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It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\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=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Filmmaker Morgan Neville says he gets asked one question more than any other: Was Fred Rogers as nice as he appeared on TV? 'Won't You Be My Neighbor?' answers that question with an emphatic yes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine anyone sending hate mail to Fred Rogers, but there was one episode of \u003cem>Mister Rogers’ Neighborhood \u003c/em>that brought the beloved children’s TV star a bit of blowback: “He did an episode about Santa Claus,” explains filmmaker Morgan Neville. “And he didn’t like the idea that there was somebody who snuck into your house in the middle of the night … so he told kids the truth … and a lot of parents wrote a lot of angry letters.”\u003c/p>\n\u003cp>Santa aside, Rogers generally flew “under the radar,” Neville says, even when he was engaging kids in conversations that some adults considered well beyond their years. With a toy trolley, talking puppets and a simple set, the show had low production value, but the host was “cutting edge,” the filmmaker explains, in respecting the emotional intelligence of children; helping them grapple with “grown-up” issues such as death, divorce and disturbing current events.\u003c/p>\n\u003cp>Aimed at toddlers and preschoolers, \u003cem>Mister Rogers’ Neighborhood \u003c/em>made its nationwide debut in 1968 and aired for more than three decades. It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\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=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With Cunning Casting, 'Hereditary' Dials Up the Horror",
"headTitle": "With Cunning Casting, ‘Hereditary’ Dials Up the Horror | KQED",
"content": "\u003cp>It’s 2:38am and I’m convinced there’s someone, or some-thing, in the attic. I have Ari Aster’s first feature film \u003ci>Hereditary\u003c/i> to thank for the past four nights of anxiety-induced sleeplessness. \u003c/p>\n\u003cp>Admittedly, I’m a lightweight when it comes to horror, susceptible to any number of cinematic scare tactics. I was a kid when \u003ci>Jaws\u003c/i> came out in 1975 but every time I’ve gone swimming in the ocean since then my lizard brain insists on the inevitability of being eaten by a great white shark. Why then would I choose to see a film that’s being called “the scariest movie of 2018”? Two words: Toni Collette.\u003c/p>\n\u003cp>When I first read that Collette was the star, my mind raced back to her Academy Award-nominated performance in \u003ci>The Sixth Sense \u003c/i>. In that M. Night Shyamalan film, she played the devoted mother of wide-eyed Haley Joel Osment, the kid who saw dead people while hanging out with Bruce Willis. \u003c/p>\n\u003cp>The \u003ci>Hereditary\u003c/i> poster features an unsmiling Collette with an equally unsmiling girl, presumably her daughter. This advertisement (mis)leads one to expect a parallel ghost story, a thoughtful sequel of sorts. \u003ci>The Seventh Sense\u003c/i>, if you will. But Aster cast Collette in the role deliberately—and I’m not exaggerating when I say—to turn our expectations of the consistently sympathetic actress upside down and inside out.\u003c/p>\n\u003cfigure id=\"attachment_13834629\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Casting is one of the key factors that lends familiarity and an intimacy to the unsettling world \u003ci>Hereditary\u003c/i> lays out. Annie (Collette) and Steve (Gabriel Byrne) live with their teenage son Peter (Alex Wolff) and daughter Charlie (Milly Shapiro). Their enormous country house is surrounded by tall trees, and isolated by them (the film was shot on location in a pristine suburb of Salt Lake City, Utah). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Byrne’s best known for portraying laconic, passive men like the brooding psychiatrist he played in the HBO series \u003ci>In Treatment\u003c/i>. Like that character, \u003ci>Hereditary\u003c/i>‘s Steve also deliberates, endlessly, and is acted upon rather than taking action himself. When, despite her escalating moods, Annie begs him to trust her, he folds—as we expect him to do.\u003c/p>\n\u003cp>The film opens on the afternoon of a funeral. Aster establishes a lugubrious atmosphere with an opening shot that slowly pans through a doll’s house, a meticulous reproduction of the family’s own home. The camera stops on what is certainly a doll—but isn’t. Steve enters his son’s room and the doll version of Peter wakes up from under the covers. \u003c/p>\n\u003cp>It’s an unsettling visual sleight indicating a secret and separate life of a house within the house, out of sync with its beautiful façade. And Annie, an artist, is the one who’s built and painted it to look oh-so real. The subtext inherent in the initial camera pan is also too deliberate to ignore: this family is under close observation by unseen eyes.\u003c/p>\n\u003cfigure id=\"attachment_13834632\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette and Ann Dowd (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Annie’s mother who recently died. But when she delivers the eulogy, Annie confesses to years of estrangement between them. \u003ci>Hereditary\u003c/i> begins with people in mourning, but the director, who also wrote the film, maintains and extends that grim tone by troubling the family further—with what feels like an inexhaustible store of grief.\u003c/p>\n\u003cp>This is the third movie released in the past two years that concerns itself with the disintegration of the American nuclear family. Both \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003ci>Mother!\u003c/i>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">\u003ci>The Killing of a Sacred Deer\u003c/i>\u003c/a> offered ritualistic pagan sacrifice as a means to assuage, if not cure, a family’s inability to relate to each other and function in the world outside of the home. Despite some occasional cheesy special effects that signal spectral presences, \u003ci><Hereditary\u003c/i> provides yet another testament to the fact that something’s gone wrong deep inside the collective American psyche—an argument that has to go untested here so the ending remains unspoiled.\u003c/p>\n\u003cfigure id=\"attachment_13834633\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg\" alt=\"\" width=\"576\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-520x322.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Alex Wolff (Photo courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Because they’re relatively unknown to audiences, the movie’s wildcards are the kids, Wolff and Shapiro. Their reactions are unfamiliar to us and they add a destabilizing effect to the narrative. The presence of Ann Dowd as Joan, a newfound friend of Annie’s, does too, but in the way we’ve come to expect from her. In \u003ci>The Leftovers\u003c/i> and \u003ci>The Handmaid’s Tale\u003c/i>, Dowd summons menace with remarkable ease. Given her past relationship with a mother figure, Annie ought to know better than to trust in Joan. When she does, it becomes clear that Collette was cast not only for her association with the supernatural, but because of her role as an unpredictable wife and mother suffering from multiple personalities in \u003ci>The United States of Tara\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hereditary\u003c/i> banks on the audience’s willingness to trust Collette, hoping we’ll ignore or have forgotten the unpredictable side of the actress. Annie had a bad mother and the genes she inherited from her are turning out to be the dominant ones in her DNA. The film terrifies not because of frightening things in the attic, but because of what those frightening things imply. According to Aster’s design, nature triumphs over nurture. Instead of protecting them from harm, Peter and Charlie’s mother can damage them irreparably, and without any of them ever knowing the reasons why.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hereditary’ is now playing in San Francisco at the Alamo Drafthouse Cinema, Century San Francisco Centre 9 and AMC Metreon 16.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 2:38am and I’m convinced there’s someone, or some-thing, in the attic. I have Ari Aster’s first feature film \u003ci>Hereditary\u003c/i> to thank for the past four nights of anxiety-induced sleeplessness. \u003c/p>\n\u003cp>Admittedly, I’m a lightweight when it comes to horror, susceptible to any number of cinematic scare tactics. I was a kid when \u003ci>Jaws\u003c/i> came out in 1975 but every time I’ve gone swimming in the ocean since then my lizard brain insists on the inevitability of being eaten by a great white shark. Why then would I choose to see a film that’s being called “the scariest movie of 2018”? Two words: Toni Collette.\u003c/p>\n\u003cp>When I first read that Collette was the star, my mind raced back to her Academy Award-nominated performance in \u003ci>The Sixth Sense \u003c/i>. In that M. Night Shyamalan film, she played the devoted mother of wide-eyed Haley Joel Osment, the kid who saw dead people while hanging out with Bruce Willis. \u003c/p>\n\u003cp>The \u003ci>Hereditary\u003c/i> poster features an unsmiling Collette with an equally unsmiling girl, presumably her daughter. This advertisement (mis)leads one to expect a parallel ghost story, a thoughtful sequel of sorts. \u003ci>The Seventh Sense\u003c/i>, if you will. But Aster cast Collette in the role deliberately—and I’m not exaggerating when I say—to turn our expectations of the consistently sympathetic actress upside down and inside out.\u003c/p>\n\u003cfigure id=\"attachment_13834629\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Casting is one of the key factors that lends familiarity and an intimacy to the unsettling world \u003ci>Hereditary\u003c/i> lays out. Annie (Collette) and Steve (Gabriel Byrne) live with their teenage son Peter (Alex Wolff) and daughter Charlie (Milly Shapiro). Their enormous country house is surrounded by tall trees, and isolated by them (the film was shot on location in a pristine suburb of Salt Lake City, Utah). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Byrne’s best known for portraying laconic, passive men like the brooding psychiatrist he played in the HBO series \u003ci>In Treatment\u003c/i>. Like that character, \u003ci>Hereditary\u003c/i>‘s Steve also deliberates, endlessly, and is acted upon rather than taking action himself. When, despite her escalating moods, Annie begs him to trust her, he folds—as we expect him to do.\u003c/p>\n\u003cp>The film opens on the afternoon of a funeral. Aster establishes a lugubrious atmosphere with an opening shot that slowly pans through a doll’s house, a meticulous reproduction of the family’s own home. The camera stops on what is certainly a doll—but isn’t. Steve enters his son’s room and the doll version of Peter wakes up from under the covers. \u003c/p>\n\u003cp>It’s an unsettling visual sleight indicating a secret and separate life of a house within the house, out of sync with its beautiful façade. And Annie, an artist, is the one who’s built and painted it to look oh-so real. The subtext inherent in the initial camera pan is also too deliberate to ignore: this family is under close observation by unseen eyes.\u003c/p>\n\u003cfigure id=\"attachment_13834632\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette and Ann Dowd (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Annie’s mother who recently died. But when she delivers the eulogy, Annie confesses to years of estrangement between them. \u003ci>Hereditary\u003c/i> begins with people in mourning, but the director, who also wrote the film, maintains and extends that grim tone by troubling the family further—with what feels like an inexhaustible store of grief.\u003c/p>\n\u003cp>This is the third movie released in the past two years that concerns itself with the disintegration of the American nuclear family. Both \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003ci>Mother!\u003c/i>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">\u003ci>The Killing of a Sacred Deer\u003c/i>\u003c/a> offered ritualistic pagan sacrifice as a means to assuage, if not cure, a family’s inability to relate to each other and function in the world outside of the home. Despite some occasional cheesy special effects that signal spectral presences, \u003ci><Hereditary\u003c/i> provides yet another testament to the fact that something’s gone wrong deep inside the collective American psyche—an argument that has to go untested here so the ending remains unspoiled.\u003c/p>\n\u003cfigure id=\"attachment_13834633\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg\" alt=\"\" width=\"576\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-520x322.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Alex Wolff (Photo courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Because they’re relatively unknown to audiences, the movie’s wildcards are the kids, Wolff and Shapiro. Their reactions are unfamiliar to us and they add a destabilizing effect to the narrative. The presence of Ann Dowd as Joan, a newfound friend of Annie’s, does too, but in the way we’ve come to expect from her. In \u003ci>The Leftovers\u003c/i> and \u003ci>The Handmaid’s Tale\u003c/i>, Dowd summons menace with remarkable ease. Given her past relationship with a mother figure, Annie ought to know better than to trust in Joan. When she does, it becomes clear that Collette was cast not only for her association with the supernatural, but because of her role as an unpredictable wife and mother suffering from multiple personalities in \u003ci>The United States of Tara\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hereditary\u003c/i> banks on the audience’s willingness to trust Collette, hoping we’ll ignore or have forgotten the unpredictable side of the actress. Annie had a bad mother and the genes she inherited from her are turning out to be the dominant ones in her DNA. The film terrifies not because of frightening things in the attic, but because of what those frightening things imply. According to Aster’s design, nature triumphs over nurture. Instead of protecting them from harm, Peter and Charlie’s mother can damage them irreparably, and without any of them ever knowing the reasons why.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Hereditary’ is now playing in San Francisco at the Alamo Drafthouse Cinema, Century San Francisco Centre 9 and AMC Metreon 16.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "such-a-good-feeling-the-affectionate-documentary-wont-you-be-my-neighbor",
"title": "Such A Good Feeling: The Affectionate Documentary 'Won't You Be My Neighbor?'",
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"headTitle": "Such A Good Feeling: The Affectionate Documentary ‘Won’t You Be My Neighbor?’ | KQED",
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"content": "\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\u003c/p>\n\u003cp>https://youtu.be/FhwktRDG_aQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\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/FhwktRDG_aQ'\n title='//www.youtube.com/embed/FhwktRDG_aQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Dolores Huerta, before César Chávez, before the United Farm Workers movement, a woman named Maria Moreno was the first female farmworker hired as a union organizer in the United States. If this isn’t enough to impress, she was also the mother of 12 children. In her speeches, she told her family’s story, one of personal tragedy, hunger and backbreaking work, to rally her fellow migrant workers—Mexican American, Filipino, black and white—to the union cause. \u003c/p>\n\u003cp>https://youtu.be/5Cqyj-MPcJg\u003c/p>\n\u003cp>Forgotten by history after she was fired for being “too independent,” her work eclipsed by the more successful movements of the 60s and 70s, Moreno’s story might have ended there. But while researching another documentary project, San Francisco filmmaker Laurie Coyle came across George Ballis’ stunning photographs of an unidentified Moreno organizing for farmworkers’ rights. And twenty years after that discovery (time spent working on “numerous documentaries about illustrious men”), Coyle returned to the images and began her search for Maria Moreno.\u003c/p>\n\u003cp>The fruit of Coyle’s labors is an \u003ca href=\"https://www.adiosamorfilm.com/\" rel=\"noopener\" target=\"_blank\">hour-long documentary that\u003c/a>, along with Peter Bratt’s recent \u003ci>\u003ca href=\"https://www.kqed.org/arts/13807547/new-documentary-about-dolores-huerta-aims-to-set-the-record-straight\" rel=\"noopener\" target=\"_blank\">Dolores\u003c/a>\u003c/i>, proves just how many strong, outspoken women shaped California history—and how many of their stories have yet to be brought to light.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Adios Amor: The Search for Maria Moreno’ plays Friday, June 8 at 7:15pm and Saturday, June 9 at 12:30pm at San Francisco’s Roxie THeater as part of SF DocFest. \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=374959~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=72d561b4-fe99-490e-9831-5b457078f6de&\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Dolores Huerta, before César Chávez, before the United Farm Workers movement, a woman named Maria Moreno was the first female farmworker hired as a union organizer in the United States. If this isn’t enough to impress, she was also the mother of 12 children. In her speeches, she told her family’s story, one of personal tragedy, hunger and backbreaking work, to rally her fellow migrant workers—Mexican American, Filipino, black and white—to the union cause. \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/5Cqyj-MPcJg'\n title='//www.youtube.com/embed/5Cqyj-MPcJg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forgotten by history after she was fired for being “too independent,” her work eclipsed by the more successful movements of the 60s and 70s, Moreno’s story might have ended there. But while researching another documentary project, San Francisco filmmaker Laurie Coyle came across George Ballis’ stunning photographs of an unidentified Moreno organizing for farmworkers’ rights. And twenty years after that discovery (time spent working on “numerous documentaries about illustrious men”), Coyle returned to the images and began her search for Maria Moreno.\u003c/p>\n\u003cp>The fruit of Coyle’s labors is an \u003ca href=\"https://www.adiosamorfilm.com/\" rel=\"noopener\" target=\"_blank\">hour-long documentary that\u003c/a>, along with Peter Bratt’s recent \u003ci>\u003ca href=\"https://www.kqed.org/arts/13807547/new-documentary-about-dolores-huerta-aims-to-set-the-record-straight\" rel=\"noopener\" target=\"_blank\">Dolores\u003c/a>\u003c/i>, proves just how many strong, outspoken women shaped California history—and how many of their stories have yet to be brought to light.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco Cinematheque has presented, promoted and preserved the underappreciated art of experimental cinema on the local cultural landscape since 1961. Under the leadership of Steve Polta, Cinematheque elevated the bar nine years ago by initiating—in addition to its regular schedule of screenings at venues around town—an annual, crammed-to-the-gills, long-weekend festival, \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2018-june-7-10/\" rel=\"noopener\" target=\"_blank\">CROSSROADS\u003c/a>, that collects the best new moving-image work by international artists and local filmmakers. This year’s edition, comprised of 10 programs of shorts and live projections with evocative titles such as “inside the machine (demolition of a wall)” and “edgeless things communicate,” unspools Thursday, June 7 through Sunday, June 10 in SFMOMA’s intimate theater.\u003c/p>\n\u003cfigure id=\"attachment_13834442\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Highview4_1200.jpg\" alt=\"Still from projection of Simon Liu and Warren Ng's 'Highview,' 2017.\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13834442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-1020x393.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-1180x454.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-960x370.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-240x92.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-375x144.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-520x200.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from projection of Simon Liu and Warren Ng’s ‘Highview,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Experimental film encompasses an almost-unimaginable range of non-narrative styles and techniques: Colectivo los ingrávidos’ \u003cem>The Sun Quartet, part 3: Conflagration\u003c/em> (in \u003ca href=\"https://www.sfmoma.org/event/program-9-staring-sun-we-bite-shadow/\" rel=\"noopener\" target=\"_blank\">Program 9: staring at the sun [we bite the shadow]\u003c/a>) pairs faded, fleeting shots of landmark buildings with onscreen text of a powerhouse poetic rant (delivered aloud in Cantonese). Simon Liu’s mesmerizing quad projection \u003cem>Highview\u003c/em> (in \u003ca href=\"https://www.sfmoma.org/event/program-6-endless-nameless-chaos-future/\" rel=\"noopener\" target=\"_blank\">Program 6: endless nameless [chaos is the future]\u003c/a>) assembles fragments of nocturnal images shaved and collaged into colored patterns of light and shape. Diana Barrie and Richard Tuohy’s wonderfully trance-inducing \u003cem>Blinding and Blending\u003c/em> (in \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other [the universe has its ways]\u003c/a>) conjures kaleidoscopic scrims from haunting shots of window screens and floor tile.\u003c/p>\n\u003cp>Avant-garde film is an experiential medium that engages the senses rather than the part of our brains that craves linear organization and stories. I sometimes feel compelled to interpret or “explain” an avant-garde film, but my most satisfying experience is when I allow the piece to stimulate sensations, ideas and, especially, a mysterious pleasure that isn’t typically available from other art forms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Cinematheque has presented, promoted and preserved the underappreciated art of experimental cinema on the local cultural landscape since 1961. Under the leadership of Steve Polta, Cinematheque elevated the bar nine years ago by initiating—in addition to its regular schedule of screenings at venues around town—an annual, crammed-to-the-gills, long-weekend festival, \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2018-june-7-10/\" rel=\"noopener\" target=\"_blank\">CROSSROADS\u003c/a>, that collects the best new moving-image work by international artists and local filmmakers. This year’s edition, comprised of 10 programs of shorts and live projections with evocative titles such as “inside the machine (demolition of a wall)” and “edgeless things communicate,” unspools Thursday, June 7 through Sunday, June 10 in SFMOMA’s intimate theater.\u003c/p>\n\u003cfigure id=\"attachment_13834442\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Highview4_1200.jpg\" alt=\"Still from projection of Simon Liu and Warren Ng's 'Highview,' 2017.\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13834442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-1020x393.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-1180x454.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-960x370.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-240x92.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-375x144.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Highview4_1200-520x200.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from projection of Simon Liu and Warren Ng’s ‘Highview,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Experimental film encompasses an almost-unimaginable range of non-narrative styles and techniques: Colectivo los ingrávidos’ \u003cem>The Sun Quartet, part 3: Conflagration\u003c/em> (in \u003ca href=\"https://www.sfmoma.org/event/program-9-staring-sun-we-bite-shadow/\" rel=\"noopener\" target=\"_blank\">Program 9: staring at the sun [we bite the shadow]\u003c/a>) pairs faded, fleeting shots of landmark buildings with onscreen text of a powerhouse poetic rant (delivered aloud in Cantonese). Simon Liu’s mesmerizing quad projection \u003cem>Highview\u003c/em> (in \u003ca href=\"https://www.sfmoma.org/event/program-6-endless-nameless-chaos-future/\" rel=\"noopener\" target=\"_blank\">Program 6: endless nameless [chaos is the future]\u003c/a>) assembles fragments of nocturnal images shaved and collaged into colored patterns of light and shape. Diana Barrie and Richard Tuohy’s wonderfully trance-inducing \u003cem>Blinding and Blending\u003c/em> (in \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other [the universe has its ways]\u003c/a>) conjures kaleidoscopic scrims from haunting shots of window screens and floor tile.\u003c/p>\n\u003cp>Avant-garde film is an experiential medium that engages the senses rather than the part of our brains that craves linear organization and stories. I sometimes feel compelled to interpret or “explain” an avant-garde film, but my most satisfying experience is when I allow the piece to stimulate sensations, ideas and, especially, a mysterious pleasure that isn’t typically available from other art forms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Our Top 8 Experimental Film Picks at This Year’s CROSSROADS",
"headTitle": "Our Top 8 Experimental Film Picks at This Year’s CROSSROADS | KQED",
"content": "\u003cp>The numbers out of CROSSROADS, San Francisco Cinematheque’s annual festival of experimental film and video, are ever daunting: more than 80 works made by 72 artists showing across three busy days at SFMOMA. If that crush isn’t enough to make you cry uncle, this year’s festival expands to include two sidebar programs keyed to museum exhibitions (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13833294/rene-magritte-the-fifth-season-sfmoma\" rel=\"noopener\" target=\"_blank\">René Magritte: The Fifth Season\u003c/a>\u003c/em> and \u003cem>The Train: RFK’s Last Journey\u003c/em>). As always, curator Steve Polta ministers to the Bay Area’s history as a bastion of expanded cinema, with local luminary Kerry Laitala’s \u003cem>Astro Trilogy\u003c/em> (2017) and Simon Liu’s quad-projection \u003cem>Highview\u003c/em> (2017) as good bets for photochemical thrills. Below are several more highlights to help navigate the weekend: \u003c/p>\n\u003ch2>Antoinette Zwirchmayr, ‘House and Universe,’ 2015\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-1-staring-sun-sunstones-bloom/\" rel=\"noopener\" target=\"_blank\">Program 1: staring at the sun: sunstones bloom\u003c/a>\u003cbr>\nFriday, June 8, 7pm\u003c/b>\u003c/p>\n\u003cp>One of three silent pieces showing at CROSSROADS by this Austrian filmmaker, \u003cem>House and Universe\u003c/em> is especially spellbinding. A dry landscape of brush and rock is recast as a still life of a coiled nude and open fan. The dreaming figure continues to appear in subsequent shots, always nestled in odd sections of the frame—hidden in plain sight. The film’s strong dreamlike quality finally owes as much to Zwirchmayr’s vivid cinematography as to the archetypal objects being pictured. \u003c/p>\n\u003cfigure id=\"attachment_13834301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg\" alt=\"Still from Sylvia Schedelbauer's 'Wishing Well,' 2018.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13834301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sylvia Schedelbauer’s ‘Wishing Well,’ 2018. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sylvia Schedelbauer, ‘Wishing Well,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-2-inside-ones-self-or-out-there-world/\" rel=\"noopener\" target=\"_blank\">Program 2: inside one’s self or out there in the world…\u003c/a>\u003cbr>\nFriday, June 8, 9:15pm\u003c/b>\u003c/p>\n\u003cp>The flicker effect driving Sylvia Schedelbauer’s latest wonder demands the conditions of a darkened cinema, and so I hesitate to comment having only previewed it at home. Nevertheless, I’m amazed that Schedelbauer attempts to reconcile the flicker, long seen as the \u003cem>ne plus ultra\u003c/em> of materialist cinema, with the narrative imagination. Perhaps it’s the forest setting or the recurring figure of a boy, but the film powerfully evokes the childhood feeling of \u003cem>falling\u003c/em> into a story. I cannot fathom Schedelbauer’s skill in organizing so many competing flows of visual information such that they just edge comprehension, but suffice to say that she’s fashioned an immersive environment to rival the most extravagant IMAX fare. \u003c/p>\n\u003ch2>Ephraim Asili, ‘Fluid Frontiers,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fifth installment of Ephraim Asili’s \u003cem>Diaspora Suite\u003c/em>, a wonderful series of films traveling the edges and echoes of the African diaspora, \u003cem>Fluid Frontiers\u003c/em> takes place on the border of Detroit and Windsor. Landscape shots set to Margaret Walker’s stirring reading of her poem, “Harriet Tubman,” are interposed with single takes of black residents reading poetry from original broadsides published by Broadside Press in the early 1970s (landmarks of the Black Arts Movement). These latter recitals double as portraits, and in this sense the long pause that Asili allows to elapse between the end of the poem and the end of the shot is just as telling as the text. I’m sometimes wary about films that withhold basic contextual information about settings and sources, but \u003cem>Fluid Frontiers\u003c/em> is precisely about the difficulty—and necessity—of connecting the dots between the present moment and its many histories. \u003c/p>\n\u003cfigure id=\"attachment_13834298\" class=\"wp-caption aligncenter\" style=\"max-width: 1437px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pancoran.jpg\" alt=\"Still from Dianna Barrie and Richard Tuohy's 'Pancoran,' 2017.\" width=\"1437\" height=\"971\" class=\"size-full wp-image-13834298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran.jpg 1437w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1200x811.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-520x351.jpg 520w\" sizes=\"(max-width: 1437px) 100vw, 1437px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dianna Barrie and Richard Tuohy’s ‘Pancoran,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dianna Barrie and Richard Tuohy, ‘Pancoran,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>One of several impressive formal experiments staged by this Australian duo at CROSSROADS, \u003cem>Pancoran\u003c/em> is worth singling out for the way it marries form and content. Using an optical printer, the filmmakers matte multiple images of Jakarta’s gridlock into vertical and horizontal bands, creating a composite image alternately suggesting window blinds, latticework, and a Sol LeWitt grid. The rhythmic patterning of these strips absorbs the jolts of urban life into a playful score, making music from noise and a film that’s fun to watch. \u003c/p>\n\u003cfigure id=\"attachment_13834296\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg\" alt=\"Still from Kevin Jerom Everson and Claudrena N. Harold's 'How Can I Ever Be Late,' 2017.\" width=\"1200\" height=\"895\" class=\"size-full wp-image-13834296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-520x388.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kevin Jerom Everson and Claudrena N. Harold’s ‘How Can I Ever Be Late,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Jerome Everson and Claudrena N. Harold, ‘How Can I Ever Be Late,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>A utopian dream masquerading as biopic b-roll, Everson and Harold’s sketch pays homage to Sly and the Family Stone’s easygoing charm. The scene pictured is a homecoming, with two women waiting to pick up the rest of the group. Their reunion exudes a repose rarely granted to black characters in any kind of film, all the more affecting here for unfolding without dialogue. A lounging cover of “If You Want Me to Stay” splits the difference between promise and demand: “When you see me again / I hope that you have been / The kind of person you really are now.” \u003c/p>\n\u003ch2>Talena Sanders, ‘Reasonable Watchfulness,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-4-lines-are-drawn/\" rel=\"noopener\" target=\"_blank\">Program 4: lines are drawn\u003c/a>\u003cbr>\nSaturday, June 9, 1:45pm\u003c/b>\u003c/p>\n\u003cp>From the road sign that supplies its title card onwards, \u003cem>Reasonable Watchfulness\u003c/em> travels light. The catch comes in the obvious care with which its diaristic scraps and found footage are articulated in the montage, such that all these loose ends are imbued with a sense of restless tenderness (or is it tender restlessness?). Sanders’ footage is shot by day, but her soundtrack is of the night. An evening’s insect orchestra snaps into autobiographical focus when her recording is interrupted by a sweet but stilted goodnight. Meanwhile, we watch the Pacific surf slamming silently into rocks. The image is overcome by light, the soundtrack with life, and the heart holds someplace between. \u003c/p>\n\u003cfigure id=\"attachment_13834297\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg\" alt=\"Still from Michael Robinson's 'Onward Lossless Follows,' 2017.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13834297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michael Robinson’s ‘Onward Lossless Follows,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Michael Robinson, ‘Onward Lossless Follows,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>Michael Robinson does postmodern appropriation with such brio that it’s easy to forget he’s also a first-rate fabulist. \u003cem>Onward Lossless Follows\u003c/em>’ source material is redolent of afternoon television and too many clicks on the internet—but rendered and assembled in such a way as to assume the explicatory power of myth. The centerpiece is a PSA spot warning against accepting rides from strangers. Robinson grabs at the weird ambiguities and excesses of this clip—its queerness—to offer an alternative reading in which the cautionary tale is a cover story. The abduction scenario is a fine metaphor for Robinson’s own filmmaking style, which entreats our imaginative involvement while demanding that we go without a guide. David Lynch fanatics would do well to check out this ominous yet strangely hopeful communiqué from the new weird America. \u003c/p>\n\u003cfigure id=\"attachment_13834300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg\" alt=\"Still from Jonathan Schwartz, 'The Crack-Up,' 2017.\" width=\"1200\" height=\"887\" class=\"size-full wp-image-13834300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1020x754.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Schwartz, ‘The Crack-Up,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jonathan Schwartz, ‘The Crack-Up,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>The F. Scott Fitzgerald essay that gives Jonathan Schwartz’s film its name uses a first-person narration to calmly examine that selfsame person going to pieces. Schwartz’s \u003cem>Crack-Up\u003c/em> is less personal but if anything more direct in its clarified expressions of vulnerability and mortality. The Fitzgerald text, read aloud by a woman, is placed alongside Iceland’s cutting beauty; the tombstone of another Schwartz; a microphone assailed by wind; and, also on the soundtrack, a man struggling to speak and eventually offering his unguarded rendition of Donovan’s “Catch the Wind.” The ice floes put me in the mind of a shipwreck, but the associative links between the above-mentioned elements make the film’s structure seem just that: a structure, a shelter, a way of taking cover. \u003cem>The Crack-Up\u003c/em> opens itself to difficulty while at the same time suggesting a sense of refuge, holding fast to Fitzgerald’s notion of intelligence as “the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>CROSSROADS 2018 plays at the San Francisco Museum of Modern Art, June 7–10. \u003ca href=\"https://www.sfmoma.org/event/series/crossroads-2018/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The festival of avant-garde and experimental film returns to SFMOMA with a stacked schedule; we provide some suggestions for which way to turn.",
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"description": "The festival of avant-garde and experimental film returns to SFMOMA with a stacked schedule; we provide some suggestions for which way to turn.",
"title": "Our Top 8 Experimental Film Picks at This Year’s CROSSROADS | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The numbers out of CROSSROADS, San Francisco Cinematheque’s annual festival of experimental film and video, are ever daunting: more than 80 works made by 72 artists showing across three busy days at SFMOMA. If that crush isn’t enough to make you cry uncle, this year’s festival expands to include two sidebar programs keyed to museum exhibitions (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13833294/rene-magritte-the-fifth-season-sfmoma\" rel=\"noopener\" target=\"_blank\">René Magritte: The Fifth Season\u003c/a>\u003c/em> and \u003cem>The Train: RFK’s Last Journey\u003c/em>). As always, curator Steve Polta ministers to the Bay Area’s history as a bastion of expanded cinema, with local luminary Kerry Laitala’s \u003cem>Astro Trilogy\u003c/em> (2017) and Simon Liu’s quad-projection \u003cem>Highview\u003c/em> (2017) as good bets for photochemical thrills. Below are several more highlights to help navigate the weekend: \u003c/p>\n\u003ch2>Antoinette Zwirchmayr, ‘House and Universe,’ 2015\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-1-staring-sun-sunstones-bloom/\" rel=\"noopener\" target=\"_blank\">Program 1: staring at the sun: sunstones bloom\u003c/a>\u003cbr>\nFriday, June 8, 7pm\u003c/b>\u003c/p>\n\u003cp>One of three silent pieces showing at CROSSROADS by this Austrian filmmaker, \u003cem>House and Universe\u003c/em> is especially spellbinding. A dry landscape of brush and rock is recast as a still life of a coiled nude and open fan. The dreaming figure continues to appear in subsequent shots, always nestled in odd sections of the frame—hidden in plain sight. The film’s strong dreamlike quality finally owes as much to Zwirchmayr’s vivid cinematography as to the archetypal objects being pictured. \u003c/p>\n\u003cfigure id=\"attachment_13834301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg\" alt=\"Still from Sylvia Schedelbauer's 'Wishing Well,' 2018.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13834301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sylvia Schedelbauer’s ‘Wishing Well,’ 2018. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sylvia Schedelbauer, ‘Wishing Well,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-2-inside-ones-self-or-out-there-world/\" rel=\"noopener\" target=\"_blank\">Program 2: inside one’s self or out there in the world…\u003c/a>\u003cbr>\nFriday, June 8, 9:15pm\u003c/b>\u003c/p>\n\u003cp>The flicker effect driving Sylvia Schedelbauer’s latest wonder demands the conditions of a darkened cinema, and so I hesitate to comment having only previewed it at home. Nevertheless, I’m amazed that Schedelbauer attempts to reconcile the flicker, long seen as the \u003cem>ne plus ultra\u003c/em> of materialist cinema, with the narrative imagination. Perhaps it’s the forest setting or the recurring figure of a boy, but the film powerfully evokes the childhood feeling of \u003cem>falling\u003c/em> into a story. I cannot fathom Schedelbauer’s skill in organizing so many competing flows of visual information such that they just edge comprehension, but suffice to say that she’s fashioned an immersive environment to rival the most extravagant IMAX fare. \u003c/p>\n\u003ch2>Ephraim Asili, ‘Fluid Frontiers,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fifth installment of Ephraim Asili’s \u003cem>Diaspora Suite\u003c/em>, a wonderful series of films traveling the edges and echoes of the African diaspora, \u003cem>Fluid Frontiers\u003c/em> takes place on the border of Detroit and Windsor. Landscape shots set to Margaret Walker’s stirring reading of her poem, “Harriet Tubman,” are interposed with single takes of black residents reading poetry from original broadsides published by Broadside Press in the early 1970s (landmarks of the Black Arts Movement). These latter recitals double as portraits, and in this sense the long pause that Asili allows to elapse between the end of the poem and the end of the shot is just as telling as the text. I’m sometimes wary about films that withhold basic contextual information about settings and sources, but \u003cem>Fluid Frontiers\u003c/em> is precisely about the difficulty—and necessity—of connecting the dots between the present moment and its many histories. \u003c/p>\n\u003cfigure id=\"attachment_13834298\" class=\"wp-caption aligncenter\" style=\"max-width: 1437px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pancoran.jpg\" alt=\"Still from Dianna Barrie and Richard Tuohy's 'Pancoran,' 2017.\" width=\"1437\" height=\"971\" class=\"size-full wp-image-13834298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran.jpg 1437w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1200x811.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-520x351.jpg 520w\" sizes=\"(max-width: 1437px) 100vw, 1437px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dianna Barrie and Richard Tuohy’s ‘Pancoran,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dianna Barrie and Richard Tuohy, ‘Pancoran,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>One of several impressive formal experiments staged by this Australian duo at CROSSROADS, \u003cem>Pancoran\u003c/em> is worth singling out for the way it marries form and content. Using an optical printer, the filmmakers matte multiple images of Jakarta’s gridlock into vertical and horizontal bands, creating a composite image alternately suggesting window blinds, latticework, and a Sol LeWitt grid. The rhythmic patterning of these strips absorbs the jolts of urban life into a playful score, making music from noise and a film that’s fun to watch. \u003c/p>\n\u003cfigure id=\"attachment_13834296\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg\" alt=\"Still from Kevin Jerom Everson and Claudrena N. Harold's 'How Can I Ever Be Late,' 2017.\" width=\"1200\" height=\"895\" class=\"size-full wp-image-13834296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-520x388.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kevin Jerom Everson and Claudrena N. Harold’s ‘How Can I Ever Be Late,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Jerome Everson and Claudrena N. Harold, ‘How Can I Ever Be Late,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>A utopian dream masquerading as biopic b-roll, Everson and Harold’s sketch pays homage to Sly and the Family Stone’s easygoing charm. The scene pictured is a homecoming, with two women waiting to pick up the rest of the group. Their reunion exudes a repose rarely granted to black characters in any kind of film, all the more affecting here for unfolding without dialogue. A lounging cover of “If You Want Me to Stay” splits the difference between promise and demand: “When you see me again / I hope that you have been / The kind of person you really are now.” \u003c/p>\n\u003ch2>Talena Sanders, ‘Reasonable Watchfulness,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-4-lines-are-drawn/\" rel=\"noopener\" target=\"_blank\">Program 4: lines are drawn\u003c/a>\u003cbr>\nSaturday, June 9, 1:45pm\u003c/b>\u003c/p>\n\u003cp>From the road sign that supplies its title card onwards, \u003cem>Reasonable Watchfulness\u003c/em> travels light. The catch comes in the obvious care with which its diaristic scraps and found footage are articulated in the montage, such that all these loose ends are imbued with a sense of restless tenderness (or is it tender restlessness?). Sanders’ footage is shot by day, but her soundtrack is of the night. An evening’s insect orchestra snaps into autobiographical focus when her recording is interrupted by a sweet but stilted goodnight. Meanwhile, we watch the Pacific surf slamming silently into rocks. The image is overcome by light, the soundtrack with life, and the heart holds someplace between. \u003c/p>\n\u003cfigure id=\"attachment_13834297\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg\" alt=\"Still from Michael Robinson's 'Onward Lossless Follows,' 2017.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13834297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michael Robinson’s ‘Onward Lossless Follows,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Michael Robinson, ‘Onward Lossless Follows,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>Michael Robinson does postmodern appropriation with such brio that it’s easy to forget he’s also a first-rate fabulist. \u003cem>Onward Lossless Follows\u003c/em>’ source material is redolent of afternoon television and too many clicks on the internet—but rendered and assembled in such a way as to assume the explicatory power of myth. The centerpiece is a PSA spot warning against accepting rides from strangers. Robinson grabs at the weird ambiguities and excesses of this clip—its queerness—to offer an alternative reading in which the cautionary tale is a cover story. The abduction scenario is a fine metaphor for Robinson’s own filmmaking style, which entreats our imaginative involvement while demanding that we go without a guide. David Lynch fanatics would do well to check out this ominous yet strangely hopeful communiqué from the new weird America. \u003c/p>\n\u003cfigure id=\"attachment_13834300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg\" alt=\"Still from Jonathan Schwartz, 'The Crack-Up,' 2017.\" width=\"1200\" height=\"887\" class=\"size-full wp-image-13834300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1020x754.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Schwartz, ‘The Crack-Up,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jonathan Schwartz, ‘The Crack-Up,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>The F. Scott Fitzgerald essay that gives Jonathan Schwartz’s film its name uses a first-person narration to calmly examine that selfsame person going to pieces. Schwartz’s \u003cem>Crack-Up\u003c/em> is less personal but if anything more direct in its clarified expressions of vulnerability and mortality. The Fitzgerald text, read aloud by a woman, is placed alongside Iceland’s cutting beauty; the tombstone of another Schwartz; a microphone assailed by wind; and, also on the soundtrack, a man struggling to speak and eventually offering his unguarded rendition of Donovan’s “Catch the Wind.” The ice floes put me in the mind of a shipwreck, but the associative links between the above-mentioned elements make the film’s structure seem just that: a structure, a shelter, a way of taking cover. \u003cem>The Crack-Up\u003c/em> opens itself to difficulty while at the same time suggesting a sense of refuge, holding fast to Fitzgerald’s notion of intelligence as “the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>CROSSROADS 2018 plays at the San Francisco Museum of Modern Art, June 7–10. \u003ca href=\"https://www.sfmoma.org/event/series/crossroads-2018/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Benedict Cumberbatch, who plays detective Sherlock Holmes in the television series \u003cem>Sherlock\u003c/em>, foiled an attempted robbery by fighting off a gang of muggers in London. The attack occurred near his fictional character’s home on Baker Street. \u003c/p>\n\u003cp>Cumberbatch and his wife, Sophie Hunter, were riding in an Uber when the 41-year-old actor spotted the attempted mugging on Marylebone High Street and jumped out of the vehicle. Four muggers were attacking a \u003ca href=\"https://deliveroo.co.uk/\" target=\"_blank\" rel=\"noopener\">Deliveroo \u003c/a>cyclist and attempting to steal his bicycle. According to witnesses, Cumberbatch screamed at the attackers and then dragged them off of the victim. \u003c/p>\n\u003cp>\u003ca href=\"https://www.thesun.co.uk/news/6432784/benedict-cumberbatch-saves-deliveroo-assault/\" target=\"_blank\" rel=\"noopener\">Uber driver Manuel Dias, 53, told The Sun\u003c/a>, “I was taking Benedict and his wife to a club — but I didn’t know it was him at first.”\u003c/p>\n\u003cp>“I went to turn down into Marylebone High Street and we saw four guys were pushing around a Deliveroo cyclist. My passenger jumped out, ran over and pulled the men away. They turned towards him and things looked like they were getting worse, so I joined in. He stood there instructing them in the street, shouting, ‘Leave him alone.’ ”\u003c/p>\n\u003cp>“Then it all got a bit surreal. Here was Sherlock Holmes fighting off four attackers just round the corner from Baker Street,” Dias continued. “I had hold of one lad and Benedict another. He seemed to know exactly what he was doing. He was very brave. He did most of it, to be honest. They tried to hit him, but he defended himself and pushed them away. He wasn’t injured. Then I think they also recognized it was Benedict and ran away.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the attackers left, Dias said Cumberbatch asked how the cyclist was. When he said, ” ‘I’m OK,’ Benedict just hugged him.”\u003c/p>\n\u003cp>The Metropolitan Police released a statement about an incident that took place in November: “One of the males attempted to grab the victim’s cycle … He was then punched in the face, struck on the head and hit with his helmet.” \u003c/p>\n\u003cp>“Nothing was reported stolen. The victim did not require hospital treatment. No arrests have been made.” \u003c/p>\n\u003cp>Cumberbatch played the lead role in the \u003cem>Sherlock\u003c/em> television series since 2010 and has starred in the films \u003cem>The Hobbit\u003c/em>; \u003cem>Avengers\u003c/em>: \u003cem>Infinity War\u003c/em> and \u003cem>The Imitation Game.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The cyclist was lucky; Benedict’s a superhero,” Dias said. “Benedict was courageous, brave and selfless. If he hadn’t stepped in, the cyclist could have been seriously injured.” \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=%27Sherlock%27+Star+Benedict+Cumberbatch+Saves+Cyclist+From+Muggers+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the attackers left, Dias said Cumberbatch asked how the cyclist was. When he said, ” ‘I’m OK,’ Benedict just hugged him.”\u003c/p>\n\u003cp>The Metropolitan Police released a statement about an incident that took place in November: “One of the males attempted to grab the victim’s cycle … He was then punched in the face, struck on the head and hit with his helmet.” \u003c/p>\n\u003cp>“Nothing was reported stolen. The victim did not require hospital treatment. No arrests have been made.” \u003c/p>\n\u003cp>Cumberbatch played the lead role in the \u003cem>Sherlock\u003c/em> television series since 2010 and has starred in the films \u003cem>The Hobbit\u003c/em>; \u003cem>Avengers\u003c/em>: \u003cem>Infinity War\u003c/em> and \u003cem>The Imitation Game.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The cyclist was lucky; Benedict’s a superhero,” Dias said. “Benedict was courageous, brave and selfless. If he hadn’t stepped in, the cyclist could have been seriously injured.” \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=%27Sherlock%27+Star+Benedict+Cumberbatch+Saves+Cyclist+From+Muggers+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The African American Museum & Library at Oakland (AAMLO) \u003ca href=\"http://oaklandlibrary.org/news/2018/05/aamlo-awarded-recordings-risk-grant-digitize-black-panther-party-films\" target=\"_blank\" rel=\"noopener\">announced this week\u003c/a> that it won an almost-$20,000 grant to digitize and preserve donated archival footage of the Black Panther Party.\u003c/p>\n\u003cp>The museum and library received the collection of 98 films and four audiotapes in the early ’90s. The reels reportedly consist of unused footage from the documentary film collective \u003ca href=\"http://raisingofamerica.org/about-california-newsreel\" target=\"_blank\" rel=\"noopener\">California Newsreel\u003c/a>, and show the Black Panther Party and other protest movements from the late ’60s and ’70s. But the museum is not sure about what the 16-mm film footage contains, as its archivists haven’t been able to view it.\u003c/p>\n\u003cp>“We don’t even know what’s on the reels,” AAMLO archivist Sean Heyliger said Friday, adding that even the audio they have for the footage isn’t labeled correctly. “Right now we don’t know what goes with what.”\u003c/p>\n\u003cp>Heyliger says a man named Henry Williams donated the footage around 1992 and lost contact with the museum since.\u003c/p>\n\u003cp>Film footage has a limited lifespan—between 50 to 75 years before it begins to deteriorate, according to Heyliger—and though the Williams archival film is still in good condition, the library wants to keep it that way, especially when it could include unseen footage of Black Panther Party co-founder Huey Newton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s important to fill in the gaps about the history of California and African Americans and the Black Power movement that started in California,” museum interim chief curator Susan Anderson told \u003ca href=\"https://hoodline.com/2018/05/african-american-museum-receives-grant-to-digitize-rare-protest-footage\" target=\"_blank\" rel=\"noopener\">Hoodline Wednesday\u003c/a>.\u003c/p>\n\u003cp>The footage also reportedly features recordings of Vietnam War protesters, as well as student protests at Oakland high schools following the police shooting of 16-year-old Melvin Black in 1979.\u003c/p>\n\u003cp>The grant AAMLO received was one of 16 “Recordings at Risk” grants awarded by the Council on Library and Information Resources (CLIR) this spring. The grant specifically for supporting “the preservation of rare and unique audio and audiovisual content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After digitizing the film, which AAMLO representatives estimate will take a year to complete, the museum will post the film online and make it accessible to the public. The footage will also be made available for licensing to filmmakers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The African American Museum & Library at Oakland (AAMLO) \u003ca href=\"http://oaklandlibrary.org/news/2018/05/aamlo-awarded-recordings-risk-grant-digitize-black-panther-party-films\" target=\"_blank\" rel=\"noopener\">announced this week\u003c/a> that it won an almost-$20,000 grant to digitize and preserve donated archival footage of the Black Panther Party.\u003c/p>\n\u003cp>The museum and library received the collection of 98 films and four audiotapes in the early ’90s. The reels reportedly consist of unused footage from the documentary film collective \u003ca href=\"http://raisingofamerica.org/about-california-newsreel\" target=\"_blank\" rel=\"noopener\">California Newsreel\u003c/a>, and show the Black Panther Party and other protest movements from the late ’60s and ’70s. But the museum is not sure about what the 16-mm film footage contains, as its archivists haven’t been able to view it.\u003c/p>\n\u003cp>“We don’t even know what’s on the reels,” AAMLO archivist Sean Heyliger said Friday, adding that even the audio they have for the footage isn’t labeled correctly. “Right now we don’t know what goes with what.”\u003c/p>\n\u003cp>Heyliger says a man named Henry Williams donated the footage around 1992 and lost contact with the museum since.\u003c/p>\n\u003cp>Film footage has a limited lifespan—between 50 to 75 years before it begins to deteriorate, according to Heyliger—and though the Williams archival film is still in good condition, the library wants to keep it that way, especially when it could include unseen footage of Black Panther Party co-founder Huey Newton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s important to fill in the gaps about the history of California and African Americans and the Black Power movement that started in California,” museum interim chief curator Susan Anderson told \u003ca href=\"https://hoodline.com/2018/05/african-american-museum-receives-grant-to-digitize-rare-protest-footage\" target=\"_blank\" rel=\"noopener\">Hoodline Wednesday\u003c/a>.\u003c/p>\n\u003cp>The footage also reportedly features recordings of Vietnam War protesters, as well as student protests at Oakland high schools following the police shooting of 16-year-old Melvin Black in 1979.\u003c/p>\n\u003cp>The grant AAMLO received was one of 16 “Recordings at Risk” grants awarded by the Council on Library and Information Resources (CLIR) this spring. The grant specifically for supporting “the preservation of rare and unique audio and audiovisual content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After digitizing the film, which AAMLO representatives estimate will take a year to complete, the museum will post the film online and make it accessible to the public. The footage will also be made available for licensing to filmmakers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re the sort of sentimental filmgoer who believes in the power of auteur directors and star actors to carry a movie, \u003ca href=\"https://www.realartists.film/\" target=\"_blank\" rel=\"noopener\">\u003cem>Real Artists\u003c/em>\u003c/a>\u003cem>,\u003c/em> a new, slickly sinister short film, will provide much to talk about—and fret over.\u003c/p>\n\u003cp>Written and directed by up-and-coming San Francisco filmmaker Cameo Wood, the 12-minute movie tells the story of a young woman (played by Tiffany Hines) who lands her dream job at a major digital animation studio. She soon discovers a creative process so machine-driven and manipulative that it’s impossible to tell who—or what—ultimately has control over the end product and its reception.\u003c/p>\n\u003cp>Wood came to filmmaking from a career in tech. \u003cem>Real Artists\u003c/em>, which is based on a short story by fantasy writer Ken Liu, is up for a “Best Short” prize for emerging filmmakers at Saturday’s AT&T Film Awards in Los Angeles, with director Ava DuVernay presiding over the event. KQED caught up with Wood to hear more of her thoughts about this weekend’s festivities and the future of the movie industry.\u003c/p>\n\u003cfigure id=\"attachment_13833887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg\" alt=\"Cameo Wood directs a shoot.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameo Wood directs a shoot. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to make this film?\u003c/strong>\u003c/p>\n\u003cp>I love science fiction and have a background in neuroscience and artificial intelligence. So when I read the short story that \u003cem>Real Artists\u003c/em> was based on, I thought this is a movie that I could uniquely tell in an authentic and science-based way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Although your film is set at a fictional animation company, Semaphore, it clearly takes a dig at the real-world animation player, Pixar. Why go after that studio in particular?\u003c/strong>\u003c/p>\n\u003cp>It sort of digs at Pixar. I think we as a society are very tolerant of companies abusing our email, relationships, locations, conversation, etc. for marketing use. It makes sense to me that in the near future, corporations can verify Non-Disclosure Agreements (NDAs) with neurochemical means, not just pieces of paper. I think this may be the future, and it has nothing to do with Pixar per se, but rather with large and powerful corporations in general. Also, I think that it is very human for us to believe that artistic merit is based in our humanity. We don’t like the idea that Artificial Intelligence (AI) could make better films than any human auteur. So the film is mostly about how people would respond to learning that a highly respected animation company is using AI to make their beloved movies. I have nothing against Pixar. I love their work; they are the epitome of animation excellence. And so, of course, we modeled Semaphore after them. That said, there is a line in the film about hiring women to work in the industry that is certainly a dig at all animation studios, Pixar included. They all need to do better. We need more women directing and leading the development of films. Pixar has a massively influential impact on world culture, and they need to do better.\u003c/p>\n\u003cfigure id=\"attachment_13833885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg\" alt=\"San Francisco Filmmaker Cameo Wood with the cast and crew of 'Real Artists'.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1200x678.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Filmmaker Cameo Wood with the cast and crew of ‘Real Artists’. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What message do you want to convey about the future of filmmaking with this movie?\u003c/strong>\u003c/p>\n\u003cp>We already use AI in filmmaking. We use AI to cut trailers, write screenplays and even analyze scripts. I think that as AI becomes more intelligent and nuanced, we absolutely will see more of an analytical and algorithmic focus on screenplays and production.\u003c/p>\n\u003cp>\u003cstrong>The film presents quite a dark view of the animation industry. Can you envisage any rays of light or redeeming qualities? And if so, what are they?\u003c/strong>\u003c/p>\n\u003cp>My film does portray a potential dark future, but I am personally very optimistic. Movies like \u003cem>Moana\u003c/em> show what I hope is a new wave of storytelling that embraces and lifts up cultures, instead of making caricatures of them. I think that animation is a very special medium that engages and inspires people of all ages. Now that animation tools are becoming cheaper and easier to use, I think that it will become much easier for a person to make a film on their phone or home computer, and have it be as beautiful and dynamic as the films we see today. Animation is also special because of how easy it is to re-dub animated films into other languages, so that films appear to have been made in the native language of the viewer. This is exciting and empowering, and something Pixar does perfectly.\u003c/p>\n\u003cp>\u003cstrong>How important are the AT&T Film Awards to you in terms of your trajectory as a director?\u003c/strong>\u003c/p>\n\u003cp>The AT&T Film Awards are very prestigious, and the Emerging Filmmaker Award allows all three nominated directors to meet with Ava DuVernay to discuss our careers and projects. Because I live in San Francisco, not Los Angeles, I find that any chance to show my work in front of professional L.A. audiences is always a massive benefit to my career. Plus, this award comes with a large cash prize, which would help me with my next film!\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183600832?dnt=1&app_id=122963\" width=\"640\" height=\"320\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>How would you describe current landscape of opportunity for movie directors of color and female movie directors? What will it take for things to get to a place of more equal opportunity?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a strange balancing act. For my film, I insisted that the cast and crew be 50 percent people of color and 50 percent women. That was a massive challenge, mostly because there are so few of both of these groups in the industry. We were relentless, though, and we achieved 75 percent women, 50 percent people of color, 20 percent LGBTQ, and 20 percent people with disabilities. I’m incredibly proud of those numbers and I look forward to doing it again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re the sort of sentimental filmgoer who believes in the power of auteur directors and star actors to carry a movie, \u003ca href=\"https://www.realartists.film/\" target=\"_blank\" rel=\"noopener\">\u003cem>Real Artists\u003c/em>\u003c/a>\u003cem>,\u003c/em> a new, slickly sinister short film, will provide much to talk about—and fret over.\u003c/p>\n\u003cp>Written and directed by up-and-coming San Francisco filmmaker Cameo Wood, the 12-minute movie tells the story of a young woman (played by Tiffany Hines) who lands her dream job at a major digital animation studio. She soon discovers a creative process so machine-driven and manipulative that it’s impossible to tell who—or what—ultimately has control over the end product and its reception.\u003c/p>\n\u003cp>Wood came to filmmaking from a career in tech. \u003cem>Real Artists\u003c/em>, which is based on a short story by fantasy writer Ken Liu, is up for a “Best Short” prize for emerging filmmakers at Saturday’s AT&T Film Awards in Los Angeles, with director Ava DuVernay presiding over the event. KQED caught up with Wood to hear more of her thoughts about this weekend’s festivities and the future of the movie industry.\u003c/p>\n\u003cfigure id=\"attachment_13833887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg\" alt=\"Cameo Wood directs a shoot.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameo Wood directs a shoot. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to make this film?\u003c/strong>\u003c/p>\n\u003cp>I love science fiction and have a background in neuroscience and artificial intelligence. So when I read the short story that \u003cem>Real Artists\u003c/em> was based on, I thought this is a movie that I could uniquely tell in an authentic and science-based way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Although your film is set at a fictional animation company, Semaphore, it clearly takes a dig at the real-world animation player, Pixar. Why go after that studio in particular?\u003c/strong>\u003c/p>\n\u003cp>It sort of digs at Pixar. I think we as a society are very tolerant of companies abusing our email, relationships, locations, conversation, etc. for marketing use. It makes sense to me that in the near future, corporations can verify Non-Disclosure Agreements (NDAs) with neurochemical means, not just pieces of paper. I think this may be the future, and it has nothing to do with Pixar per se, but rather with large and powerful corporations in general. Also, I think that it is very human for us to believe that artistic merit is based in our humanity. We don’t like the idea that Artificial Intelligence (AI) could make better films than any human auteur. So the film is mostly about how people would respond to learning that a highly respected animation company is using AI to make their beloved movies. I have nothing against Pixar. I love their work; they are the epitome of animation excellence. And so, of course, we modeled Semaphore after them. That said, there is a line in the film about hiring women to work in the industry that is certainly a dig at all animation studios, Pixar included. They all need to do better. We need more women directing and leading the development of films. Pixar has a massively influential impact on world culture, and they need to do better.\u003c/p>\n\u003cfigure id=\"attachment_13833885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg\" alt=\"San Francisco Filmmaker Cameo Wood with the cast and crew of 'Real Artists'.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1200x678.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Filmmaker Cameo Wood with the cast and crew of ‘Real Artists’. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What message do you want to convey about the future of filmmaking with this movie?\u003c/strong>\u003c/p>\n\u003cp>We already use AI in filmmaking. We use AI to cut trailers, write screenplays and even analyze scripts. I think that as AI becomes more intelligent and nuanced, we absolutely will see more of an analytical and algorithmic focus on screenplays and production.\u003c/p>\n\u003cp>\u003cstrong>The film presents quite a dark view of the animation industry. Can you envisage any rays of light or redeeming qualities? And if so, what are they?\u003c/strong>\u003c/p>\n\u003cp>My film does portray a potential dark future, but I am personally very optimistic. Movies like \u003cem>Moana\u003c/em> show what I hope is a new wave of storytelling that embraces and lifts up cultures, instead of making caricatures of them. I think that animation is a very special medium that engages and inspires people of all ages. Now that animation tools are becoming cheaper and easier to use, I think that it will become much easier for a person to make a film on their phone or home computer, and have it be as beautiful and dynamic as the films we see today. Animation is also special because of how easy it is to re-dub animated films into other languages, so that films appear to have been made in the native language of the viewer. This is exciting and empowering, and something Pixar does perfectly.\u003c/p>\n\u003cp>\u003cstrong>How important are the AT&T Film Awards to you in terms of your trajectory as a director?\u003c/strong>\u003c/p>\n\u003cp>The AT&T Film Awards are very prestigious, and the Emerging Filmmaker Award allows all three nominated directors to meet with Ava DuVernay to discuss our careers and projects. Because I live in San Francisco, not Los Angeles, I find that any chance to show my work in front of professional L.A. audiences is always a massive benefit to my career. Plus, this award comes with a large cash prize, which would help me with my next film!\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183600832?dnt=1&app_id=122963\" width=\"640\" height=\"320\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>How would you describe current landscape of opportunity for movie directors of color and female movie directors? What will it take for things to get to a place of more equal opportunity?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a strange balancing act. For my film, I insisted that the cast and crew be 50 percent people of color and 50 percent women. That was a massive challenge, mostly because there are so few of both of these groups in the industry. We were relentless, though, and we achieved 75 percent women, 50 percent people of color, 20 percent LGBTQ, and 20 percent people with disabilities. I’m incredibly proud of those numbers and I look forward to doing it again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The centerpiece at this year’s \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a> features vermin as the star performers. \u003cem>Rodents of Unusual Size\u003c/em> tracks the destruction the humungous rat-like nutria have wrought upon the Louisiana wetlands. But the locals are fighting against this invasive and fast-breeding species of rodent with a variety of inventive responses (add “fur coat” to that memorable sign “Pets or Meat” from Michael Moore’s \u003cem>Roger & Me\u003c/em> and you’ll get the idea).\u003c/p>\n\u003cp>KQED went behind the scenes of \u003cem>Rodents Of Unusual Size\u003c/em> with filmmakers Jeff Springer, Quinn Costello, and Chris Metzler.\u003c/p>\n\u003cp>\u003cstrong>Who came up with the idea that the Louisiana nutria could be the basis for your documentary \u003cem>Rodents of Unusual Size\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chris Metzler:\u003c/strong> Many years ago when I was on the theatrical tour for \u003cem>Plagues & Pleasures on the Salton Sea\u003c/em>, I became friends with a programmer who was from a generations-old Cajun family in the southeast part of Louisiana and she introduced me to the subject of nutria.\u003c/p>\n\u003cp>\u003cstrong>Quinn Costello:\u003c/strong> I had heard about the nutria phenomenon from a friend who had been an environmental researcher in Louisiana. Jeff, Chris and I kept kicking around ideas about how best to approach the story. At one point we just decided that we needed to jump on an airplane and head to Louisiana.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jeff Springer:\u003c/strong> Once we got down there, you get taken in by beauty of the area, the sheer number of nutria that were destroying it, and the unbelievable dedication and joy of the people who were tackling the issue.\u003c/p>\n\u003cp>\u003cstrong>How did you meet the charismatic Thomas Gonzales (a fisherman and now nutria hunter) and develop a relationship with him?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> I was cold calling a bunch of nutria hunters ahead of our trip to Louisiana and somebody suggested Gonzales, “because he’s the king of the nutria hunters.” As soon as he picked up the phone, I knew this was somebody that I really wanted to meet. When we met him for the first time, after about 10 minutes, we were on his boat checking out the area that had been ravaged by hurricanes. He had such a unique and joyful disposition despite having lost everything so many times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Everyone you film seems happy to talk about the subject. Did you have any trouble as outsiders in winning over the trust of the locals?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> One hurdle that we had to overcome was the fact that there are so many reality TV shows that are being filmed in Louisiana. However, after spending time with folks with the camera turned off, they start to understand that we’re really there to listen and to tell their story respectfully. Despite being outsiders, there was just this enormous amount of trust right off the bat. We were all amazed at that because it’s something that is unique to that part of the country and it comes with their hospitality and their pride in their culture and good humor.\u003c/p>\n\u003cp>There were a few people along the way that didn’t want to participate because they had been caricatured negatively in the press and reality tv. One guy had received serious threats from animal rights groups because he trapped nutria. Even though he didn’t want to be filmed he ended up being a huge help in showing us around the area and introducing us to people. It was pretty rare for somebody to slam the door in our face.\u003c/p>\n\u003cp>\u003cstrong>Did it take some getting used to filming all the corpses and scenes of skinning and hacked off tails?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> It was definitely a new experience, as none of us are hunters. But with that said, putting ourselves in new situations is one of things we really enjoy about making documentaries. So at first I think we were just really curious. It probably was tougher for Jeff because — being both a director and cinematographer — he had put his face up close and personal with all of those nutria.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> You would think so, but strangely, the camera wound up making it even easier to watch all of this happen. Looking through the lens or at the viewfinder creates a barrier to the action you are witnessing and so you feel a bit detached. But as the bodies pile up (any given hunt could yield a body count as high as 300 nutrias) and you look up from the camera, it quickly brings you back to reality.\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> And then after a while, when you see the destruction they cause and consider how many other animals are going to suffer because of that, we started to understand and accept that hunting is just part of what’s necessary and controlling their numbers. Also, hunting is not just about collecting food. It’s really an activity that bonds families together.\u003c/p>\n\u003cfigure id=\"attachment_13834041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg\" alt=\"Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is all of the hunting making significant progress against the numbers of nutria? The man trapping nutria at the suburban golf course: was he a private citizen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> The Nutria Control Program is making enormous strides in controlling their numbers. Over the course of the program, they’ve gone from more than 20 million down to about 5 million. I’d say that there has been a lot of success, although as Thomas says, “as long as there are two left, there’s going to be millions more.” There is no way of getting around it: nutria like to breed and have lots of babies.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> The man trapping nutria at the golf course is a professional animal control officer named Michael Beran. He has his own company called Wildlife Command Center and he gets hired out by various cities and private concerns like the golf course to eradicate nutria and other “problematic” animals. He’s a really great guy and we’ve been lucky enough to have him attend some film festivals with us. With SF DocFest, he’ll be part of the Q&A so that should be a lot of fun.\u003c/p>\n\u003cp>\u003cstrong>You offered nutria meat as a gift on the Kickstarter campaign. Did anyone take you up on that offer?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> There was a disappointing lack of enthusiasm for that particular incentive, as people would choose it for a reward and then not want to receive it. We have a freezer still stocked with it. Anyone up for a \u003ca href=\"https://vimeo.com/64974150\" target=\"_blank\" rel=\"noopener\">San Francisco nutria BBQ\u003c/a>?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Rodents of Unusual Size’ opens at the Alamo Drafthouse New Mission Theater in San Francisco on Friday, Aug. 31. For more information, \u003ca href=\"http://rodentsofunusualsize.tv/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The centerpiece at this year’s \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a> features vermin as the star performers. \u003cem>Rodents of Unusual Size\u003c/em> tracks the destruction the humungous rat-like nutria have wrought upon the Louisiana wetlands. But the locals are fighting against this invasive and fast-breeding species of rodent with a variety of inventive responses (add “fur coat” to that memorable sign “Pets or Meat” from Michael Moore’s \u003cem>Roger & Me\u003c/em> and you’ll get the idea).\u003c/p>\n\u003cp>KQED went behind the scenes of \u003cem>Rodents Of Unusual Size\u003c/em> with filmmakers Jeff Springer, Quinn Costello, and Chris Metzler.\u003c/p>\n\u003cp>\u003cstrong>Who came up with the idea that the Louisiana nutria could be the basis for your documentary \u003cem>Rodents of Unusual Size\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chris Metzler:\u003c/strong> Many years ago when I was on the theatrical tour for \u003cem>Plagues & Pleasures on the Salton Sea\u003c/em>, I became friends with a programmer who was from a generations-old Cajun family in the southeast part of Louisiana and she introduced me to the subject of nutria.\u003c/p>\n\u003cp>\u003cstrong>Quinn Costello:\u003c/strong> I had heard about the nutria phenomenon from a friend who had been an environmental researcher in Louisiana. Jeff, Chris and I kept kicking around ideas about how best to approach the story. At one point we just decided that we needed to jump on an airplane and head to Louisiana.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jeff Springer:\u003c/strong> Once we got down there, you get taken in by beauty of the area, the sheer number of nutria that were destroying it, and the unbelievable dedication and joy of the people who were tackling the issue.\u003c/p>\n\u003cp>\u003cstrong>How did you meet the charismatic Thomas Gonzales (a fisherman and now nutria hunter) and develop a relationship with him?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> I was cold calling a bunch of nutria hunters ahead of our trip to Louisiana and somebody suggested Gonzales, “because he’s the king of the nutria hunters.” As soon as he picked up the phone, I knew this was somebody that I really wanted to meet. When we met him for the first time, after about 10 minutes, we were on his boat checking out the area that had been ravaged by hurricanes. He had such a unique and joyful disposition despite having lost everything so many times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Everyone you film seems happy to talk about the subject. Did you have any trouble as outsiders in winning over the trust of the locals?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> One hurdle that we had to overcome was the fact that there are so many reality TV shows that are being filmed in Louisiana. However, after spending time with folks with the camera turned off, they start to understand that we’re really there to listen and to tell their story respectfully. Despite being outsiders, there was just this enormous amount of trust right off the bat. We were all amazed at that because it’s something that is unique to that part of the country and it comes with their hospitality and their pride in their culture and good humor.\u003c/p>\n\u003cp>There were a few people along the way that didn’t want to participate because they had been caricatured negatively in the press and reality tv. One guy had received serious threats from animal rights groups because he trapped nutria. Even though he didn’t want to be filmed he ended up being a huge help in showing us around the area and introducing us to people. It was pretty rare for somebody to slam the door in our face.\u003c/p>\n\u003cp>\u003cstrong>Did it take some getting used to filming all the corpses and scenes of skinning and hacked off tails?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> It was definitely a new experience, as none of us are hunters. But with that said, putting ourselves in new situations is one of things we really enjoy about making documentaries. So at first I think we were just really curious. It probably was tougher for Jeff because — being both a director and cinematographer — he had put his face up close and personal with all of those nutria.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> You would think so, but strangely, the camera wound up making it even easier to watch all of this happen. Looking through the lens or at the viewfinder creates a barrier to the action you are witnessing and so you feel a bit detached. But as the bodies pile up (any given hunt could yield a body count as high as 300 nutrias) and you look up from the camera, it quickly brings you back to reality.\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> And then after a while, when you see the destruction they cause and consider how many other animals are going to suffer because of that, we started to understand and accept that hunting is just part of what’s necessary and controlling their numbers. Also, hunting is not just about collecting food. It’s really an activity that bonds families together.\u003c/p>\n\u003cfigure id=\"attachment_13834041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg\" alt=\"Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is all of the hunting making significant progress against the numbers of nutria? The man trapping nutria at the suburban golf course: was he a private citizen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> The Nutria Control Program is making enormous strides in controlling their numbers. Over the course of the program, they’ve gone from more than 20 million down to about 5 million. I’d say that there has been a lot of success, although as Thomas says, “as long as there are two left, there’s going to be millions more.” There is no way of getting around it: nutria like to breed and have lots of babies.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> The man trapping nutria at the golf course is a professional animal control officer named Michael Beran. He has his own company called Wildlife Command Center and he gets hired out by various cities and private concerns like the golf course to eradicate nutria and other “problematic” animals. He’s a really great guy and we’ve been lucky enough to have him attend some film festivals with us. With SF DocFest, he’ll be part of the Q&A so that should be a lot of fun.\u003c/p>\n\u003cp>\u003cstrong>You offered nutria meat as a gift on the Kickstarter campaign. Did anyone take you up on that offer?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> There was a disappointing lack of enthusiasm for that particular incentive, as people would choose it for a reward and then not want to receive it. We have a freezer still stocked with it. Anyone up for a \u003ca href=\"https://vimeo.com/64974150\" target=\"_blank\" rel=\"noopener\">San Francisco nutria BBQ\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rodents of Unusual Size’ opens at the Alamo Drafthouse New Mission Theater in San Francisco on Friday, Aug. 31. For more information, \u003ca href=\"http://rodentsofunusualsize.tv/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "In The Beginning, There Was Fashion: 'The Gospel According To André'",
"headTitle": "In The Beginning, There Was Fashion: ‘The Gospel According To André’ | KQED",
"content": "\u003cp>“You can be aristocratic without having been born into an aristocratic family.” This is the gospel according to André Leon Talley, who rose from a childhood in segregated Durham, North Carolina, to become a fashion maven with \u003cem>Vogue\u003c/em>, \u003cem>Women’s Wear Daily\u003c/em>, Andy Warhol’s Factory and \u003cem>America’s Next Top Model\u003c/em>. The things that made Talley an outcast in childhood (his race, his larger-than-life stature, his sexuality, his affinity for capes) were what gave him the aura of royalty once he entered the fashion world. You won’t learn many dress tips from the new documentary \u003cem>The Gospel According to André\u003c/em>, or even more than a passing glimpse of him at work, but you will get a lovely taste of Talley’s style philosophy.\u003c/p>\n\u003cp>It’s a mindset that largely sounds familiar, even to those of us who wouldn’t know a Tom Ford from a Henry Ford: Style is about embracing yourself. Talley has done that since he was a young churchgoer. Whereas many if not most high-fashion folk are reluctant to embrace spirituality unless it’s \u003ca href=\"https://www.theguardian.com/fashion/2018/feb/26/vatican-releases-rare-papal-vestments-for-met-fashion-exhibition\">ironic\u003c/a>, Talley has made his upbringing in the black church central to his life’s work. After all, as he says, Church Sunday is basically a fashion show, where everyone turns up in their finely pressed best. In the church segments, as in elsewhere in the film, you’ll find yourself wishing for just a little more insight into how Talley sees these different factors of his identity — a lot of the movie’s wisdom coasts by on simply noting that there was no one else in the fashion world who looked like him.\u003c/p>\n\u003cp>https://youtu.be/KzZkVGCY5rY\u003c/p>\n\u003cp>Director Kate Novack has an affinity for New York’s cultural institutions, having produced documentaries on \u003cem>The New York Times\u003c/em> and famed restaurant Le Cirque. For her, Talley is a gateway into the luxurious, sometimes outlandish world of Manhattan high fashion — and, it should be noted, a \u003cem>safe\u003c/em> gateway. Talley’s early apprenticeships with Andy Warhol and Diana Vreeland made him a regular at Studio 54 in the late ’70s and ’80s, but he strenuously insists that he never partook in the drugs and casual sex that characterized the scene. (The film implies this was his church upbringing paying off.) While everyone else was riding the hedonism, Talley became a sort of gentle giant cheerleader for industry pillars like Anna Wintour, Valentino and Marc Jacobs, who gush about him on camera; meanwhile, privately, he laments that he put so much effort into his work that he was never able to find happiness in a romantic partner.\u003c/p>\n\u003cp>Novack’s choice of footage favors the quirky or odd over the informative. Scenes of Talley at his estate in White Plains, watching construction workers cut down a tree, tell us little about who he is as a person. Ditto when he visits Isabella Rossellini’s pig farms; the point of the sequence is to brag that he can casually hang out with Rossellini, and laugh at her pigs, rather than to reveal anything new about Talley himself. The film dwells on stuff like this instead of more thought-provoking moments from Talley’s career, like his brief sojourn with \u003cem>Numéro Russia\u003c/em>, where he \u003ca href=\"http://wwd.com/business-news/media/andr-leon-talley-to-exit-numro-russia-7589771/\">left a lucrative editor-at-large role\u003c/a> in 2014 after he learned about Russia’s numerous anti-LGBT laws. But there is a revealing moment where Talley discusses a Saint Laurent employee who used to call him “Queen Kong,” and the shame he feels at never having told her to stop saying it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Gospel \u003c/em>also serves as a warning bell to all the other documentary filmmakers who were gathering material for a project in fall 2016 and likely found themselves capturing a lot of thoughts about the upcoming election. In the editing room emerges a new problem: Does that stuff \u003cem>matter\u003c/em>? Does a story about fashion need a fog of overconfident liberals to connect with audiences? Do we need to see Talley and a group of wealthy designer-label friends out to brunch, pre-planning the outfits for the Clinton inauguration? (Not to worry, one says in another scene: “My friend’s guru in Pakistan” has predicted a Hillary victory.)\u003c/p>\n\u003cp>Other filmmakers should give a long, hard think about whether they can get away with scenes like this, which are likely to become hallmarks of the next few years of the documentary landscape. Novack just barely pulls it off herself, for two reasons. First, most of Talley’s friends in these scenes are black, which, along with all the \u003cem>Vogue\u003c/em> covers of Michelle Obama that adorn his workstations, give a pointed snapshot of black status in 2016 America. And second, if you already knew that \u003ca href=\"https://www.teenvogue.com/story/andre-leon-talley-melania-trump-wont-dress-inauguration\">Talley once styled Melania Trump\u003c/a> for a \u003cem>Vogue \u003c/em>story, you can understand why we later see him gamely praising her inauguration wardrobe while taking in the ceremony from Maureen Dowd’s house. (“I’m going to get hate mail,” he moans.) But the film doesn’t take this opportunity to think more critically about the ways fashion functions as an emblem of social status, or how its surface-level visual pleasures can so often obscure political realities. Think about the red-carpet ceremony at this year’s Golden Globes, where the Me Too/Time’s Up movement had to institute an all-black dress code just to get anchors to focus on something other than who everyone was wearing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talley’s otherworldly guru status among his peers can at times make him seem more mascot than man. That’s why, for everything \u003cem>Gospel \u003c/em>leaves out, it’s at least nice to see a film that does for him what he’s been doing for designers and celebrities for years: Cheering him on.\u003c/p>\n\n",
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"excerpt": "Kate Novack's documentary about the legendary fashion figure breezes past any deep or thought-provoking issues, but it, like its subject, has style for days.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You can be aristocratic without having been born into an aristocratic family.” This is the gospel according to André Leon Talley, who rose from a childhood in segregated Durham, North Carolina, to become a fashion maven with \u003cem>Vogue\u003c/em>, \u003cem>Women’s Wear Daily\u003c/em>, Andy Warhol’s Factory and \u003cem>America’s Next Top Model\u003c/em>. The things that made Talley an outcast in childhood (his race, his larger-than-life stature, his sexuality, his affinity for capes) were what gave him the aura of royalty once he entered the fashion world. You won’t learn many dress tips from the new documentary \u003cem>The Gospel According to André\u003c/em>, or even more than a passing glimpse of him at work, but you will get a lovely taste of Talley’s style philosophy.\u003c/p>\n\u003cp>It’s a mindset that largely sounds familiar, even to those of us who wouldn’t know a Tom Ford from a Henry Ford: Style is about embracing yourself. Talley has done that since he was a young churchgoer. Whereas many if not most high-fashion folk are reluctant to embrace spirituality unless it’s \u003ca href=\"https://www.theguardian.com/fashion/2018/feb/26/vatican-releases-rare-papal-vestments-for-met-fashion-exhibition\">ironic\u003c/a>, Talley has made his upbringing in the black church central to his life’s work. After all, as he says, Church Sunday is basically a fashion show, where everyone turns up in their finely pressed best. In the church segments, as in elsewhere in the film, you’ll find yourself wishing for just a little more insight into how Talley sees these different factors of his identity — a lot of the movie’s wisdom coasts by on simply noting that there was no one else in the fashion world who looked like him.\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/KzZkVGCY5rY'\n title='//www.youtube.com/embed/KzZkVGCY5rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Kate Novack has an affinity for New York’s cultural institutions, having produced documentaries on \u003cem>The New York Times\u003c/em> and famed restaurant Le Cirque. For her, Talley is a gateway into the luxurious, sometimes outlandish world of Manhattan high fashion — and, it should be noted, a \u003cem>safe\u003c/em> gateway. Talley’s early apprenticeships with Andy Warhol and Diana Vreeland made him a regular at Studio 54 in the late ’70s and ’80s, but he strenuously insists that he never partook in the drugs and casual sex that characterized the scene. (The film implies this was his church upbringing paying off.) While everyone else was riding the hedonism, Talley became a sort of gentle giant cheerleader for industry pillars like Anna Wintour, Valentino and Marc Jacobs, who gush about him on camera; meanwhile, privately, he laments that he put so much effort into his work that he was never able to find happiness in a romantic partner.\u003c/p>\n\u003cp>Novack’s choice of footage favors the quirky or odd over the informative. Scenes of Talley at his estate in White Plains, watching construction workers cut down a tree, tell us little about who he is as a person. Ditto when he visits Isabella Rossellini’s pig farms; the point of the sequence is to brag that he can casually hang out with Rossellini, and laugh at her pigs, rather than to reveal anything new about Talley himself. The film dwells on stuff like this instead of more thought-provoking moments from Talley’s career, like his brief sojourn with \u003cem>Numéro Russia\u003c/em>, where he \u003ca href=\"http://wwd.com/business-news/media/andr-leon-talley-to-exit-numro-russia-7589771/\">left a lucrative editor-at-large role\u003c/a> in 2014 after he learned about Russia’s numerous anti-LGBT laws. But there is a revealing moment where Talley discusses a Saint Laurent employee who used to call him “Queen Kong,” and the shame he feels at never having told her to stop saying it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Gospel \u003c/em>also serves as a warning bell to all the other documentary filmmakers who were gathering material for a project in fall 2016 and likely found themselves capturing a lot of thoughts about the upcoming election. In the editing room emerges a new problem: Does that stuff \u003cem>matter\u003c/em>? Does a story about fashion need a fog of overconfident liberals to connect with audiences? Do we need to see Talley and a group of wealthy designer-label friends out to brunch, pre-planning the outfits for the Clinton inauguration? (Not to worry, one says in another scene: “My friend’s guru in Pakistan” has predicted a Hillary victory.)\u003c/p>\n\u003cp>Other filmmakers should give a long, hard think about whether they can get away with scenes like this, which are likely to become hallmarks of the next few years of the documentary landscape. Novack just barely pulls it off herself, for two reasons. First, most of Talley’s friends in these scenes are black, which, along with all the \u003cem>Vogue\u003c/em> covers of Michelle Obama that adorn his workstations, give a pointed snapshot of black status in 2016 America. And second, if you already knew that \u003ca href=\"https://www.teenvogue.com/story/andre-leon-talley-melania-trump-wont-dress-inauguration\">Talley once styled Melania Trump\u003c/a> for a \u003cem>Vogue \u003c/em>story, you can understand why we later see him gamely praising her inauguration wardrobe while taking in the ceremony from Maureen Dowd’s house. (“I’m going to get hate mail,” he moans.) But the film doesn’t take this opportunity to think more critically about the ways fashion functions as an emblem of social status, or how its surface-level visual pleasures can so often obscure political realities. Think about the red-carpet ceremony at this year’s Golden Globes, where the Me Too/Time’s Up movement had to institute an all-black dress code just to get anchors to focus on something other than who everyone was wearing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talley’s otherworldly guru status among his peers can at times make him seem more mascot than man. That’s why, for everything \u003cem>Gospel \u003c/em>leaves out, it’s at least nice to see a film that does for him what he’s been doing for designers and celebrities for years: Cheering him on.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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