articles-directing/the-triumph-of-clare-peploe/\">Clare Peploe\u003c/a>, from 1979 until his death.\u003c/p>\n\u003cp>The filmmaker received his first Oscar nod in 1970 for the adapted screenplay of \u003cem>The Conformist. \u003c/em>The film, one of his most celebrated, follows a young man coming of age in fascist Italy who is recruited by state forces to take out his anti-Fascist former teacher.\u003c/p>\n\u003cp>\u003cem>Last Tango in Paris\u003c/em>, his provocative 1973 film starring Marlon Brando and Maria Schneider, became one of the first X-rated Hollywood “art” films to make it to mainstream American theaters.\u003c/p>\n\u003cp>The film chronicled the sexual relationship with a recently widowed American man and a young Parisian woman. As \u003cem>Variety\u003c/em> reports,\u003c/p>\n\u003cblockquote>\u003cp>“Although \u003cem>Tango \u003c/em>is regarded as one of the most important films of the 20th century, it generated particular controversy for its anal rape scene, in which butter is used as a lubricant. Bertolucci acknowledged later that \u003ca href=\"https://variety.com/2016/film/news/last-tango-in-paris-rape-scene-consensual-bernardo-bertolucci-1201933117/\">the scene was sprung as a surprise on Schneider\u003c/a>, then 19, in order to elicit an authentic reaction from her ‘as a girl, not as an actress.’\u003c/p>\n\u003cp>Before her death in 2011, Schneider told an interviewer that she had ‘felt humiliated and…a little raped’ by Brando and Bertolucci. But the director always denied he had mistreated her.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Bertolucci’s final film, 2014’s \u003cem>Me and You\u003c/em>, was his first in a decade due to ongoing health issues, including his use of a wheelchair.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bernardo+Bertolucci%2C+%27Last+Tango+In+Paris%27+Director%2C+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'At Eternity's Gate': Dafoe Is Van Gogh, And You Should Go",
"headTitle": "‘At Eternity’s Gate’: Dafoe Is Van Gogh, And You Should Go | KQED",
"content": "\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\u003c/p>\n\u003cp>https://youtu.be/T77PDm3e1iE\u003c/p>\n\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\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/T77PDm3e1iE'\n title='//www.youtube.com/embed/T77PDm3e1iE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n",
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"excerpt": "The Academy Award-winner and director of 'Moonlight' shares his stance on slowing down time—both in his films and everyday life. ",
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"title": "Barry Jenkins Enjoys Doing Laundry, Talks 'Beale Street' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! ‘Hale County’ is a Cryptic, Haunting Southern Exposure",
"headTitle": "Now Playing! ‘Hale County’ is a Cryptic, Haunting Southern Exposure | KQED",
"content": "\u003cp>When Billie Holiday’s lilting version of the romantic ballad \u003cem>Stars Fell on Alabama\u003c/em> slips in under the end credits of \u003cem>Hale County This Morning, This Evening\u003c/em>, it seems an odd choice. How does a mid-20th-century icon of dissolute urban coolness relate to off-the-grid black lives in the present-day rural South? In just a few seconds, though, the viewer conjures a slew of associations: the Alabama connection; the themes of ephemeral longing and eternal loss; and, inevitably, Billie’s rendition of the lynching lament \u003cem>Strange Fruit\u003c/em>.\u003c/p>\n\u003cp>By this point, RaMell Ross’s gorgeously impressionistic documentary has spent 70-odd minutes encouraging us to find our own meanings. \u003cem>Hale County This Morning, This Evening\u003c/em> (beginning Friday, Nov. 23 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/hale-county-this-morning-this-evening/?instance_id=\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, with Ross and executive producer Danny Glover in the house after the opening night show) is a vaguely longitudinal saga of two young men, a determined college basketball player and a less motivated father, filmed in the years after the photographer-cum-filmmaker moved to Alabama. But its heart beats closer to experimental filmmaking than to dramatic narrative or social-issue exposé. Ross’s real subjects are the nature of time and the illusion of movement: Reality is sped up and slowed down via time-lapse photography and long takes, while all activity seems grounded (fixed in place, that is) by a thick air of stasis.\u003c/p>\n\u003cfigure id=\"attachment_13845232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/7_1200-1200x675.jpg\" alt=\"Science class from 'Hale County This Morning, This Evening.'\" width=\"640\" height=\"360\" class=\"size-complete_open_graph wp-image-13845232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Science class from ‘Hale County This Morning, This Evening.’ \u003ccite>(IDIOM Film; courtesy RaMell Ross & Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em> does embody a political point of view in that it wants us to see black people through a prism that upends the usual framing. The athlete, Daniel, isn’t a naïve hoop dreamer, while Quincy, the easygoing father, isn’t on his way to jail or deadbeat dad-dom. Nonetheless, “What is the orbit of our dreaming?” is the film’s initial onscreen question (and erstwhile chapter heading), foregrounding the modesty of Daniel, Quincy and everyone else’s aspirations and opportunities.\u003c/p>\n\u003cp>One doesn’t take away a philosophy from \u003cem>Hale County\u003c/em> so much as memories of cryptic, haunting images. Sunlight refracting through the smoke of a burning tire, a little girl relentlessly running back and forth while her oblivious father watches TV, a nocturnal amateur bluesman in a red coat and hat delivering the raw essence. And a patient, perfectly composed shot looking up through a basketball rim at the crystalline nighttime sky, as if waiting for stars to miraculously drop through the basket onto us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Billie Holiday’s lilting version of the romantic ballad \u003cem>Stars Fell on Alabama\u003c/em> slips in under the end credits of \u003cem>Hale County This Morning, This Evening\u003c/em>, it seems an odd choice. How does a mid-20th-century icon of dissolute urban coolness relate to off-the-grid black lives in the present-day rural South? In just a few seconds, though, the viewer conjures a slew of associations: the Alabama connection; the themes of ephemeral longing and eternal loss; and, inevitably, Billie’s rendition of the lynching lament \u003cem>Strange Fruit\u003c/em>.\u003c/p>\n\u003cp>By this point, RaMell Ross’s gorgeously impressionistic documentary has spent 70-odd minutes encouraging us to find our own meanings. \u003cem>Hale County This Morning, This Evening\u003c/em> (beginning Friday, Nov. 23 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/hale-county-this-morning-this-evening/?instance_id=\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, with Ross and executive producer Danny Glover in the house after the opening night show) is a vaguely longitudinal saga of two young men, a determined college basketball player and a less motivated father, filmed in the years after the photographer-cum-filmmaker moved to Alabama. But its heart beats closer to experimental filmmaking than to dramatic narrative or social-issue exposé. Ross’s real subjects are the nature of time and the illusion of movement: Reality is sped up and slowed down via time-lapse photography and long takes, while all activity seems grounded (fixed in place, that is) by a thick air of stasis.\u003c/p>\n\u003cfigure id=\"attachment_13845232\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/7_1200-1200x675.jpg\" alt=\"Science class from 'Hale County This Morning, This Evening.'\" width=\"640\" height=\"360\" class=\"size-complete_open_graph wp-image-13845232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/7_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Science class from ‘Hale County This Morning, This Evening.’ \u003ccite>(IDIOM Film; courtesy RaMell Ross & Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em> does embody a political point of view in that it wants us to see black people through a prism that upends the usual framing. The athlete, Daniel, isn’t a naïve hoop dreamer, while Quincy, the easygoing father, isn’t on his way to jail or deadbeat dad-dom. Nonetheless, “What is the orbit of our dreaming?” is the film’s initial onscreen question (and erstwhile chapter heading), foregrounding the modesty of Daniel, Quincy and everyone else’s aspirations and opportunities.\u003c/p>\n\u003cp>One doesn’t take away a philosophy from \u003cem>Hale County\u003c/em> so much as memories of cryptic, haunting images. Sunlight refracting through the smoke of a burning tire, a little girl relentlessly running back and forth while her oblivious father watches TV, a nocturnal amateur bluesman in a red coat and hat delivering the raw essence. And a patient, perfectly composed shot looking up through a basketball rim at the crystalline nighttime sky, as if waiting for stars to miraculously drop through the basket onto us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite.",
"headTitle": "‘Fantastic Beasts: The Crimes Of Grindelwald’: Beasts? Check. Crimes? Check. Fantastic? Not Quite. | KQED",
"content": "\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/8bYBOVWLNIs\u003c/p>\n\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8bYBOVWLNIs'\n title='//www.youtube.com/embed/8bYBOVWLNIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Music fans have been waiting almost half a century to see a storied documentary that many thought might never see the light of day: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Amazing Grace\u003c/em>. Originally directed by Sydney Pollack and completed by Alan Elliott, the film has been talked about since it was filmed in a Watts, California church in 1972 during the recording sessions for a live album of the same name. Now, 46 years after it was shot, the \u003cem>Amazing Grace\u003c/em> movie was finally shown in public for the first time Monday, with initial screenings in New York City and more on the way nationwide. (It will be have limited runs in Los Angeles and New York before the end of the year in order to qualify for the 2019 Academy Awards; it’s then expected to go into wider circulation early next year.)\u003c/p>\n\u003cp>[contextly_sidebar id=”YDmuodBeetkpX9nsMCWREQF3PzXrFAPd”]\u003c/p>\n\u003cp>As a document of an iconic musician’s skills, the film is essential. But \u003cem>Amazing Grace \u003c/em>is far more than that: Watching it is a transcendent, spine-tingling, uplifting, utterly joyous experience. As cherished as the album version has been since its release, the film is nothing short of a revelation, soaring from one chill-inducing moment to another.\u003c/p>\n\u003cp>Recorded over two January nights at Watts’ New Temple Missionary Baptist Church, \u003cem>Amazing Grace \u003c/em>marked Franklin’s thrilling return to her gospel roots after she’d earned 11 consecutive No. 1 pop and R&B singles, won five Grammys and released more than 20 albums. (In a marketing plan that must have made demographic sense at the time but now seems almost unfathomably tone-deaf, Warner Bros. originally planned to pair the \u003cem>Amazing Grace\u003c/em> movie with \u003cem>Superfly\u003c/em> as a theatrical double-bill.)\u003c/p>\n\u003cp>In short order, the album version became a classic: It went double-platinum and remains one of the biggest-selling recordings in gospel music history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvin Gaye, whose “Wholy Holy” Franklin covers on \u003cem>Amazing Grace\u003c/em>, told her biographer, David Ritz, that the album is “Aretha’s singular masterpiece … her greatest work.” And it’s with “Wholy Holy” that Franklin begins her performance, seated at the piano, with plushly arranged vocals from the choir backing her. It sets the reverent mood for the sessions.\u003c/p>\n\u003cp>That sense of shared spiritual experience, a communion of believers and their God, is what defines \u003cem>Amazing Grace\u003c/em> — a project recorded not in a studio, but in a living church. Moreover, Franklin is surrounded by a community that she understands innately, says Aaron Cohen, who saw the film’s raw footage about a decade ago at Elliott’s invitation. Cohen is a professor at the City Colleges of Chicago, as well as the author of a 2011 \u003ca href=\"https://bloomsbury.com/us/aretha-franklins-amazing-grace-9781441148889\">book\u003c/a> about the album \u003cem>Amazing Grace\u003c/em>.\u003c/p>\n\u003cp>Cohen says it’s essential to understand the community in which Franklin chose to record: the Watts neighborhood of Los Angeles, which, just six and a half years earlier, had \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4795093\">exploded\u003c/a> in riots. The unrest — which stemmed from deep-seated anger in the community over high unemployment, poor medical care, inferior housing, bad schools and tensions with police — left 34 people dead, hundreds injured and the neighborhood devastated.\u003c/p>\n\u003cfigure id=\"attachment_13844893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844893 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg\" alt=\"Singer Aretha Franklin in a still from the documentary Amazing Grace.\" width=\"640\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220.jpg 1032w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Singer Aretha Franklin in a still from the documentary Amazing Grace. \u003ccite>(Courtesy of Al's Records And Tapes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The film shows not just Aretha performing,” he says, “but also this congregation and what it was like to be in a church in Watts in the early ’70s, in the post-civil rights era, in a time when the community was redirecting its energy and deciding where to go next. I believe you can feel that,” he continues, “through the music, through what she’s singing in ‘How I Got Over'” — a song that Clara Ward’s sister \u003ca href=\"http://www.bbc.com/culture/story/20130827-a-song-that-made-america-believe\">claimed\u003c/a> was inspired by a specific incident of racial bullying that the family experienced, but whose lyrics were a touchstone for many black Americans.\u003c/p>\n\u003cp>In David Ritz’s standalone biography of Franklin, 2014’s \u003cem>Respect: The Life of Aretha Franklin\u003c/em>, the singer’s late brother Cecil strikes a similar tone. “I see [\u003cem>Amazing Grace\u003c/em>] as the sacred moment in the life of black people,” he told Ritz. “Think back. We had lost Martin; we had lost Malcolm; we had lost Bobby Kennedy. We were still fighting an immoral war. We had Tricky Dick in the White House. Turmoil, anger, corruption, confusion. We needed reassurance and recommitment. We needed redirection.”\u003c/p>\n\u003cp>As dramatic as the footage is, the \u003cem>Amazing Grace \u003c/em>documentary was plagued by troubles from the outset. The film of the recording sessions was made at the behest of Warner Bros. (the parent company of Franklin’s label, Atlantic Records), which hired actor and director Sydney Pollack to create it. Pollack, who had recently earned his first Oscar nomination (for \u003cem>They Shoot Horses, Don’t They?\u003c/em>), was still green enough as a director to forget an essential need in the pre-digital era: clapper boards to mark the starting points of the visual and audio elements of the film, meaning that what one saw and what one heard were out of sync. The screw-up was so bad that the 20 hours of footage were deemed useless, and the film was jettisoned.\u003c/p>\n\u003cp>Pollack reportedly \u003ca href=\"https://www.hollywoodreporter.com/news/sydney-pollacks-amazing-grace-tortured-820294\">dreamed\u003c/a> of returning to the material, but that never came to fruition. There were other attempts, though. “It was a very tedious and long process. Initially they tried, and they only got through about 20 feet of film and they gave up,” Franklin’s niece and the executor of her estate, Sabrina Owens, tells NPR. “And so it ended up on somebody’s cutting floor somewhere for years — for decades, actually.”\u003c/p>\n\u003cp>Years later, a former Atlantic A&R staffer-turned-producer named Alan Elliott took up the cause of seeing the \u003cem>Amazing Grace\u003c/em> film through, and by around 2010 had painstakingly matched the movie with the sound. But Franklin wouldn’t allow the documentary to be released. In 2011, she sued Elliott on the grounds of using her likeness without her permission. In 2015, she sued \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/04/437648259/aretha-franklin-blocks-premiere-of-concert-film-amazing-grace\">again\u003c/a> to prevent the film from being screened at the Telluride Film Festival.\u003c/p>\n\u003cp>Elliott was tenacious, however. In the weeks after Franklin’s death in August, he persuaded her family to let the film be released at long last. Owens says it started with a call she received from Elliott. “He asked if he could come and preview the film for friends and family,” she recalls. “I said yes. They previewed it for us at the Charles H. Wright Museum of African-American History [in Detroit] before about 40 or 50 family members, and we all delighted in what we saw.”\u003c/p>\n\u003cp>Part of that pleasure is in seeing Franklin work alongside her colleagues; these are musicians who innately feel each other, who are able to anticipate each other’s every move. Franklin had a crack team of collaborators, including her band of stellar players (Bernard “Pretty” Purdie on drums, guitarist Cornell Dupree and bassist Chuck Rainey). The backing choir was directed by Rev. James Cleveland, who had formerly served as the minister of music at Aretha’s father’s church, New Bethel Baptist in Detroit, and was one of Franklin’s mentors and a gospel-music giant in his own right.\u003c/p>\n\u003cp>And, as \u003cem>Amazing Grace\u003c/em> abundantly demonstrates, his Southern California Community Choir was an extraordinary ensemble — a group which Franklin called “one of the best anywhere” in the 1999 autobiography, \u003cem>From These Roots\u003c/em>, which she co-wrote with author David Ritz. Cleveland also serves as the genial emcee for the recording sessions. (At the start of the first night, he reminds the people in attendance that this is a church service taking place in the Lord’s house — but adds at the beginning of the second session, “Don’t be bashful when the camera comes your way … so while it comin’ your way, get in on it, all right?!”)\u003c/p>\n\u003cp>There’s no narrative to the film, and — aside from nothing more of a glimpse of a rehearsal — no behind-the-scenes segments to make viewers feel as if they’re learning more about Franklin’s process or gaining insights into her day-to-day life.\u003c/p>\n\u003cp>Instead, what viewers bear witness to is the \u003cem>work\u003c/em> of creating ecstasy: the rivers of sweat on Franklin and Cleveland, the eye makeup streaking down her face. The you-are-there framing keeps a close watch on Aretha as she swoops and sweeps with the greatest of ease, skipping between dizzying runs and effortless slides that remind you of what a masterful jazz singer she was. We see mental wheels spinning as Cleveland and Alexander Hamilton, the assistant choir director, keep driving the choir into ever-greater surges of emotion while keeping them immaculately tight.\u003c/p>\n\u003cp>Moreover, the film captures the breathtaking force of feeling from both artists and congregants. Near the end of the song “Amazing Grace,” for which Cleveland has been accompanying Franklin on the piano, he slides off the piano bench, giving his space to Hamilton, and surrenders to shoulder-heaving sobs, rocking himself back and forth in a congregational seat. He’s not the only one — by this point, audience and performers alike are wiping tears from their faces — and when Franklin herself sinks down into a seat at the song’s conclusion, she well may be weeping, too. But her face is so sparkling with perspiration, it’s impossible to tell for sure.\u003c/p>\n\u003cp>Sabrina Owens says that such moments reveal an intimate facet of the resplendent Queen of Soul. “I think that seeing her in this setting helps them to understand Aretha as a person,” she says. “She came from the church. She is a daughter of the church. Her faith was so strong and she just loved gospel music. And I think seeing her in this element, it has to make you feel \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Franklin was surrounded by family at these performances. There are some beautiful moments between Franklin and her father, the famed preacher Rev. C.L. Franklin, who comes to the second night’s session to sit in the front row alongside gospel legend Clara Ward, one of Aretha Franklin’s closest guides and her father’s longtime girlfriend. Ward seems caught between delight and other feelings — wistfulness? melancholy? — as Franklin, nearly 20 years younger, wails “Never Grow Old” from the piano a few feet away. Meanwhile, Clara Ward’s mother, Gertrude, the founder of the Ward Singers, appears to faint a short distance away, as Pollack gestures wildly to his cameramen to capture the scene. (There were at least a couple of other celebrities in attendance that night: The cameras alight upon Mick Jagger and Charlie Watts of The Rolling Stones at the back of the congregation.)\u003c/p>\n\u003cp>During that second night of recording, Franklin watches her father with shining eyes as he mounts the pulpit to wax ecstatic about her talents. After delivering remarks in his stentorian, mahogany tones, he gleefully tells the congregation, “She is a \u003cem>stone\u003c/em> singer,” while she melts into a smile. But in a gesture and response intimately familiar to generations of parents and children, we also see a flicker of annoyance in the nearly 30-year-old’s fleetingly pursed lips as her father, apparently unbidden, daubs some perspiration off her face while she sings.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those kinds of understated and elemental moments, Sabrina Owens says, is what makes the film so special. “It was just Aretha standing there singing,” she says. “In her element, in a church setting, just doing what she does.”\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=Aretha+Franklin+Touches+The+Infinite+In+The+Long-Delayed+Film+%27Amazing+Grace%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music fans have been waiting almost half a century to see a storied documentary that many thought might never see the light of day: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Amazing Grace\u003c/em>. Originally directed by Sydney Pollack and completed by Alan Elliott, the film has been talked about since it was filmed in a Watts, California church in 1972 during the recording sessions for a live album of the same name. Now, 46 years after it was shot, the \u003cem>Amazing Grace\u003c/em> movie was finally shown in public for the first time Monday, with initial screenings in New York City and more on the way nationwide. (It will be have limited runs in Los Angeles and New York before the end of the year in order to qualify for the 2019 Academy Awards; it’s then expected to go into wider circulation early next year.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a document of an iconic musician’s skills, the film is essential. But \u003cem>Amazing Grace \u003c/em>is far more than that: Watching it is a transcendent, spine-tingling, uplifting, utterly joyous experience. As cherished as the album version has been since its release, the film is nothing short of a revelation, soaring from one chill-inducing moment to another.\u003c/p>\n\u003cp>Recorded over two January nights at Watts’ New Temple Missionary Baptist Church, \u003cem>Amazing Grace \u003c/em>marked Franklin’s thrilling return to her gospel roots after she’d earned 11 consecutive No. 1 pop and R&B singles, won five Grammys and released more than 20 albums. (In a marketing plan that must have made demographic sense at the time but now seems almost unfathomably tone-deaf, Warner Bros. originally planned to pair the \u003cem>Amazing Grace\u003c/em> movie with \u003cem>Superfly\u003c/em> as a theatrical double-bill.)\u003c/p>\n\u003cp>In short order, the album version became a classic: It went double-platinum and remains one of the biggest-selling recordings in gospel music history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvin Gaye, whose “Wholy Holy” Franklin covers on \u003cem>Amazing Grace\u003c/em>, told her biographer, David Ritz, that the album is “Aretha’s singular masterpiece … her greatest work.” And it’s with “Wholy Holy” that Franklin begins her performance, seated at the piano, with plushly arranged vocals from the choir backing her. It sets the reverent mood for the sessions.\u003c/p>\n\u003cp>That sense of shared spiritual experience, a communion of believers and their God, is what defines \u003cem>Amazing Grace\u003c/em> — a project recorded not in a studio, but in a living church. Moreover, Franklin is surrounded by a community that she understands innately, says Aaron Cohen, who saw the film’s raw footage about a decade ago at Elliott’s invitation. Cohen is a professor at the City Colleges of Chicago, as well as the author of a 2011 \u003ca href=\"https://bloomsbury.com/us/aretha-franklins-amazing-grace-9781441148889\">book\u003c/a> about the album \u003cem>Amazing Grace\u003c/em>.\u003c/p>\n\u003cp>Cohen says it’s essential to understand the community in which Franklin chose to record: the Watts neighborhood of Los Angeles, which, just six and a half years earlier, had \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4795093\">exploded\u003c/a> in riots. The unrest — which stemmed from deep-seated anger in the community over high unemployment, poor medical care, inferior housing, bad schools and tensions with police — left 34 people dead, hundreds injured and the neighborhood devastated.\u003c/p>\n\u003cfigure id=\"attachment_13844893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844893 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg\" alt=\"Singer Aretha Franklin in a still from the documentary Amazing Grace.\" width=\"640\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220.jpg 1032w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Singer Aretha Franklin in a still from the documentary Amazing Grace. \u003ccite>(Courtesy of Al's Records And Tapes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The film shows not just Aretha performing,” he says, “but also this congregation and what it was like to be in a church in Watts in the early ’70s, in the post-civil rights era, in a time when the community was redirecting its energy and deciding where to go next. I believe you can feel that,” he continues, “through the music, through what she’s singing in ‘How I Got Over'” — a song that Clara Ward’s sister \u003ca href=\"http://www.bbc.com/culture/story/20130827-a-song-that-made-america-believe\">claimed\u003c/a> was inspired by a specific incident of racial bullying that the family experienced, but whose lyrics were a touchstone for many black Americans.\u003c/p>\n\u003cp>In David Ritz’s standalone biography of Franklin, 2014’s \u003cem>Respect: The Life of Aretha Franklin\u003c/em>, the singer’s late brother Cecil strikes a similar tone. “I see [\u003cem>Amazing Grace\u003c/em>] as the sacred moment in the life of black people,” he told Ritz. “Think back. We had lost Martin; we had lost Malcolm; we had lost Bobby Kennedy. We were still fighting an immoral war. We had Tricky Dick in the White House. Turmoil, anger, corruption, confusion. We needed reassurance and recommitment. We needed redirection.”\u003c/p>\n\u003cp>As dramatic as the footage is, the \u003cem>Amazing Grace \u003c/em>documentary was plagued by troubles from the outset. The film of the recording sessions was made at the behest of Warner Bros. (the parent company of Franklin’s label, Atlantic Records), which hired actor and director Sydney Pollack to create it. Pollack, who had recently earned his first Oscar nomination (for \u003cem>They Shoot Horses, Don’t They?\u003c/em>), was still green enough as a director to forget an essential need in the pre-digital era: clapper boards to mark the starting points of the visual and audio elements of the film, meaning that what one saw and what one heard were out of sync. The screw-up was so bad that the 20 hours of footage were deemed useless, and the film was jettisoned.\u003c/p>\n\u003cp>Pollack reportedly \u003ca href=\"https://www.hollywoodreporter.com/news/sydney-pollacks-amazing-grace-tortured-820294\">dreamed\u003c/a> of returning to the material, but that never came to fruition. There were other attempts, though. “It was a very tedious and long process. Initially they tried, and they only got through about 20 feet of film and they gave up,” Franklin’s niece and the executor of her estate, Sabrina Owens, tells NPR. “And so it ended up on somebody’s cutting floor somewhere for years — for decades, actually.”\u003c/p>\n\u003cp>Years later, a former Atlantic A&R staffer-turned-producer named Alan Elliott took up the cause of seeing the \u003cem>Amazing Grace\u003c/em> film through, and by around 2010 had painstakingly matched the movie with the sound. But Franklin wouldn’t allow the documentary to be released. In 2011, she sued Elliott on the grounds of using her likeness without her permission. In 2015, she sued \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/04/437648259/aretha-franklin-blocks-premiere-of-concert-film-amazing-grace\">again\u003c/a> to prevent the film from being screened at the Telluride Film Festival.\u003c/p>\n\u003cp>Elliott was tenacious, however. In the weeks after Franklin’s death in August, he persuaded her family to let the film be released at long last. Owens says it started with a call she received from Elliott. “He asked if he could come and preview the film for friends and family,” she recalls. “I said yes. They previewed it for us at the Charles H. Wright Museum of African-American History [in Detroit] before about 40 or 50 family members, and we all delighted in what we saw.”\u003c/p>\n\u003cp>Part of that pleasure is in seeing Franklin work alongside her colleagues; these are musicians who innately feel each other, who are able to anticipate each other’s every move. Franklin had a crack team of collaborators, including her band of stellar players (Bernard “Pretty” Purdie on drums, guitarist Cornell Dupree and bassist Chuck Rainey). The backing choir was directed by Rev. James Cleveland, who had formerly served as the minister of music at Aretha’s father’s church, New Bethel Baptist in Detroit, and was one of Franklin’s mentors and a gospel-music giant in his own right.\u003c/p>\n\u003cp>And, as \u003cem>Amazing Grace\u003c/em> abundantly demonstrates, his Southern California Community Choir was an extraordinary ensemble — a group which Franklin called “one of the best anywhere” in the 1999 autobiography, \u003cem>From These Roots\u003c/em>, which she co-wrote with author David Ritz. Cleveland also serves as the genial emcee for the recording sessions. (At the start of the first night, he reminds the people in attendance that this is a church service taking place in the Lord’s house — but adds at the beginning of the second session, “Don’t be bashful when the camera comes your way … so while it comin’ your way, get in on it, all right?!”)\u003c/p>\n\u003cp>There’s no narrative to the film, and — aside from nothing more of a glimpse of a rehearsal — no behind-the-scenes segments to make viewers feel as if they’re learning more about Franklin’s process or gaining insights into her day-to-day life.\u003c/p>\n\u003cp>Instead, what viewers bear witness to is the \u003cem>work\u003c/em> of creating ecstasy: the rivers of sweat on Franklin and Cleveland, the eye makeup streaking down her face. The you-are-there framing keeps a close watch on Aretha as she swoops and sweeps with the greatest of ease, skipping between dizzying runs and effortless slides that remind you of what a masterful jazz singer she was. We see mental wheels spinning as Cleveland and Alexander Hamilton, the assistant choir director, keep driving the choir into ever-greater surges of emotion while keeping them immaculately tight.\u003c/p>\n\u003cp>Moreover, the film captures the breathtaking force of feeling from both artists and congregants. Near the end of the song “Amazing Grace,” for which Cleveland has been accompanying Franklin on the piano, he slides off the piano bench, giving his space to Hamilton, and surrenders to shoulder-heaving sobs, rocking himself back and forth in a congregational seat. He’s not the only one — by this point, audience and performers alike are wiping tears from their faces — and when Franklin herself sinks down into a seat at the song’s conclusion, she well may be weeping, too. But her face is so sparkling with perspiration, it’s impossible to tell for sure.\u003c/p>\n\u003cp>Sabrina Owens says that such moments reveal an intimate facet of the resplendent Queen of Soul. “I think that seeing her in this setting helps them to understand Aretha as a person,” she says. “She came from the church. She is a daughter of the church. Her faith was so strong and she just loved gospel music. And I think seeing her in this element, it has to make you feel \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Franklin was surrounded by family at these performances. There are some beautiful moments between Franklin and her father, the famed preacher Rev. C.L. Franklin, who comes to the second night’s session to sit in the front row alongside gospel legend Clara Ward, one of Aretha Franklin’s closest guides and her father’s longtime girlfriend. Ward seems caught between delight and other feelings — wistfulness? melancholy? — as Franklin, nearly 20 years younger, wails “Never Grow Old” from the piano a few feet away. Meanwhile, Clara Ward’s mother, Gertrude, the founder of the Ward Singers, appears to faint a short distance away, as Pollack gestures wildly to his cameramen to capture the scene. (There were at least a couple of other celebrities in attendance that night: The cameras alight upon Mick Jagger and Charlie Watts of The Rolling Stones at the back of the congregation.)\u003c/p>\n\u003cp>During that second night of recording, Franklin watches her father with shining eyes as he mounts the pulpit to wax ecstatic about her talents. After delivering remarks in his stentorian, mahogany tones, he gleefully tells the congregation, “She is a \u003cem>stone\u003c/em> singer,” while she melts into a smile. But in a gesture and response intimately familiar to generations of parents and children, we also see a flicker of annoyance in the nearly 30-year-old’s fleetingly pursed lips as her father, apparently unbidden, daubs some perspiration off her face while she sings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those kinds of understated and elemental moments, Sabrina Owens says, is what makes the film so special. “It was just Aretha standing there singing,” she says. “In her element, in a church setting, just doing what she does.”\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=Aretha+Franklin+Touches+The+Infinite+In+The+Long-Delayed+Film+%27Amazing+Grace%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay's Scrappiness to Life",
"headTitle": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay’s Scrappiness to Life | KQED",
"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> 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/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n",
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"excerpt": "San Francisco filmmaker Pete Lee is a creative ringleader: wherever the Taiwan-born, 36-year-old goes, interesting people follow. ",
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"title": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay's Scrappiness to Life | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> 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/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\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\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Virtue is often associated with beauty, and evil with ugliness. But in Argentina in the 1970s, there was a teen serial killer so strikingly becoming he was known as \u003cem>El Angel\u003c/em> — the Angel of Death. \u003c/p>\n\u003cp>When we meet him in Argentine writer/director Luis Ortega’s film, Carlos (Lorenzo Ferro) is a 17-year-old halo of curls in denim jacket and jeans — slender, baby-faced, pouty-lipped. The first thing we see him do is sneak into an empty mansion, fix himself a drink and help himself to jewelry. Then he puts on an LP, dances with loose-limbed abandon, steals a motorcycle and — still before the opening titles — heads home.\u003c/p>\n\u003cp>Carlos is a handful — he’s spent his teen years in and out of juvenile detention, selling his folks on the notion that friends just give him the things he steals. Dad’s skeptical: \u003c/p>\n\u003cp>“What you haven’t got, be patient,” he tells his son. “With hard work, you’ll get it.” \u003c/p>\n\u003cp>Carlos prefers shortcuts — picking a fight with a handsome classmate he has a crush on, say, to make him a pal. That classmate, Ramon (Chino Darin), is the son of a petty criminal (Daniel Fanago) who lets Carlos tag along as they case a gun shop after hours. But Carlos doesn’t just look around — he comes out with armloads of rifles, then goes back for ammo. This earns him a place in the family “business,” as it were, and a fake ID with a name that pleases him: Carlos Brown. (Which is to say: Charlie Brown.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A crime spree unfolds – first burglaries, then an accidental murder, then murders on purpose. It’s all stylized and swoony, as shot by Ortega. \u003cem>Seriously \u003c/em>swoony: While robbing a jewelry store, Carlos, looking for all the world like Marilyn Monroe, brushes back his blond ringlets to put on earrings. Ramon stands next to him, stares into the mirror before them, and strikes a pose. \u003c/p>\n\u003cp>“Che and Fidel,” Ramon says. \u003c/p>\n\u003cp>“Evita and Peron,” corrects Carlos — which leaves his partner looking vaguely nonplussed. “Hey, we’re alive,” he continues, as they fill bags with necklaces, “why can’t you enjoy it?” \u003c/p>\n\u003cp>The real story is less palatable than\u003cem> El Angel\u003c/em>‘s eroticized take. The real baby-faced serial killer had just turned 20 when he was arrested in the early ’70s for 11 murders, a rape, and numerous sexual assaults. \u003c/p>\n\u003cp>He’s still in prison, but his story continues to fascinate in Argentina, where\u003cem> El Angel\u003c/em> opened to the highest box-office take ever for an Argentine film. Credit a seductive performance by first-timer Ferro, who bears a striking resemblance to the real Angel of Death. The director surrounds him with mid-century details — the Ford Falcons favored by police thugs in pre-dictatorship Buenos Aires, and music cues from the 1970s. He also fills the screen with close-ups of pursed lips, luminous pearls, burning cigarette ash. \u003c/p>\n\u003cp>As a result, \u003cem>El Angel\u003c/em> is sensuous enough to suggest the work of Pedro Almodovar (who was, in fact, its producer). It’s also unsettling, as it makes a cinematic case for something Ramon tells the title character when they’re just starting out:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The world belongs to outlaws and artists,” he says. “Everyone else has to work for a living.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Death+Wears+A+Pleasing+Face+In+The+Swoony%2C+Stylized+%27El+Angel%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A crime spree unfolds – first burglaries, then an accidental murder, then murders on purpose. It’s all stylized and swoony, as shot by Ortega. \u003cem>Seriously \u003c/em>swoony: While robbing a jewelry store, Carlos, looking for all the world like Marilyn Monroe, brushes back his blond ringlets to put on earrings. Ramon stands next to him, stares into the mirror before them, and strikes a pose. \u003c/p>\n\u003cp>“Che and Fidel,” Ramon says. \u003c/p>\n\u003cp>“Evita and Peron,” corrects Carlos — which leaves his partner looking vaguely nonplussed. “Hey, we’re alive,” he continues, as they fill bags with necklaces, “why can’t you enjoy it?” \u003c/p>\n\u003cp>The real story is less palatable than\u003cem> El Angel\u003c/em>‘s eroticized take. The real baby-faced serial killer had just turned 20 when he was arrested in the early ’70s for 11 murders, a rape, and numerous sexual assaults. \u003c/p>\n\u003cp>He’s still in prison, but his story continues to fascinate in Argentina, where\u003cem> El Angel\u003c/em> opened to the highest box-office take ever for an Argentine film. Credit a seductive performance by first-timer Ferro, who bears a striking resemblance to the real Angel of Death. The director surrounds him with mid-century details — the Ford Falcons favored by police thugs in pre-dictatorship Buenos Aires, and music cues from the 1970s. He also fills the screen with close-ups of pursed lips, luminous pearls, burning cigarette ash. \u003c/p>\n\u003cp>As a result, \u003cem>El Angel\u003c/em> is sensuous enough to suggest the work of Pedro Almodovar (who was, in fact, its producer). It’s also unsettling, as it makes a cinematic case for something Ramon tells the title character when they’re just starting out:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The world belongs to outlaws and artists,” he says. “Everyone else has to work for a living.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Death+Wears+A+Pleasing+Face+In+The+Swoony%2C+Stylized+%27El+Angel%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nijla Mu'min Brings a Black Muslim Coming-of-Age Story to the Big Screen",
"headTitle": "Nijla Mu’min Brings a Black Muslim Coming-of-Age Story to the Big Screen | 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\">Nijla Mu’min didn’t grow up with much media that reflected her experience as an African-American Muslim woman, so she created her own. Her semi-autobiographical film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, follows a teen girl named Summer as she navigates friendship, love, sexuality—and all the confusing territory that comes with being a teenager—while adjusting to her mom’s newfound Islamic faith. “I love the African-American Muslim community I was born into, but just like many teenage girls and teenagers, I began to question a lot as I got older,” says \u003ca href=\"https://www.nijlamumin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mu’min\u003c/a>, who was born and raised in the East Bay and attended a mosque in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Summer’s mom converts to Islam, her expectations of her daughter clash with Summer’s lived reality as a high schooler in Los Angeles, where Mu’min shot the film. Questions of family and belonging, faith and community arise as Summer attempts to balance her religion and the pressures of being a teen—something Mu’min went through as a young girl in the Bay Area, though she says her parents weren’t quite as strict. Mu’min, whose directorial credits include Ava Duvernay’s hit series \u003ci>Queen Sugar\u003c/i> on Oprah’s TV network\u003c/span>\u003cspan style=\"font-weight: 400\">, addresses these threads of inquiry with skill; her characters don’t have all the answers, and the messy ways they respond to their complex circumstances makes them feel all the more human.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.jinnfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> enjoyed a successful run on the festival circuit, picking up awards at SXSW and the Blackstar Film Festival. Following a sold-out Oakland premiere last month at the Matatu Festival at Grand Lake Theatre, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hits theaters on Nov. 15. KQED Arts sat down with Mu’min to learn more about her first love of poetry, the motivations behind her filmmaking and how more diverse representation in Hollywood can lead to better, more nuanced storytelling.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13844456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844456 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaking was a natural progression from other arts forms that I was immersed in first — creative writing and poetry. I started writing poetry when I was a young girl and continued throughout college into adulthood. Then when I attended UC Berkeley, I developed a love of 35 millimeter film photography; developing and printing my own photos was just very cathartic for me, and I loved telling stories through photography. So I felt like filmmaking was the next destination for me. I started to take film classes at UC Berkeley and made my first short film on a North Oakland street corner. And from there I went to film school at \u003c/span>\u003cspan style=\"font-weight: 400\">the California Institute of the Arts (CalArts.) \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Success for me is being able to create and keep creating and to know that those creations are impacting people on an emotional level. At the same time I want to be able to live comfortably and be able to have a car and pay my bills. So that is a part of success too. We’re taught, ‘oh, we’re just artists, and we’re just here to make art.’ But we have to have a sustainable life. And I’m trying to get to the point where I don’t have to worry about how am I going to pay my rent and I can create every single day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration for you that might be surprising to other people? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t really share this a lot, but when I was a young girl, in the first grade, I had some struggles with reading. Reading and writing was difficult. And I had a teacher who even went to the point of saying that maybe I should repeat the grade. I didn’t want that, so it became like an obsession. I became such an avid reader. I started reading novels, adult fiction, black fiction, black history books, anything I could get my hands on. Then I started writing. So that core inspiration is I was doubted at an early age. I was told that I couldn’t do something, and I said, ‘no, I can do it.’ And I feel like that’s my greatest strength. Being told that I couldn’t do something, only made me do it better.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2.jpg 1513w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What is something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I would tell myself to not always seek approval from other people, because if that’s what’s motivating you, that is not going to be sustainable. Early on, I wanted to be in certain places; I wanted to be accepted by certain people. Sometimes we need that approval to just remind us that we need to keep going. But when it doesn’t come, you have to find another way to be inspired — either from inside yourself or being around other like-minded artists or going to a movie and being moved by someone else’s art. You have to know in your heart that you have to tell your truth, and you’re going to do it no matter what, and it’s something that people want to see.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my ideal world, women, people of color, LGBTQ people are running the studio system and greenlighting films. That’s really the only way that we’ll see an influx of nuanced, meaningful films — if the people who are making the decisions reflect the creators and we see those positions being taken by people that look like us. Then I think we could see true equity in terms of hiring practices, in terms of people getting in the door. You know it is hard to just get in the room. So that’s what I envision for the future — more of us in decision-making roles to make it possible for us to be successful, and to direct those hundred million dollar-plus films. Because it’s not that we can’t do it, the opportunities just are not given to us. \u003c/span>\u003c/p>\n\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\">Nijla Mu’min didn’t grow up with much media that reflected her experience as an African-American Muslim woman, so she created her own. Her semi-autobiographical film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, follows a teen girl named Summer as she navigates friendship, love, sexuality—and all the confusing territory that comes with being a teenager—while adjusting to her mom’s newfound Islamic faith. “I love the African-American Muslim community I was born into, but just like many teenage girls and teenagers, I began to question a lot as I got older,” says \u003ca href=\"https://www.nijlamumin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mu’min\u003c/a>, who was born and raised in the East Bay and attended a mosque in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Summer’s mom converts to Islam, her expectations of her daughter clash with Summer’s lived reality as a high schooler in Los Angeles, where Mu’min shot the film. Questions of family and belonging, faith and community arise as Summer attempts to balance her religion and the pressures of being a teen—something Mu’min went through as a young girl in the Bay Area, though she says her parents weren’t quite as strict. Mu’min, whose directorial credits include Ava Duvernay’s hit series \u003ci>Queen Sugar\u003c/i> on Oprah’s TV network\u003c/span>\u003cspan style=\"font-weight: 400\">, addresses these threads of inquiry with skill; her characters don’t have all the answers, and the messy ways they respond to their complex circumstances makes them feel all the more human.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.jinnfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> enjoyed a successful run on the festival circuit, picking up awards at SXSW and the Blackstar Film Festival. Following a sold-out Oakland premiere last month at the Matatu Festival at Grand Lake Theatre, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hits theaters on Nov. 15. KQED Arts sat down with Mu’min to learn more about her first love of poetry, the motivations behind her filmmaking and how more diverse representation in Hollywood can lead to better, more nuanced storytelling.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13844456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844456 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaking was a natural progression from other arts forms that I was immersed in first — creative writing and poetry. I started writing poetry when I was a young girl and continued throughout college into adulthood. Then when I attended UC Berkeley, I developed a love of 35 millimeter film photography; developing and printing my own photos was just very cathartic for me, and I loved telling stories through photography. So I felt like filmmaking was the next destination for me. I started to take film classes at UC Berkeley and made my first short film on a North Oakland street corner. And from there I went to film school at \u003c/span>\u003cspan style=\"font-weight: 400\">the California Institute of the Arts (CalArts.) \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Success for me is being able to create and keep creating and to know that those creations are impacting people on an emotional level. At the same time I want to be able to live comfortably and be able to have a car and pay my bills. So that is a part of success too. We’re taught, ‘oh, we’re just artists, and we’re just here to make art.’ But we have to have a sustainable life. And I’m trying to get to the point where I don’t have to worry about how am I going to pay my rent and I can create every single day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration for you that might be surprising to other people? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t really share this a lot, but when I was a young girl, in the first grade, I had some struggles with reading. Reading and writing was difficult. And I had a teacher who even went to the point of saying that maybe I should repeat the grade. I didn’t want that, so it became like an obsession. I became such an avid reader. I started reading novels, adult fiction, black fiction, black history books, anything I could get my hands on. Then I started writing. So that core inspiration is I was doubted at an early age. I was told that I couldn’t do something, and I said, ‘no, I can do it.’ And I feel like that’s my greatest strength. Being told that I couldn’t do something, only made me do it better.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2.jpg 1513w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What is something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I would tell myself to not always seek approval from other people, because if that’s what’s motivating you, that is not going to be sustainable. Early on, I wanted to be in certain places; I wanted to be accepted by certain people. Sometimes we need that approval to just remind us that we need to keep going. But when it doesn’t come, you have to find another way to be inspired — either from inside yourself or being around other like-minded artists or going to a movie and being moved by someone else’s art. You have to know in your heart that you have to tell your truth, and you’re going to do it no matter what, and it’s something that people want to see.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\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\">In my ideal world, women, people of color, LGBTQ people are running the studio system and greenlighting films. That’s really the only way that we’ll see an influx of nuanced, meaningful films — if the people who are making the decisions reflect the creators and we see those positions being taken by people that look like us. Then I think we could see true equity in terms of hiring practices, in terms of people getting in the door. You know it is hard to just get in the room. So that’s what I envision for the future — more of us in decision-making roles to make it possible for us to be successful, and to direct those hundred million dollar-plus films. Because it’s not that we can’t do it, the opportunities just are not given to us. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ah Mer Ah Su's 'Major!' Soundtrack Feeds the Spirit of Trans Resistance",
"headTitle": "Ah Mer Ah Su’s ‘Major!’ Soundtrack Feeds the Spirit of Trans Resistance | KQED",
"content": "\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. [contextly_sidebar id=”HGDOm78KRfFMAYby7FdmkaED4VvYVipt”]\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>\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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"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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"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",
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"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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"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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "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.",
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"mindshift": {
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"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>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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