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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4LTz4OC3pA\u003c/p>\n\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Don't go to 'Green Fog' expecting Alfred Hitchcock and Bernard Herman. Go with curiosity to see inspired artists responding to the classic film 'Vertigo.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.sffilm.org\" rel=\"noopener\" target=\"_blank\">SFFILM Festival\u003c/a> (April 4-17 at various San Francisco theaters and BAMPFA in Berkeley) corrals the spotlight and several venues this week and next with its far-flung survey of the state of the art of contemporary narratives and on-the-scene documentaries. But if it’s time-warp escapist fun you crave, dive into the late-1970s New York City cesspool of \u003cem>The Warriors\u003c/em> at \u003ca href=\"https://drafthouse.com/sf/show/fist-city-the-warriors\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a> (Wednesday, April 4 at 7:45pm). Set in a near future where youth gangs rule the streets and subways in Jim Morrison-meets-greaser chic summerwear (and other “uniforms”), \u003cem>The Warriors\u003c/em> sets the titular band of Coney Island outcasts on a collision course with every mob of mayhem-minded misfits.\u003c/p>\n\u003cp>https://youtu.be/4GxSwUcm_XE\u003c/p>\n\u003cp>Walter Hill’s 1979 low-budget feature opened at rundown, downtown movie palaces around Lincoln’s birthday, attracting action/exploitation fans along with anarchy-minded punks. The movie provoked a tempest-teapot furor in moribund metropolises like New York on the assumption it would incite impressionable youths into spray-painting graffiti on frigging \u003cem>everything\u003c/em> and smashing their decaying city’s remaining unbroken windows. That didn’t happen, although Paramount got cold feet and yanked the movie when a couple real-life rival gangs got into it after crossing paths at theaters.\u003c/p>\n\u003cp>What was once controversial is now camp, and it’s easier today to see \u003cem>The Warriors\u003c/em> as a flamboyant combination of classic Greek legend and quintessential American freedom quest (with a hint of \u003cem>West Side Story\u003c/em>) rather than a political incitement. This would be a good time for Hill, whose \u003cem>48 Hrs.\u003c/em> stands as one of the best movies ever made in San Francisco, to receive a retrospective in the Bay Area.\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=\"alignright 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>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sffilm.org\" rel=\"noopener\" target=\"_blank\">SFFILM Festival\u003c/a> (April 4-17 at various San Francisco theaters and BAMPFA in Berkeley) corrals the spotlight and several venues this week and next with its far-flung survey of the state of the art of contemporary narratives and on-the-scene documentaries. But if it’s time-warp escapist fun you crave, dive into the late-1970s New York City cesspool of \u003cem>The Warriors\u003c/em> at \u003ca href=\"https://drafthouse.com/sf/show/fist-city-the-warriors\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a> (Wednesday, April 4 at 7:45pm). Set in a near future where youth gangs rule the streets and subways in Jim Morrison-meets-greaser chic summerwear (and other “uniforms”), \u003cem>The Warriors\u003c/em> sets the titular band of Coney Island outcasts on a collision course with every mob of mayhem-minded misfits.\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/4GxSwUcm_XE'\n title='//www.youtube.com/embed/4GxSwUcm_XE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Walter Hill’s 1979 low-budget feature opened at rundown, downtown movie palaces around Lincoln’s birthday, attracting action/exploitation fans along with anarchy-minded punks. The movie provoked a tempest-teapot furor in moribund metropolises like New York on the assumption it would incite impressionable youths into spray-painting graffiti on frigging \u003cem>everything\u003c/em> and smashing their decaying city’s remaining unbroken windows. That didn’t happen, although Paramount got cold feet and yanked the movie when a couple real-life rival gangs got into it after crossing paths at theaters.\u003c/p>\n\u003cp>What was once controversial is now camp, and it’s easier today to see \u003cem>The Warriors\u003c/em> as a flamboyant combination of classic Greek legend and quintessential American freedom quest (with a hint of \u003cem>West Side Story\u003c/em>) rather than a political incitement. This would be a good time for Hill, whose \u003cem>48 Hrs.\u003c/em> stands as one of the best movies ever made in San Francisco, to receive a retrospective in the Bay Area.\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=\"alignright 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>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\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>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Dig deeper into the program guide! Some of the festival’s best films can get lost in the hubbub.",
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"title": "Pssst... We've Got the Best Hidden Gems at SFFILM This Year | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\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>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Fast And The Furry Us: Wes Anderson's Masterful 'Isle Of Dogs'",
"headTitle": "The Fast And The Furry Us: Wes Anderson’s Masterful ‘Isle Of Dogs’ | KQED",
"content": "\u003cp>You have an opinion, probably, on which of the two most common species of household pet you deem superior — and an opinion, possibly, on the fastidious filmography of Wes Anderson. But this much, at least, is fact: Nobody ever made a good movie about the nobility of cats.\u003c/p>\n\u003cp>Not even Anderson, who certainly \u003cem>seems\u003c/em> like he might be a cat person, with his velvet-and-tweed blazers and his indoor scarves and his arched-eyebrow worldview. But no one will question his right-thinking canine-supremacy bone-a-fides after \u003cem>Isle of Dogs\u003c/em>. (Go on, say the title out loud.) His dizzying new stop-motion epic is so visually rich, so narratively ambitious and so openhearted in its admiration for Japanese culture \u003cem>and\u003c/em> the unshakable loyalty of doggos that it’ll likely roll right over the familiar cries that Anderson is too fussy or whatnot like a Corgi rolling over for a belly rub.\u003c/p>\n\u003cp>https://youtu.be/dt__kig8PVU\u003c/p>\n\u003cp>It’s a gorgeous mutt of a movie, all right, mashing up Akira Kurosawa — not just his samurai epics (and their scores), but his urban crime pictures, too — and postapocalyptic survival flicks like \u003cem>Mad Max\u003c/em> into a wholly original adventure that’ll leave you wanting to pet every dog you meet, its bloody warnings about the hazards of petting strange dogs be damned.\u003c/p>\n\u003cp>Set in Japan “20 years from now,” \u003cem>Isle of Dogs\u003c/em> posits a Snout Fever outbreak in fictional Megasaki City that compels authoritarian Mayor Kobayashi (Kunichi Nomura) — a descendant of the cat-loving Kobayashi dynasty, whose inhumanity to Man’s Best Friend goes back to before “The Age of Obedience” — to order all dogs in the prefecture deported to Trash Island. (Nomura is also part of the writing team, along with Anderson and frequent collaborators Roman Coppola and Jason Schwartzman.) First to go: Spots (Liev Schreiber), elite guard-dog to the Mayor’s 12-year-old nephew Atari (newcomer Koyu Rankin).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The double-whammy of a reactor meltdown and a volcanic eruption have left Trash Island unfit for human habitation. There, sneezing, starving mongrels fight over rotten scraps amid abandoned theme parks and rusted-out power plants. Chief (Bryan Cranston), a stray who’s used to scrounging for his supper, encounters a pack of fallen pets struggling to adapt to life in the wild. “I’ve seen \u003cem>cats\u003c/em> with more balls than you dogs,” he spits.\u003c/p>\n\u003cp>Voicing the pampered pups are the Wes Anderson Players: Rex (Edward Norton); baseball team mascot Boss (Bill Murray), Puppy Chop Puppy Chow spokesdog King (Bob Balaban) and Duke (Jeff Goldblum), for whom gossip is the one comfort that exile to a radioactive garbage dump can’t take away.\u003c/p>\n\u003cp>The dogs’ stop-motion fights, charmingly rendered in “dust clouds” that are in fact wads of cotton, draw stop-motion blood, which is perhaps why this profanity-free doggy cartoon carries a PG-13 rating. It’s not for little kids, who may be entranced by the visuals — stop-motion has an analog character and dimensionality that even the best computer animation can’t replicate — while finding the film’s conspiracy plot baffling.\u003c/p>\n\u003cp>Nine features and 22 years into his career, Anderson’s pungent cocktail of childlike wonder and grown-up ennui no longer feels as jarring as it once did. His sensibility arrived fully formed with 1996’s \u003cem>Bottle Rocket,\u003c/em> and by 2004’s \u003cem>The Life Aquatic with Steve Zissou \u003c/em>— which used stop-motion to depict its exotic specimens of marine life — some critics were accusing him of being less an artist than a walking assemblage of tics. “In 12 years he’ll be eleven-and-a-half,” Cate Blanchett’s character says at \u003cem>The Life Aquatic\u003c/em>‘s climax, looking down at her pregnant belly. “That was my favorite age,” Bill Murray’s Steve replies. The line finds an echo in Anderson’s new film, when Nutmeg, a former show dog voiced by Scarlett Johansson, tells Chief that he \u003cem>should\u003c/em> stick his flea-bitten neck out for young Atari because “he’s a 12-year-old boy. Dogs love those.”\u003c/p>\n\u003cp>It’s true: Anderson is obsessed with the transition from late boyhood to young manhood, and that obsession has been a barrier-to-entry for some. His prior opus, 2014’s \u003cem>The Grand Budapest Hotel\u003c/em>, brought a lot of skeptics around, eventually scoring him an Oscar nomination for Best Director and another for Best Picture. His only other fully stop-motion feature, 2009’s \u003cem>Fantastic Mr. Fox\u003c/em>, dropped us into a world of wild animals under mortal threat from humans, even as George Clooney’s Mr. Fox struggled to master the feral impulses that kept putting his family and his community at risk. Like every Anderson movie regardless of the age (or species) of its protagonist, it was a story about how painful it is to grow up.\u003c/p>\n\u003cp>Atari, the preteen hero of \u003cem>Dogs,\u003c/em> is already virtuous and honorable when the story begins. It’s Chief and Spots, primarily, who’re forced to grow. And these remarkable puppets, their bulbous eyes frequently spilling over with emotion, have no difficulty stoking our empathy.\u003c/p>\n\u003cp>As is often the case with Anderson’s work, the movie’s formalism is itself a refined pleasure, especially with its approach to language. Courtney B. Vance’s stentorian voice-over is in English, and the dogs speak English, but all the Japanese human characters speak Japanese and are performed by Japanese actors. (Rankin, who was all of eight years old when he recorded his dialogue, is half-Japanese, born in Canada to a Japanese mother.) All onscreen text, including the credits and the judiciously deployed subtitles, is shown in English and Japanese, and when Anderson translates the Japanese speech, he uses a number of ingenious methods, including an onscreen interpreter voiced by Frances McDormand. Equally inventive is the way that all video feeds seen in this stop-motion world display hand-drawn animation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s too bad that Tracy — Greta Gerwig’s American exchange student — gets to drive the conspiracy plot instead of one of her Japanese classmates, but at least she has a more active role than female characters tend to get, in Anderson films. But by the time Anderson’s animators show us a meal of sushi being prepared in meticulous close-up, I was ready for any trick Anderson wanted to perform for me. \u003cem>Isle of Dogs\u003c/em> takes Best in Show. \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=The+Fast+And+The+Furry+Us%3A+Wes+Anderson%27s+Masterful+%27Isle+Of+Dogs%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You have an opinion, probably, on which of the two most common species of household pet you deem superior — and an opinion, possibly, on the fastidious filmography of Wes Anderson. But this much, at least, is fact: Nobody ever made a good movie about the nobility of cats.\u003c/p>\n\u003cp>Not even Anderson, who certainly \u003cem>seems\u003c/em> like he might be a cat person, with his velvet-and-tweed blazers and his indoor scarves and his arched-eyebrow worldview. But no one will question his right-thinking canine-supremacy bone-a-fides after \u003cem>Isle of Dogs\u003c/em>. (Go on, say the title out loud.) His dizzying new stop-motion epic is so visually rich, so narratively ambitious and so openhearted in its admiration for Japanese culture \u003cem>and\u003c/em> the unshakable loyalty of doggos that it’ll likely roll right over the familiar cries that Anderson is too fussy or whatnot like a Corgi rolling over for a belly rub.\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/dt__kig8PVU'\n title='//www.youtube.com/embed/dt__kig8PVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a gorgeous mutt of a movie, all right, mashing up Akira Kurosawa — not just his samurai epics (and their scores), but his urban crime pictures, too — and postapocalyptic survival flicks like \u003cem>Mad Max\u003c/em> into a wholly original adventure that’ll leave you wanting to pet every dog you meet, its bloody warnings about the hazards of petting strange dogs be damned.\u003c/p>\n\u003cp>Set in Japan “20 years from now,” \u003cem>Isle of Dogs\u003c/em> posits a Snout Fever outbreak in fictional Megasaki City that compels authoritarian Mayor Kobayashi (Kunichi Nomura) — a descendant of the cat-loving Kobayashi dynasty, whose inhumanity to Man’s Best Friend goes back to before “The Age of Obedience” — to order all dogs in the prefecture deported to Trash Island. (Nomura is also part of the writing team, along with Anderson and frequent collaborators Roman Coppola and Jason Schwartzman.) First to go: Spots (Liev Schreiber), elite guard-dog to the Mayor’s 12-year-old nephew Atari (newcomer Koyu Rankin).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The double-whammy of a reactor meltdown and a volcanic eruption have left Trash Island unfit for human habitation. There, sneezing, starving mongrels fight over rotten scraps amid abandoned theme parks and rusted-out power plants. Chief (Bryan Cranston), a stray who’s used to scrounging for his supper, encounters a pack of fallen pets struggling to adapt to life in the wild. “I’ve seen \u003cem>cats\u003c/em> with more balls than you dogs,” he spits.\u003c/p>\n\u003cp>Voicing the pampered pups are the Wes Anderson Players: Rex (Edward Norton); baseball team mascot Boss (Bill Murray), Puppy Chop Puppy Chow spokesdog King (Bob Balaban) and Duke (Jeff Goldblum), for whom gossip is the one comfort that exile to a radioactive garbage dump can’t take away.\u003c/p>\n\u003cp>The dogs’ stop-motion fights, charmingly rendered in “dust clouds” that are in fact wads of cotton, draw stop-motion blood, which is perhaps why this profanity-free doggy cartoon carries a PG-13 rating. It’s not for little kids, who may be entranced by the visuals — stop-motion has an analog character and dimensionality that even the best computer animation can’t replicate — while finding the film’s conspiracy plot baffling.\u003c/p>\n\u003cp>Nine features and 22 years into his career, Anderson’s pungent cocktail of childlike wonder and grown-up ennui no longer feels as jarring as it once did. His sensibility arrived fully formed with 1996’s \u003cem>Bottle Rocket,\u003c/em> and by 2004’s \u003cem>The Life Aquatic with Steve Zissou \u003c/em>— which used stop-motion to depict its exotic specimens of marine life — some critics were accusing him of being less an artist than a walking assemblage of tics. “In 12 years he’ll be eleven-and-a-half,” Cate Blanchett’s character says at \u003cem>The Life Aquatic\u003c/em>‘s climax, looking down at her pregnant belly. “That was my favorite age,” Bill Murray’s Steve replies. The line finds an echo in Anderson’s new film, when Nutmeg, a former show dog voiced by Scarlett Johansson, tells Chief that he \u003cem>should\u003c/em> stick his flea-bitten neck out for young Atari because “he’s a 12-year-old boy. Dogs love those.”\u003c/p>\n\u003cp>It’s true: Anderson is obsessed with the transition from late boyhood to young manhood, and that obsession has been a barrier-to-entry for some. His prior opus, 2014’s \u003cem>The Grand Budapest Hotel\u003c/em>, brought a lot of skeptics around, eventually scoring him an Oscar nomination for Best Director and another for Best Picture. His only other fully stop-motion feature, 2009’s \u003cem>Fantastic Mr. Fox\u003c/em>, dropped us into a world of wild animals under mortal threat from humans, even as George Clooney’s Mr. Fox struggled to master the feral impulses that kept putting his family and his community at risk. Like every Anderson movie regardless of the age (or species) of its protagonist, it was a story about how painful it is to grow up.\u003c/p>\n\u003cp>Atari, the preteen hero of \u003cem>Dogs,\u003c/em> is already virtuous and honorable when the story begins. It’s Chief and Spots, primarily, who’re forced to grow. And these remarkable puppets, their bulbous eyes frequently spilling over with emotion, have no difficulty stoking our empathy.\u003c/p>\n\u003cp>As is often the case with Anderson’s work, the movie’s formalism is itself a refined pleasure, especially with its approach to language. Courtney B. Vance’s stentorian voice-over is in English, and the dogs speak English, but all the Japanese human characters speak Japanese and are performed by Japanese actors. (Rankin, who was all of eight years old when he recorded his dialogue, is half-Japanese, born in Canada to a Japanese mother.) All onscreen text, including the credits and the judiciously deployed subtitles, is shown in English and Japanese, and when Anderson translates the Japanese speech, he uses a number of ingenious methods, including an onscreen interpreter voiced by Frances McDormand. Equally inventive is the way that all video feeds seen in this stop-motion world display hand-drawn animation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s too bad that Tracy — Greta Gerwig’s American exchange student — gets to drive the conspiracy plot instead of one of her Japanese classmates, but at least she has a more active role than female characters tend to get, in Anderson films. But by the time Anderson’s animators show us a meal of sushi being prepared in meticulous close-up, I was ready for any trick Anderson wanted to perform for me. \u003cem>Isle of Dogs\u003c/em> takes Best in Show. \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=The+Fast+And+The+Furry+Us%3A+Wes+Anderson%27s+Masterful+%27Isle+Of+Dogs%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XaBGcorkzpk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other films with Bay Area connections include \u003cem>Come Inside My Mind, \u003c/em>a documentary about Robin Williams; \u003cem>Endgame\u003c/em>, a film about hospice directed by Bay Area filmmakers Rob Epstein and Jeffrey Friedman. And the festival is honoring Bay Area filmmaker Wayne Wang, who made \u003cem>Smoke\u003c/em>, \u003cem>Chan is Missing\u003c/em>, \u003cem>Dim Sum\u003c/em>, and \u003cem>The Joy Luck Club\u003c/em>. The festival runs April 4-17 at the Castro and other theaters in San Francisco, and the Grand Lake and the PFA in Berkeley. \u003ca href=\"https://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uem9TbvQpFk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\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/XaBGcorkzpk'\n title='//www.youtube.com/embed/XaBGcorkzpk'\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": "\u003cp>By law, anyone checked into a psychiatric hospital in France without their consent – ostensibly because they are a danger to themselves or others – must receive a judicial hearing within 12 days. We glean from veteran filmmaker Raymond Depardon’s empathetic 2017 observational documentary, \u003cem>12 Days\u003c/em>, that judges typically follow the doctors’ recommendations to release a patient or return him or her to custody for further treatment. The effect of the law (and its presumed intent), it appears, is to protect individuals from being indefinitely locked up, ignored and warehoused.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> (screening March 29 at 7:30pm and March 31 and April 1 at 2pm at \u003ca href=\"https://www.ybca.org/whats-on/12-days\">Yerba Buena Center for the Arts\u003c/a>), filmed at a hospital in Lyon, plays like a dispassionate dispatch from a civilized country. Depardon isn’t an investigative journalist, activist or sociologist, and is uninterested in how or why these troubled souls ended up in range of his camera. His aim, as with 2005’s \u003cem>10th District Court\u003c/em> and 1995’s \u003cem>Caught in the Act\u003c/em> (both of which played the S.F. International Film Festival), is to show the operation of an arm of the French justice system out of view of the not-quite-innocent majority.\u003c/p>\n\u003cp>https://youtu.be/Mn6CbSBi3ho\u003c/p>\n\u003cp>That said, Depardon does editorialize, via deliberate tracking shots through near-empty (but not silent) hallways lined with locked doors, and outdoor, fixed-camera sequences of patients pacing or sitting alone with their thoughts. These artfully composed passages convey a palpable sense of isolation and misery, and contrast sharply with the brightly lit rooms and ritualized interactions of the hearings.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> offers neither answers nor suggestions, neither complaints nor incitements. It provides a nonjudgmental glimpse of the human condition, steeped in compassion and respect. If you’ve read this far, that is likely sufficient incentive, and reward, for you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By law, anyone checked into a psychiatric hospital in France without their consent – ostensibly because they are a danger to themselves or others – must receive a judicial hearing within 12 days. We glean from veteran filmmaker Raymond Depardon’s empathetic 2017 observational documentary, \u003cem>12 Days\u003c/em>, that judges typically follow the doctors’ recommendations to release a patient or return him or her to custody for further treatment. The effect of the law (and its presumed intent), it appears, is to protect individuals from being indefinitely locked up, ignored and warehoused.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> (screening March 29 at 7:30pm and March 31 and April 1 at 2pm at \u003ca href=\"https://www.ybca.org/whats-on/12-days\">Yerba Buena Center for the Arts\u003c/a>), filmed at a hospital in Lyon, plays like a dispassionate dispatch from a civilized country. Depardon isn’t an investigative journalist, activist or sociologist, and is uninterested in how or why these troubled souls ended up in range of his camera. His aim, as with 2005’s \u003cem>10th District Court\u003c/em> and 1995’s \u003cem>Caught in the Act\u003c/em> (both of which played the S.F. International Film Festival), is to show the operation of an arm of the French justice system out of view of the not-quite-innocent majority.\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/Mn6CbSBi3ho'\n title='//www.youtube.com/embed/Mn6CbSBi3ho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That said, Depardon does editorialize, via deliberate tracking shots through near-empty (but not silent) hallways lined with locked doors, and outdoor, fixed-camera sequences of patients pacing or sitting alone with their thoughts. These artfully composed passages convey a palpable sense of isolation and misery, and contrast sharply with the brightly lit rooms and ritualized interactions of the hearings.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> offers neither answers nor suggestions, neither complaints nor incitements. It provides a nonjudgmental glimpse of the human condition, steeped in compassion and respect. If you’ve read this far, that is likely sufficient incentive, and reward, for you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I’m just like you,” says gay 17-year-old Simon Spier (straight 22-year-old Nick Robinson), by way of introduction. We assume, at first, that he’s just getting his Ferris Bueller on and introducing himself to the audience, but it turns out he’s instead replying, via pseudonymous e-mail account, to an anonymous blog post written by one of his schoolmates. A correspondence ensues between their respective, most secret selves, as both Simon and the young man he calls “Blue” are still in the closet. Their sweet, sincere e-mail exchange, full of nervous confessions, mutual support and music playlists, makes up the epistolary backbone of \u003cem>Love, Simon\u003c/em>, a mainstream gay high-school romance that’s causing some people — both within and without the 20th Century Fox PR department — to call it “groundbreaking.”\u003c/p>\n\u003cp>https://youtu.be/E0cbWdlQg_8\u003c/p>\n\u003cp>It \u003cem>is \u003c/em>that, in a way, so long as we’re careful to get specific about just which patch of cinematic ground is truly getting excavated, here. Certainly, high-school romances have been piling up for decades now. In recent years, we’ve amassed a much smaller but not inconsiderate amount of gay high-school movies, from the broad (1999’s \u003cem>But I’m A Cheerleader\u003c/em>), to the raunchy (2006’s \u003cem>Another Gay Movie\u003c/em>), to those that plant their feet in just-be-true-to-yourself uplift (2006’s \u003cem>The Curiosity of Chance\u003c/em>; this year’s \u003cem>Freak Show\u003c/em>).\u003c/p>\n\u003cp>It’s also worth noting that there have been more than a few swoony gay high-school romances — though admittedly these tend to get imported from places like Great Britain (1996’s \u003cem>Beautiful Thing\u003c/em>) and Brazil (2016’s \u003cem>The Way He Looks\u003c/em>).\u003c/p>\n\u003cp>If \u003cem>Love, Simon\u003c/em> is a mainstream gay high-school romance (and it is) then clearly the word that’s doing the \u003cem>real \u003c/em>groundbreaking work — the one that’s truly operating the jackhammer — isn’t \u003cem>romance\u003c/em>, or \u003cem>high-school\u003c/em>, or even \u003cem>gay\u003c/em>; it’s \u003cem>mainstream\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those previous films focusing on the romantic/sexual travails and triumphs of queer kids were scrappy independent/international productions, and whatever public reception they got was fueled by film festival buzz, a handful of reviews and word of mouth. \u003cem>Love, Simon\u003c/em> is a major studio release, backed by the full might and majesty of 20th Century Fox’s marketing and promotional departments. It has been ruthlessly engineered, its every rough edge rock-tumbled to a polished, smooth perfection, so as to better sail over the nation’s art-houses and land squarely in the American multiplex.\u003c/p>\n\u003cp>Teams of professionals have ergonomically designed it for mass consumption. Everything about it is charming and palatable, cute and inoffensive. It is a gay coming-out story set squarely in a world of upscale suburban homes, where parents who buy their kids Subarus — complete with the giant hood-ribbon you only see in car commercials — can be counted upon to be tearfully understanding, when the time comes. It’s a world where bullying happens, when it happens, in a strangely feckless manner that gets swiftly and permanently dealt with by concerned, acutely observant teachers.\u003c/p>\n\u003cp>In other words, it’s pure fantasy.\u003c/p>\n\u003cp>In \u003cem>other \u003c/em>other words, it’s a mainstream high-school romance, just exactly like the scores of mainstream high-school romances that have come before.\u003c/p>\n\u003cp>Consider: In \u003cem>Love, Simon\u003c/em>, our hero and his friends mouth dialogue that vacillates between \u003cem>Buffy\u003c/em>-clever and Disney Channel-twee. [Check!] A blackmail scheme drives the plot [Check!], forcing Simon to ally himself with a character we’re meant to find both repellent and endearing (which: yep to the former, nope to the latter). [Check!] There is a my-parents-are-away house party. [Check!] Over the course of the film, love triangles and least one love rhombus bloom [Check! Check!], none of which seem particularly convincing. [Check!] The climactic kiss is neither sensual nor erotic — it’s a peck, a place-holder, just another rom-com box to be dutifully [Check!]ed.\u003c/p>\n\u003cp>And yet.\u003c/p>\n\u003cp>If that’s the task the film sets for itself, why begrudge its efficiency at achieving it? Yes, \u003cem>Love, Simon \u003c/em>does everything it can do to parboil the flavor, color, consistency and fabulousness out of its queer romance, until all that’s left is the familiar beige, featureless pap of overcooked heterosexual teen rom-coms. But that’s … kind of the point. Why shouldn’t queer kids get the chance to see generic, mass-produced versions of themselves onscreen, overcoming minor obstacles on their path to True Love(tm)?\u003c/p>\n\u003cp>They absolutely should, and with \u003cem>Love, Simon\u003c/em> (and the films that will certainly follow it) they will.\u003c/p>\n\u003cp>But while they’re watching it, they — and the friends and family members they bring along with them — will get to see something else. Something about which the film, gratifyingly, is much more specific, and thoughtful and acutely detailed. Because while the romance elements of \u003cem>Love, Simon\u003c/em> will earn it headlines and, perhaps more importantly, butts-in-seats, it’s the film’s quieter, deeper coming-out storyline that forms its true emotional center.\u003c/p>\n\u003cp>It’s here where the unquestioned privilege of the film’s main character becomes a feature, not a bug. He doesn’t remain in the closet out of fear of being rejected by family and friends, or because it would place him at physical, social or financial risk. No, he resists confessing his sexuality because to do so would mean his perfect suburban life would change. That’s a small, smart, sharply observed detail. Screenwriters Elizabeth Berger and Isaac Aptaker (and Becky Albertalli, who wrote the 2015 YA novel on which the film is based) have clearly done their homework; they know that the closet is not just a lonely and secretive place, but in cases like Simon’s, it’s a toxically selfish one too.\u003c/p>\n\u003cp>When he \u003cem>does \u003c/em>decide to crack the closet door, those scenes play out with an unforced immediacy and realness; the vaguely diffident quality Robinson brings to Simon charges those looooong silences, enriches them. Anyone who’s been on either side of that particular conversation will likely find themselves involuntarily holding their breath.\u003c/p>\n\u003cp>\u003cem>Love, Simon \u003c/em>can do some good in the world, and it likely will — but perhaps not the precise kind of good it thinks it will. The audience at my pre-release screening dependably oohed and aahed as the film churned through its various romantic feints and reveals. But the moment that a character finally spoke the words “I’m gay,” they did more than murmur.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>They cheered.\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=A+Gay+Teen+Romance%2C+Sealed+With+A+Peck%3A+%27Love%2C+Simon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m just like you,” says gay 17-year-old Simon Spier (straight 22-year-old Nick Robinson), by way of introduction. We assume, at first, that he’s just getting his Ferris Bueller on and introducing himself to the audience, but it turns out he’s instead replying, via pseudonymous e-mail account, to an anonymous blog post written by one of his schoolmates. A correspondence ensues between their respective, most secret selves, as both Simon and the young man he calls “Blue” are still in the closet. Their sweet, sincere e-mail exchange, full of nervous confessions, mutual support and music playlists, makes up the epistolary backbone of \u003cem>Love, Simon\u003c/em>, a mainstream gay high-school romance that’s causing some people — both within and without the 20th Century Fox PR department — to call it “groundbreaking.”\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/E0cbWdlQg_8'\n title='//www.youtube.com/embed/E0cbWdlQg_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It \u003cem>is \u003c/em>that, in a way, so long as we’re careful to get specific about just which patch of cinematic ground is truly getting excavated, here. Certainly, high-school romances have been piling up for decades now. In recent years, we’ve amassed a much smaller but not inconsiderate amount of gay high-school movies, from the broad (1999’s \u003cem>But I’m A Cheerleader\u003c/em>), to the raunchy (2006’s \u003cem>Another Gay Movie\u003c/em>), to those that plant their feet in just-be-true-to-yourself uplift (2006’s \u003cem>The Curiosity of Chance\u003c/em>; this year’s \u003cem>Freak Show\u003c/em>).\u003c/p>\n\u003cp>It’s also worth noting that there have been more than a few swoony gay high-school romances — though admittedly these tend to get imported from places like Great Britain (1996’s \u003cem>Beautiful Thing\u003c/em>) and Brazil (2016’s \u003cem>The Way He Looks\u003c/em>).\u003c/p>\n\u003cp>If \u003cem>Love, Simon\u003c/em> is a mainstream gay high-school romance (and it is) then clearly the word that’s doing the \u003cem>real \u003c/em>groundbreaking work — the one that’s truly operating the jackhammer — isn’t \u003cem>romance\u003c/em>, or \u003cem>high-school\u003c/em>, or even \u003cem>gay\u003c/em>; it’s \u003cem>mainstream\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those previous films focusing on the romantic/sexual travails and triumphs of queer kids were scrappy independent/international productions, and whatever public reception they got was fueled by film festival buzz, a handful of reviews and word of mouth. \u003cem>Love, Simon\u003c/em> is a major studio release, backed by the full might and majesty of 20th Century Fox’s marketing and promotional departments. It has been ruthlessly engineered, its every rough edge rock-tumbled to a polished, smooth perfection, so as to better sail over the nation’s art-houses and land squarely in the American multiplex.\u003c/p>\n\u003cp>Teams of professionals have ergonomically designed it for mass consumption. Everything about it is charming and palatable, cute and inoffensive. It is a gay coming-out story set squarely in a world of upscale suburban homes, where parents who buy their kids Subarus — complete with the giant hood-ribbon you only see in car commercials — can be counted upon to be tearfully understanding, when the time comes. It’s a world where bullying happens, when it happens, in a strangely feckless manner that gets swiftly and permanently dealt with by concerned, acutely observant teachers.\u003c/p>\n\u003cp>In other words, it’s pure fantasy.\u003c/p>\n\u003cp>In \u003cem>other \u003c/em>other words, it’s a mainstream high-school romance, just exactly like the scores of mainstream high-school romances that have come before.\u003c/p>\n\u003cp>Consider: In \u003cem>Love, Simon\u003c/em>, our hero and his friends mouth dialogue that vacillates between \u003cem>Buffy\u003c/em>-clever and Disney Channel-twee. [Check!] A blackmail scheme drives the plot [Check!], forcing Simon to ally himself with a character we’re meant to find both repellent and endearing (which: yep to the former, nope to the latter). [Check!] There is a my-parents-are-away house party. [Check!] Over the course of the film, love triangles and least one love rhombus bloom [Check! Check!], none of which seem particularly convincing. [Check!] The climactic kiss is neither sensual nor erotic — it’s a peck, a place-holder, just another rom-com box to be dutifully [Check!]ed.\u003c/p>\n\u003cp>And yet.\u003c/p>\n\u003cp>If that’s the task the film sets for itself, why begrudge its efficiency at achieving it? Yes, \u003cem>Love, Simon \u003c/em>does everything it can do to parboil the flavor, color, consistency and fabulousness out of its queer romance, until all that’s left is the familiar beige, featureless pap of overcooked heterosexual teen rom-coms. But that’s … kind of the point. Why shouldn’t queer kids get the chance to see generic, mass-produced versions of themselves onscreen, overcoming minor obstacles on their path to True Love(tm)?\u003c/p>\n\u003cp>They absolutely should, and with \u003cem>Love, Simon\u003c/em> (and the films that will certainly follow it) they will.\u003c/p>\n\u003cp>But while they’re watching it, they — and the friends and family members they bring along with them — will get to see something else. Something about which the film, gratifyingly, is much more specific, and thoughtful and acutely detailed. Because while the romance elements of \u003cem>Love, Simon\u003c/em> will earn it headlines and, perhaps more importantly, butts-in-seats, it’s the film’s quieter, deeper coming-out storyline that forms its true emotional center.\u003c/p>\n\u003cp>It’s here where the unquestioned privilege of the film’s main character becomes a feature, not a bug. He doesn’t remain in the closet out of fear of being rejected by family and friends, or because it would place him at physical, social or financial risk. No, he resists confessing his sexuality because to do so would mean his perfect suburban life would change. That’s a small, smart, sharply observed detail. Screenwriters Elizabeth Berger and Isaac Aptaker (and Becky Albertalli, who wrote the 2015 YA novel on which the film is based) have clearly done their homework; they know that the closet is not just a lonely and secretive place, but in cases like Simon’s, it’s a toxically selfish one too.\u003c/p>\n\u003cp>When he \u003cem>does \u003c/em>decide to crack the closet door, those scenes play out with an unforced immediacy and realness; the vaguely diffident quality Robinson brings to Simon charges those looooong silences, enriches them. Anyone who’s been on either side of that particular conversation will likely find themselves involuntarily holding their breath.\u003c/p>\n\u003cp>\u003cem>Love, Simon \u003c/em>can do some good in the world, and it likely will — but perhaps not the precise kind of good it thinks it will. The audience at my pre-release screening dependably oohed and aahed as the film churned through its various romantic feints and reveals. But the moment that a character finally spoke the words “I’m gay,” they did more than murmur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They cheered.\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=A+Gay+Teen+Romance%2C+Sealed+With+A+Peck%3A+%27Love%2C+Simon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "woman-says-steven-seagal-sexually-assaulted-her-at-audition",
"title": "Woman Says Steven Seagal Sexually Assaulted Her at Audition",
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"content": "\u003cp>A woman on Monday said she was a 17-year-old model and aspiring actress when Steven Seagal sexually assaulted her at a supposed casting session at a Beverly Hills hotel room in 2002.\u003c/p>\n\u003cp>Faviola Dadis was emotional but composed as she spoke at a news conference in Los Angeles, becoming the latest of several women to accuse the action star of sexual misconduct.\u003c/p>\n\u003cp>Dadis said Seagal reached under her bikini top, grabbed her nipples and then grabbed her genitals soon after the audition began. She said she promptly ended the audition and left deeply shaken.\u003c/p>\n\u003cp>“I have suffered from depression, anxiety and post-traumatic stress, have found it difficult to form trusting relationships with men,” Dadis said through tears as she read from a written statement.\u003c/p>\n\u003cp>She recently filed a report with police, and Los Angeles prosecutors said Monday that her case is under review.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dadis spoke at the news conference alongside her attorney, Lisa Bloom, and another woman, Regina Simons, who said Seagal sexually assaulted her in 1995 when she was 18, allegations she previously made on NBC’s \u003cem>Megyn Kelly Today\u003c/em> in January.\u003c/p>\n\u003cp>Seagal’s attorney Anthony Falangetti said the actor adamantly denies the allegations.\u003c/p>\n\u003cp>“These claims by the two women who spoke today are completely fictitious and totally made up,” Falangetti told The Associated Press in a phone interview later Monday.\u003c/p>\n\u003cp>He said it was implausible that either woman ended up unaccompanied with Seagal in the ways they said they were.\u003cbr>\n“Neither one of their accounts is at all believable,” Falangetti said.\u003c/p>\n\u003cp>Dadis, now a 33-year-old doctoral candidate in clinical neuroscience, said she had recently moved to the U.S. from the Netherlands when a music producer introduced her to Seagal. After several phone calls and text messages, Seagal invited Dadis to a hotel room in Beverly Hills for the late-night casting session for a film he planned to make about Genghis Khan, Dadis said.\u003c/p>\n\u003cfigure id=\"attachment_13827539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg\" alt=\"Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \u003ccite>(Stasevich Andrei Olegovich /AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dadis brought a family friend because her mother was suspicious, but the person stayed in the lobby and she ended up in a room with only Seagal and his personal security guard.\u003c/p>\n\u003cp>Seagal had told her to wear a bikini or bra and panties under her clothes, and had her walk around the room in the bikini before saying he wanted to test their chemistry together and started touching her, Dadis said.\u003c/p>\n\u003cp>“Steven sat there calmly as if nothing had happened while I was noticeably upset and terrified by the experience,” she said. “I left feeling horrified and totally violated.”\u003c/p>\n\u003cp>She said she told friends after about a month, but did not go to authorities at the time because she feared being blacklisted in the entertainment industry. She said Seagal later called her, but she never accepted the calls.\u003c/p>\n\u003cp>Dadis said she was inspired by the recent wave of reports of sexual misconduct by men in the entertainment industry, and was spurred to come forward especially by actress Portia de Rossi saying Seagal once unzipped his pants during an audition with her.\u003c/p>\n\u003cp>Actress Jenny McCarthy has also said Seagal sexually harassed her at an audition in 1995.\u003c/p>\n\u003cp>Seagal has denied the actresses’ allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dadis and Simons’ allegations were first reported by \u003cem>TheWrap\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A woman on Monday said she was a 17-year-old model and aspiring actress when Steven Seagal sexually assaulted her at a supposed casting session at a Beverly Hills hotel room in 2002.\u003c/p>\n\u003cp>Faviola Dadis was emotional but composed as she spoke at a news conference in Los Angeles, becoming the latest of several women to accuse the action star of sexual misconduct.\u003c/p>\n\u003cp>Dadis said Seagal reached under her bikini top, grabbed her nipples and then grabbed her genitals soon after the audition began. She said she promptly ended the audition and left deeply shaken.\u003c/p>\n\u003cp>“I have suffered from depression, anxiety and post-traumatic stress, have found it difficult to form trusting relationships with men,” Dadis said through tears as she read from a written statement.\u003c/p>\n\u003cp>She recently filed a report with police, and Los Angeles prosecutors said Monday that her case is under review.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dadis spoke at the news conference alongside her attorney, Lisa Bloom, and another woman, Regina Simons, who said Seagal sexually assaulted her in 1995 when she was 18, allegations she previously made on NBC’s \u003cem>Megyn Kelly Today\u003c/em> in January.\u003c/p>\n\u003cp>Seagal’s attorney Anthony Falangetti said the actor adamantly denies the allegations.\u003c/p>\n\u003cp>“These claims by the two women who spoke today are completely fictitious and totally made up,” Falangetti told The Associated Press in a phone interview later Monday.\u003c/p>\n\u003cp>He said it was implausible that either woman ended up unaccompanied with Seagal in the ways they said they were.\u003cbr>\n“Neither one of their accounts is at all believable,” Falangetti said.\u003c/p>\n\u003cp>Dadis, now a 33-year-old doctoral candidate in clinical neuroscience, said she had recently moved to the U.S. from the Netherlands when a music producer introduced her to Seagal. After several phone calls and text messages, Seagal invited Dadis to a hotel room in Beverly Hills for the late-night casting session for a film he planned to make about Genghis Khan, Dadis said.\u003c/p>\n\u003cfigure id=\"attachment_13827539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg\" alt=\"Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \u003ccite>(Stasevich Andrei Olegovich /AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dadis brought a family friend because her mother was suspicious, but the person stayed in the lobby and she ended up in a room with only Seagal and his personal security guard.\u003c/p>\n\u003cp>Seagal had told her to wear a bikini or bra and panties under her clothes, and had her walk around the room in the bikini before saying he wanted to test their chemistry together and started touching her, Dadis said.\u003c/p>\n\u003cp>“Steven sat there calmly as if nothing had happened while I was noticeably upset and terrified by the experience,” she said. “I left feeling horrified and totally violated.”\u003c/p>\n\u003cp>She said she told friends after about a month, but did not go to authorities at the time because she feared being blacklisted in the entertainment industry. She said Seagal later called her, but she never accepted the calls.\u003c/p>\n\u003cp>Dadis said she was inspired by the recent wave of reports of sexual misconduct by men in the entertainment industry, and was spurred to come forward especially by actress Portia de Rossi saying Seagal once unzipped his pants during an audition with her.\u003c/p>\n\u003cp>Actress Jenny McCarthy has also said Seagal sexually harassed her at an audition in 1995.\u003c/p>\n\u003cp>Seagal has denied the actresses’ allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dadis and Simons’ allegations were first reported by \u003cem>TheWrap\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hire a skywriter, or a street prophet: Christ and DeMille are together again! Well, they’ve actually never been apart. DeMille’s film about Christ, 1927’s \u003cem>The King of Kings\u003c/em>, has been seen by more people than any movie in human history. \u003c/p>\n\u003cp>How and why? For years after its theatrical release, religious groups were encouraged to rent prints for a minimal fee and missionaries schlepped copies ‘round the world. Like few movies before or since, Cecil B. DeMille’s spare-no-expense amalgam of religious gospel, carnival kitsch and educational film reached a mass(ive) audience. \u003c/p>\n\u003cp>But the faithful moved on to sound and color films and DeMille’s biblical epic faded into memory, superseded by Nicholas Ray, Martin Scorsese and Mel Gibson’s respective renderings of the pre-prosperity gospel. Then Serge Bromberg of Paris-based Lobster Films, a familiar and popular presence at the \u003ca href=\"http://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> every year, took a vow to restore \u003cem>The King of Kings\u003c/em> up to its original length and down to its striking two-color Technicolor sequences. \u003c/p>\n\u003cfigure id=\"attachment_13827524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg\" alt=\"Still from Cecil B. DeMille's 'The King of Kings,' 1927.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13827524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecil B. DeMille’s ‘The King of Kings,’ 1927. \u003ccite>(Courtesy of San Francisco Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. Silent Film Festival and the Ghiberti Center for Culture at \u003ca href=\"https://www.gracecathedral.org/events/sf-silent-film-festival-the-king-of-kings/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a> co-present the U.S. premiere of Lobster’s restoration this Saturday night, March 24, at 7pm. How will DeMille’s unrestrained blend of sincerity and showmanship, shameless spectacle and moral uplift play in secular, self-obsessed, selfie-saturated San Francisco? With David Briggs (from New York’s Cathedral of St. John the Divine) hitting the keys of Grace Cathedral’s mammoth pipe organ, assuredly souls will be saved by the word (via intertitles) of Jesus Christ, superstar.\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>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hire a skywriter, or a street prophet: Christ and DeMille are together again! Well, they’ve actually never been apart. DeMille’s film about Christ, 1927’s \u003cem>The King of Kings\u003c/em>, has been seen by more people than any movie in human history. \u003c/p>\n\u003cp>How and why? For years after its theatrical release, religious groups were encouraged to rent prints for a minimal fee and missionaries schlepped copies ‘round the world. Like few movies before or since, Cecil B. DeMille’s spare-no-expense amalgam of religious gospel, carnival kitsch and educational film reached a mass(ive) audience. \u003c/p>\n\u003cp>But the faithful moved on to sound and color films and DeMille’s biblical epic faded into memory, superseded by Nicholas Ray, Martin Scorsese and Mel Gibson’s respective renderings of the pre-prosperity gospel. Then Serge Bromberg of Paris-based Lobster Films, a familiar and popular presence at the \u003ca href=\"http://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> every year, took a vow to restore \u003cem>The King of Kings\u003c/em> up to its original length and down to its striking two-color Technicolor sequences. \u003c/p>\n\u003cfigure id=\"attachment_13827524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg\" alt=\"Still from Cecil B. DeMille's 'The King of Kings,' 1927.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13827524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecil B. DeMille’s ‘The King of Kings,’ 1927. \u003ccite>(Courtesy of San Francisco Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. Silent Film Festival and the Ghiberti Center for Culture at \u003ca href=\"https://www.gracecathedral.org/events/sf-silent-film-festival-the-king-of-kings/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a> co-present the U.S. premiere of Lobster’s restoration this Saturday night, March 24, at 7pm. How will DeMille’s unrestrained blend of sincerity and showmanship, shameless spectacle and moral uplift play in secular, self-obsessed, selfie-saturated San Francisco? With David Briggs (from New York’s Cathedral of St. John the Divine) hitting the keys of Grace Cathedral’s mammoth pipe organ, assuredly souls will be saved by the word (via intertitles) of Jesus Christ, superstar.\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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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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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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