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"content": "\u003cp>What becomes a legend most? Olivia de Havilland, you may have heard, is devoting much of her 11th decade on Earth to suing the producers of the F/X series \u003cem>Feud\u003c/em>. Another centenarian, Kirk Douglas, keeps a much lower profile, as do the nonagenarians Sidney Poitier and Harry Belafonte (though look for the latter in \u003cem>BlackkKlansman\u003c/em>) and the octogenarians Gene Hackman, Sophia Loren, Sean Connery and Shirley MacLaine. But you know which Hollywood Golden Ager still enjoys the limelight? \u003ca href=\"https://www.ticketfly.com/event/1645627\" rel=\"noopener\" target=\"_blank\">Kim Novak\u003c/a>.\u003c/p>\n\u003cp>Alfred Hitchcock’s iciest blonde object of obsession made a splash with an exhibition of her paintings at the San Francisco Museum and Historical Society’s 2012 fundraiser at the Old Mint. She returns to her favorite city this Sunday, May 20, to celebrate the 60th anniversary of her double-edged, two-faced tour de force, \u003cem>Vertigo\u003c/em>. S.F.’s premiere star wrangler and silver-screen showman, Marc Huestis, has lined up singer Paula West and dancer Rory Davis to entertain the Castro crowd and salute Ms. Novak before she takes the stage for a spill-the-Tinseltown-beans interview with Noir City boss Eddie Muller.\u003c/p>\n\u003cfigure id=\"attachment_13832108\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg\" alt=\"Kim Novak in 'Vertigo.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in ‘Vertigo.’\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a movie on the bill, as well, set in a city on a hill, that stars Jimmy Stewart as a pathetic detective played for a sap by a beautiful dame (and her string-pulling husband). Stewart is balls-out brilliant – and downright terrifying, in a pivotal scene – in one of the most humiliating roles ever played by a star of the studio era. For her part, Ms. Novak, as first the enigmatic agent of his destruction and then the romantic opening for his return to civilization (for no place was more civilized than San Francisco in the ‘50s), is simply unforgettable.\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>What becomes a legend most? Olivia de Havilland, you may have heard, is devoting much of her 11th decade on Earth to suing the producers of the F/X series \u003cem>Feud\u003c/em>. Another centenarian, Kirk Douglas, keeps a much lower profile, as do the nonagenarians Sidney Poitier and Harry Belafonte (though look for the latter in \u003cem>BlackkKlansman\u003c/em>) and the octogenarians Gene Hackman, Sophia Loren, Sean Connery and Shirley MacLaine. But you know which Hollywood Golden Ager still enjoys the limelight? \u003ca href=\"https://www.ticketfly.com/event/1645627\" rel=\"noopener\" target=\"_blank\">Kim Novak\u003c/a>.\u003c/p>\n\u003cp>Alfred Hitchcock’s iciest blonde object of obsession made a splash with an exhibition of her paintings at the San Francisco Museum and Historical Society’s 2012 fundraiser at the Old Mint. She returns to her favorite city this Sunday, May 20, to celebrate the 60th anniversary of her double-edged, two-faced tour de force, \u003cem>Vertigo\u003c/em>. S.F.’s premiere star wrangler and silver-screen showman, Marc Huestis, has lined up singer Paula West and dancer Rory Davis to entertain the Castro crowd and salute Ms. Novak before she takes the stage for a spill-the-Tinseltown-beans interview with Noir City boss Eddie Muller.\u003c/p>\n\u003cfigure id=\"attachment_13832108\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg\" alt=\"Kim Novak in 'Vertigo.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13832108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/b9-vertigo-red-longshot-1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kim Novak in ‘Vertigo.’\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a movie on the bill, as well, set in a city on a hill, that stars Jimmy Stewart as a pathetic detective played for a sap by a beautiful dame (and her string-pulling husband). Stewart is balls-out brilliant – and downright terrifying, in a pivotal scene – in one of the most humiliating roles ever played by a star of the studio era. For her part, Ms. Novak, as first the enigmatic agent of his destruction and then the romantic opening for his return to civilization (for no place was more civilized than San Francisco in the ‘50s), is simply unforgettable.\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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"title": "In 'Tully,' Charlize Theron And Mackenzie Davis Make A Great (Au) Pair",
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"content": "\u003cp>When it comes to undercutting her glam loveliness for the sake of a meaty role, Charlize Theron is the champ of champs. \u003cem>Meaty\u003c/em>‘s the word: Having packed on the pounds and several tons of vicious attitude to play serial killer Aileen Wuornos in 2003’s \u003cem>Monster\u003c/em> and shed a (virtual) limb or two for 2015’s \u003cem>Mad Max: Fury Road\u003c/em>, Theron comes to us in Jason Reitman’s \u003cem>Tully\u003c/em> lugging a baby bump so massive, you can barely see her bringing up the fleshy rear.\u003c/p>\n\u003cp>Lest we doubt her commitment to looking like most women do shortly after giving birth, there’s a candid tracking shot from behind of her character — third-time mom Marlo — trying to outrun a lissome young athlete in the park. Like the rest of this maddeningly uneven movie, the scene is a little bit funny, a bigger bit cruel, and with it all, oddly moving.\u003c/p>\n\u003cp>https://youtu.be/e5D3O4yCmCg\u003c/p>\n\u003cp>Luckily, with Theron it’s never just about the prosthetics or the visual gags. For her Marlo, it’s all in the eyes, bleary with fatigue and the stress that comes with being the mother of two small children (one of them with special needs, though Marlo’s too exhausted to see anything but the special) and trying to cope with the third, who seems never to stop crying.\u003c/p>\n\u003cp>On schedule, up pops the obligatory set piece where Marlo throws a fit in a school principal’s office. Yet Theron plays even this scenario with the slow deliberation of a woman quietly nearing the end of her rope. Marlo’s steady but preoccupied husband (Ron Livingston) isn’t much help, and though at first she resists when her smug, well-heeled brother (Mark Duplass) presents her with a night nanny, she succumbs when the baby’s arrival finally grinds her to a spaced-out standstill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter Tully (a very good Mackenzie Davis), a slightly manic yet unflappable pixie girl who also happens to be the fulfillment of every overwhelmed parent’s compensatory dreams. Without turning a hair Tully cooks, cleans, gets baby to breastfeed, bakes fluorescent cupcakes for the kids’ entire class. Over time she also becomes Marlo’s confidante; the two become besties; the new mother blooms; the household grows a sly touch of eros. Until, suddenly, there comes a mischievous twist that steers this most realist of dramedies clear into fresh genre waters. And if, like me, you didn’t see the denouement coming, you may say to yourself why, \u003cem>of course\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Tully\u003c/em> is written by Diablo Cody, who also wrote the screenplays for Reitman’s smash hit \u003cem>Juno\u003c/em> and for his bracing \u003cem>Young Adult\u003c/em>, in which Theron starred as a pushing-forty narcissist belatedly trying to get her love-life on track. Cody and Reitman make a marketable team, smoothly packaging topicality in a skin of buoyant mischief that manages to straddle the glib and the true. At her most complacent, Cody can be a master of the breezy put-down, and here she gets off a few volleys of cheap shots at the expense of bougie-hipster parents — not like \u003cem>us\u003c/em>, no, never — who worry about trace elements of caffeine in their decaf, and whose nannies have graduate degrees in early childhood development.\u003c/p>\n\u003cp>Does it matter that Cody, who wrote \u003cem>Tully\u003c/em> after hiring a night nanny to look after her third baby, and Theron, who has two adopted children of her own, can both afford all the help they need? In the sense that Marlo, who both wants and needs to get back to her job in human resources, is portrayed as a 99-percenter with 1-percenter problems, it’s likely that for most moviegoers, \u003cem>Tully\u003c/em> will end up as a wishful fantasy on more levels than one.\u003c/p>\n\u003cp>What saves the movie from unbearable smugness is the lovely duet of Theron and Davis playing their deepening partnership without either posturing or a disclaiming wink at the audience. So much so that we can believe in Tully, a mere stripling with troubles of her own, serenely guiding a woman many years her senior through the black comedy and the sludge of early motherhood, through her dreams of regressive escape, and on into the grownup zone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>Juno\u003c/em> was about the ramifications of getting pregnant way too young, \u003cem>Tully\u003c/em> worries that middle age isn’t much of a help when you’re trying to juggle multiple tasks and roles within a raging-hormonal body you barely recognize. If \u003cem>Young Adult\u003c/em> insisted that an overgrown child stuck in eternal arrested development doesn’t deserve an upbeat ending, \u003cem>Tully\u003c/em> serenely suggests that fulfillment is about the repetition of dreary routine made bearable by the love of others, and the love you bear for them. \u003cem>Tully\u003c/em> may be rounding out a trilogy, but I suspect that Reitman and Cody are re-upping as we speak for \u003cem>What to Expect When You’re Re-Feathering the Empty Nest\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Tully%2C%27+Charlize+Theron+And+Mackenzie+Davis+Make+A+Great+%28Au%29+Pair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter Tully (a very good Mackenzie Davis), a slightly manic yet unflappable pixie girl who also happens to be the fulfillment of every overwhelmed parent’s compensatory dreams. Without turning a hair Tully cooks, cleans, gets baby to breastfeed, bakes fluorescent cupcakes for the kids’ entire class. Over time she also becomes Marlo’s confidante; the two become besties; the new mother blooms; the household grows a sly touch of eros. Until, suddenly, there comes a mischievous twist that steers this most realist of dramedies clear into fresh genre waters. And if, like me, you didn’t see the denouement coming, you may say to yourself why, \u003cem>of course\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Tully\u003c/em> is written by Diablo Cody, who also wrote the screenplays for Reitman’s smash hit \u003cem>Juno\u003c/em> and for his bracing \u003cem>Young Adult\u003c/em>, in which Theron starred as a pushing-forty narcissist belatedly trying to get her love-life on track. Cody and Reitman make a marketable team, smoothly packaging topicality in a skin of buoyant mischief that manages to straddle the glib and the true. At her most complacent, Cody can be a master of the breezy put-down, and here she gets off a few volleys of cheap shots at the expense of bougie-hipster parents — not like \u003cem>us\u003c/em>, no, never — who worry about trace elements of caffeine in their decaf, and whose nannies have graduate degrees in early childhood development.\u003c/p>\n\u003cp>Does it matter that Cody, who wrote \u003cem>Tully\u003c/em> after hiring a night nanny to look after her third baby, and Theron, who has two adopted children of her own, can both afford all the help they need? In the sense that Marlo, who both wants and needs to get back to her job in human resources, is portrayed as a 99-percenter with 1-percenter problems, it’s likely that for most moviegoers, \u003cem>Tully\u003c/em> will end up as a wishful fantasy on more levels than one.\u003c/p>\n\u003cp>What saves the movie from unbearable smugness is the lovely duet of Theron and Davis playing their deepening partnership without either posturing or a disclaiming wink at the audience. So much so that we can believe in Tully, a mere stripling with troubles of her own, serenely guiding a woman many years her senior through the black comedy and the sludge of early motherhood, through her dreams of regressive escape, and on into the grownup zone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>Juno\u003c/em> was about the ramifications of getting pregnant way too young, \u003cem>Tully\u003c/em> worries that middle age isn’t much of a help when you’re trying to juggle multiple tasks and roles within a raging-hormonal body you barely recognize. If \u003cem>Young Adult\u003c/em> insisted that an overgrown child stuck in eternal arrested development doesn’t deserve an upbeat ending, \u003cem>Tully\u003c/em> serenely suggests that fulfillment is about the repetition of dreary routine made bearable by the love of others, and the love you bear for them. \u003cem>Tully\u003c/em> may be rounding out a trilogy, but I suspect that Reitman and Cody are re-upping as we speak for \u003cem>What to Expect When You’re Re-Feathering the Empty Nest\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Tully%2C%27+Charlize+Theron+And+Mackenzie+Davis+Make+A+Great+%28Au%29+Pair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.sundance.org/social-events/benefit-events/la-summer-benefit-2018#/\" target=\"_blank\" rel=\"noopener\">Sundance Institute\u003c/a> announced Tuesday that it’s honoring Boots Riley, the Oakland rapper-turned-director behind the sci-fi film \u003ci>Sorry To Bother You,\u003c/i> with the Vanguard Award for emerging artists.\u003c/p>\n\u003cp>[contextly_sidebar id=”H0nLoeciqkYYSe0cCnOXI1GmkwyRSrCd”]\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> is Riley’s directorial debut, and the award puts him in company with previous winners Dee Rees, director of \u003ci>Mudbound;\u003c/i> and \u003ci>Birth Of A Nation\u003c/i> director Nate Parker.\u003c/p>\n\u003cp>Riley’s film gets its nationwide release on July 6 and critics are already describing it as “\u003ca href=\"https://io9.gizmodo.com/sorry-to-bother-you-is-the-most-surreal-important-scif-1823802147\" target=\"_blank\" rel=\"noopener\">the most surreal, important sci-fi movie in years\u003c/a>.” Starring Lakeith Stanfield (\u003ci>Get Out\u003c/i>) and Tessa Thompson (\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), the film follows an African-American telemarketer in Oakland who becomes successful after developing a white accent.\u003c/p>\n\u003cp>Before making \u003ci>Sorry To Bother You,\u003c/i> 47-year-old Riley was best known as a rapper with the Coup and the Street Sweeper Social Club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sundance will honor Riley and screen his new film on July 14 at the Ace Hotel in Los Angeles. Tickets for the event range from $40 to $500, and proceeds go to grants and other programs at the Sundance Institute. Films such as \u003ci>Fruitvale Station\u003c/i>, \u003ci>The Diary Of A Teenage Girl\u003c/i>, and Riley’s own movie all received assistance from the institute’s screenwriter’s and director’s labs.\u003c/p>\n\u003cp>Watch the trailer for \u003cem>Sorry To Bother You\u003c/em> below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=enH3xA4mYcY\u003c/p>\n\n",
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"content": "\u003cp>Over three-plus decades, the San Francisco International Asian American Film Festival has expanded, evolved and shape-shifted into the cultural compendium \u003ca href=\"https://caamfest.com/2018/\" rel=\"noopener\" target=\"_blank\">CAAMFest\u003c/a>. Movies still comprise the lion’s share of the program (May 10-24 in numerous venues in San Francisco and Oakland), with music and food now taking a turn in the spotlight. What hasn’t changed across the years, though, is the festival’s commitment to Asian American history by way of tributes to directors, actors and public figures who overcame prejudice and racism.\u003c/p>\n\u003cfigure id=\"attachment_13831477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Norman.Mineta-800x450.jpg\" alt=\"Norman Mineta, the subject of Dianne Fukami’s documentary 'An American Story: Norman Mineta and His Legacy.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman Mineta, the subject of Dianne Fukami’s documentary ‘An American Story: Norman Mineta and His Legacy.’ \u003ccite>(Courtesy CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norman Mineta, the first Japanese-American mayor of a major U.S. city (San Jose, in 1971), is just such an individual. Later a congressman and Secretary of Transportation, Mineta is expected at the Castro on opening night for the world premiere of Dianne Fukami’s \u003cem>An American Story: Norman Mineta and His Legacy\u003c/em>. Another Bay Area icon, the writer, actress and activist Brenda Wong Aoki, showcases her range and versatility May 24 at Herbst Theatre in the performance film \u003cem>Aunt Lily’s Flower Book: 100 Years of Legalized Racism\u003c/em>.\u003c/p>\n\u003cp>Taking a cue from Aoki, the young female filmmakers of \u003cem>Dead Pigs\u003c/em> (May 13 at the Kabuki and May 20 at the Roxie) and \u003cem>Unlovable\u003c/em> (May 11 at the Kabuki and May 20 at the Roxie) chose titles that grab attention. Cathy Yan’s ambitious debut \u003cem>Dead Pigs\u003c/em> follows five characters across China’s newly fluid social strata who are upended in some way by the discovery of thousands of deceased swine floating down the river. Suzi Yoonessi’s U.S. indie feature \u003cem>Unlovable\u003c/em>, co-written with lead actress Charlene deGuzman, follows a sex/love addict going through the highs and lows of a 12-step program. \u003cem>Unlovable\u003c/em> embodies another key aspect of CAAMFest: Highlighting the breadth of representation of Asian Americans in contemporary cinema. Did Norman Mineta imagine this degree of expression, acceptance and freedom half a century ago?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\u003c/p>\n\u003cp>https://youtu.be/HEVonh8bjC0\u003c/p>\n\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \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=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first sound we hear in \u003cem>Disobedience\u003c/em> is the sharp, prolonged blaring of the shofar. In the Jewish religion it’s a call for people to pay attention, to wake up from a slumber of complacency and think about our relationship with God. Immediately the film places us in the middle of an Orthodox congregation, gazing up at the final sermon of a dying rabbi; we can see the rows of women in wigs and long, black skirts far above him, watching from the gender-segregated balcony. The oddness of the image — the faith leader in the foreground, his life draining as he speaks, his perspective dwarfed by the often out-of-focus women watching him from above — has the peculiar effect of inverting the ways we typically understand Orthodox power dynamics. In this moment, who is closer to God?\u003c/p>\n\u003cp>Based on a novel by Naomi Alderman, the film chronicles a forbidden romance between two women with ties to this London Orthodox community. Ronit (Rachel Weisz), the rabbi’s free-spirited daughter, left the religion years ago to make her way as a secular photographer in New York. Her return for the \u003cem>shiva\u003c/em> following her father’s death is unwelcome, as the congregation, in retaliation for her exit, had deliberately neglected to inform her that he was ill. None have any business with Ronit except Esti (Rachel McAdams), her former lover, who stayed behind to adopt the \u003cem>frum\u003c/em> lifestyle of the ultra-Orthodox, teach at the Jewish girls’ school and marry their mutual friend Dovid (Alessandro Nivola), the rabbi’s top disciple, for one night a week of joyless procreation attempts. In this way, Esti has resigned herself to “living a long life” — the blessing traditionally given to Jewish mourners, and here also a kiss-off to Ronit from all the family members who plan on never speaking to her again.\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/HEVonh8bjC0'\n title='//www.youtube.com/embed/HEVonh8bjC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Disobedience\u003c/em> rests on the strengths of its two Rachels, and Weisz and McAdams deliver on what they’re given. One of them isn’t given enough. Ronit is a lazy writer’s idea of a “strong female character,” meaning she gets one “yasss queen” outburst where she tells her family what she really thinks about their traditions … even though we know she’s already spurned them, so the scene is redundant. Otherwise she floats through the film dazed by grief, so all the heavy work falls to Weisz (who also produces) to let us read different forms of regret and confusion into her tender performance. One killer detail about the character, that her photography subjects are all covered in tattoos, hints at some unresolved reckoning with Judaism that never materializes.\u003c/p>\n\u003cp>The film truly belongs to McAdams, turning in career-high work as someone who has only just decided to wage open revolt against her faith. Even as Esti openly solicits Ronit’s love once more, she still prays of her own volition, still seeks some level of higher understanding and forgiveness. There are things wrestling inside of her, and we can see them in real time. Hence why, when the two women do sneak off to a hotel room together, they make the act of removing a wig more erotic than any kind of \u003ca href=\"http://www.vulture.com/2017/09/rachel-weisz-and-rachel-mcadamss-hot-disobedience-sex-scene.html\">spittle\u003c/a> that might be flung from one mouth to another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writer-director Sebastián Lelio is a decorated Chilean filmmaker making his English-language debut after the widely acclaimed \u003cem>Gloria\u003c/em> and \u003cem>A Fantastic Woman\u003c/em>. It’s a sad state of affairs that Lelio is one of the only male directors working today who seems truly devoted to finding new and different kinds of women-centric stories to tell on film. Still, it’s encouraging that he can approach a widening variety of subject areas (trans issues, Orthodox Judaism) as an open-hearted novice and make it seem like he’s always been here, telling these stories from the inside out.\u003c/p>\n\u003cp>But it almost doesn’t seem like Lelio made this one. Compared to the bursts of color and energy in his last two films, \u003cem>Disobedience\u003c/em> feels positively sapped of style: After that arresting opening scene, the down-the-middle dramatics can’t contain the outpourings of emotion Weisz and McAdams bring to the table. To be fair, that might have been the point. But a little panache never hurt anyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like a Hillel sandwich made from your Seder leftovers, \u003cem>Disobedience\u003c/em> never quite finds that balance between sweet, bitter and brittle. But one unexpected perk of the film is the way it avoids the easy traps of depicting isolated religious fundamentalism onscreen. There is a claustrophobia and oppressiveness to the setting, of course, but it’s not simply a matter of things the film deems evil or backwards: It’s more a question of what people in a system feel they are in their right or power to do. Dovid becomes a key to the story in a fascinating way, and Nivola’s finely measured performance shows us the conflicted man under the mask of Torah study. The best films about religion are the ones that provoke honest dialogues about faith, and humanity’s role within it. We never get all the way there with \u003cem>Disobedience\u003c/em>, but at least it’s blown the shofar. \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=In+An+Isolated+Community%2C+Questions+Of+Faith+And+%27Disobedience%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>CAAMFest, the film festival hosted by the Center for Asian American Media, is broadening its offerings this year beyond films to include music and theater performances.\u003c/p>\n\u003cp>The opening night film is \u003ci>An American Story: Norman Mineta and His Story,\u003c/i> Dianne Fukami’s documentary about former Commerce and Transportation Secretary, Congressman and Mayor of San Jose. He’s a second generation Japanese American who I used to interview a lot; a man who was locked up with his family in an internment camp during World War II, but could also make you believe in the power of government to do good.\u003c/p>\n\u003cfigure id=\"attachment_13831026\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg\" alt=\"Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest \u003ccite>(Courtesy of CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the recent headlines about travel bans and discrimination, Fukami says her film couldn’t come at a better time. \u003c/p>\n\u003cp>“You know, this is a cautionary tale. As a Japanese American, I think we need to be living reminders of what can happen when civil liberties are violated,” Fukami says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cVwjapLBUnE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Asian action film star Pei-Pei Cheng is a featured guest at CAAMFest, and Pinay rapper Ruby Ibarra will get to talk about her directorial debut on the music video for her song \u003cem>Us\u003c/em>, which features a crowd-sourced, all-Pinay cast of 200. The festival will also host the world premiere of \u003cem>Bitter Melon\u003c/em>, a black comedy by H.P. Mendoza (\u003cem>Colma: the Musical\u003c/em>) that’s about homophobia, domestic violence, and toxic masculinity in a Filipino family, and was shot in the Bay Area.\u003c/p>\n\u003cp>There’s also a concert featuring Bay Area acts Lyrics Born and Dengue Fever at the Starline Social Club in Oakland.\u003c/p>\n\u003cp>The festival closes with \u003cem>Aunt Lily’s Flower Book\u003c/em>, a live performance by storyteller Brenda Wong Aoki and her husband Mark Izu, who plays the bass and the sho, a Japanese reed instrument. The play is about the impact on both their family’s of anti-Asian racism. I first did a story on Mark and Brenda more than 30 years ago, and they’re still making wonderful theater.\u003c/p>\n\u003cp>CAAMFest runs May 10 through May 24 at the Castro, the Kabuki, and other theaters around San Francisco. \u003ca href=\"https://caamfest.com/2018/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fr_ZbxE1Q6E\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CAAMFest, the film festival hosted by the Center for Asian American Media, is broadening its offerings this year beyond films to include music and theater performances.\u003c/p>\n\u003cp>The opening night film is \u003ci>An American Story: Norman Mineta and His Story,\u003c/i> Dianne Fukami’s documentary about former Commerce and Transportation Secretary, Congressman and Mayor of San Jose. He’s a second generation Japanese American who I used to interview a lot; a man who was locked up with his family in an internment camp during World War II, but could also make you believe in the power of government to do good.\u003c/p>\n\u003cfigure id=\"attachment_13831026\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg\" alt=\"Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest \u003ccite>(Courtesy of CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the recent headlines about travel bans and discrimination, Fukami says her film couldn’t come at a better time. \u003c/p>\n\u003cp>“You know, this is a cautionary tale. As a Japanese American, I think we need to be living reminders of what can happen when civil liberties are violated,” Fukami says.\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/cVwjapLBUnE'\n title='//www.youtube.com/embed/cVwjapLBUnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Asian action film star Pei-Pei Cheng is a featured guest at CAAMFest, and Pinay rapper Ruby Ibarra will get to talk about her directorial debut on the music video for her song \u003cem>Us\u003c/em>, which features a crowd-sourced, all-Pinay cast of 200. The festival will also host the world premiere of \u003cem>Bitter Melon\u003c/em>, a black comedy by H.P. Mendoza (\u003cem>Colma: the Musical\u003c/em>) that’s about homophobia, domestic violence, and toxic masculinity in a Filipino family, and was shot in the Bay Area.\u003c/p>\n\u003cp>There’s also a concert featuring Bay Area acts Lyrics Born and Dengue Fever at the Starline Social Club in Oakland.\u003c/p>\n\u003cp>The festival closes with \u003cem>Aunt Lily’s Flower Book\u003c/em>, a live performance by storyteller Brenda Wong Aoki and her husband Mark Izu, who plays the bass and the sho, a Japanese reed instrument. The play is about the impact on both their family’s of anti-Asian racism. I first did a story on Mark and Brenda more than 30 years ago, and they’re still making wonderful theater.\u003c/p>\n\u003cp>CAAMFest runs May 10 through May 24 at the Castro, the Kabuki, and other theaters around San Francisco. \u003ca href=\"https://caamfest.com/2018/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\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/Fr_ZbxE1Q6E'\n title='//www.youtube.com/embed/Fr_ZbxE1Q6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Marc Bamuthi Joseph, the Yerba Buena Center for the Art’s chief of pedagogy, says he was thinking recently about President John F. Kennedy’s call for the U.S. to send a man to the moon.\u003c/p>\n\u003cp>“Kennedy reminds us that the future is made of stumbles, hubris, and innovators who are humble enough to pursue it,” Joseph says.\u003c/p>\n\u003cp>Kennedy sparked the public imagination with the moonshot. And now Joseph and the YBCA have invited a group of artists for Transform Fest, a festival focused on the question, “where is our public imagination?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MfYQkiVMncQ\u003c/p>\n\u003cp>“How does creativity and forethought show up in public space,” Joseph told me by phone. “In my mind, it’s scientists, artists, it’s folks that are looking towards where we might go if we put down our dogmatic swords and look to a cultural horizon.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival features a mix of the global and the local, including a musical tribute to funk pioneer Betty Davis, performed by poet Jessica Care Moore and her ensemble Black Women Rock!, with East Bay singer Zakiyah Harris joining in. San Francisco dance company Capacitor premieres a new piece. And my co-host Gabe Meline is also excited for another chance to see \u003cem>The Burden\u003c/em>, a terrific short film by Swedish director Niki Lindroth von Bahr. It’s the best representation of loneliness featuring singing fish heads you’ll ever find, and it’s part of a short film program on May 13.\u003c/p>\n\u003cfigure id=\"attachment_13830994\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg\" alt=\"Campo Santo featuring Britney Frazier, Delina Patrick Brooks\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-768x455.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1020x604.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1200x710.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1920x1136.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1180x698.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-960x568.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-240x142.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-375x222.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-520x308.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Campo Santo featuring Britney Frazier, Delina Patrick Brooks \u003ccite>(Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transform is also hosting the San Francisco theater company Campo Santo and its new project from writer and director Roger Guenveur Smith. Their show \u003cem>Casa de Spirits\u003c/em> is about gentrification and liquor stores in the Tenderloin. Campo Santo is always tapping into the beauty and sometimes the weirdness of the public imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Transform Fest is at the Yerba Buena Center for the Arts in San Francisco from May 9 through May 20. \u003ca href=\"https://www.ybca.org/whats-on/transform-sp-2018\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marc Bamuthi Joseph, the Yerba Buena Center for the Art’s chief of pedagogy, says he was thinking recently about President John F. Kennedy’s call for the U.S. to send a man to the moon.\u003c/p>\n\u003cp>“Kennedy reminds us that the future is made of stumbles, hubris, and innovators who are humble enough to pursue it,” Joseph says.\u003c/p>\n\u003cp>Kennedy sparked the public imagination with the moonshot. And now Joseph and the YBCA have invited a group of artists for Transform Fest, a festival focused on the question, “where is our public imagination?”\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/MfYQkiVMncQ'\n title='//www.youtube.com/embed/MfYQkiVMncQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How does creativity and forethought show up in public space,” Joseph told me by phone. “In my mind, it’s scientists, artists, it’s folks that are looking towards where we might go if we put down our dogmatic swords and look to a cultural horizon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival features a mix of the global and the local, including a musical tribute to funk pioneer Betty Davis, performed by poet Jessica Care Moore and her ensemble Black Women Rock!, with East Bay singer Zakiyah Harris joining in. San Francisco dance company Capacitor premieres a new piece. And my co-host Gabe Meline is also excited for another chance to see \u003cem>The Burden\u003c/em>, a terrific short film by Swedish director Niki Lindroth von Bahr. It’s the best representation of loneliness featuring singing fish heads you’ll ever find, and it’s part of a short film program on May 13.\u003c/p>\n\u003cfigure id=\"attachment_13830994\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg\" alt=\"Campo Santo featuring Britney Frazier, Delina Patrick Brooks\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-768x455.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1020x604.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1200x710.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1920x1136.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1180x698.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-960x568.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-240x142.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-375x222.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-520x308.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Campo Santo featuring Britney Frazier, Delina Patrick Brooks \u003ccite>(Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transform is also hosting the San Francisco theater company Campo Santo and its new project from writer and director Roger Guenveur Smith. Their show \u003cem>Casa de Spirits\u003c/em> is about gentrification and liquor stores in the Tenderloin. Campo Santo is always tapping into the beauty and sometimes the weirdness of the public imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Transform Fest is at the Yerba Buena Center for the Arts in San Francisco from May 9 through May 20. \u003ca href=\"https://www.ybca.org/whats-on/transform-sp-2018\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\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=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film star Ashley Judd has become the latest to file a lawsuit against Harvey Weinstein, accusing the embattled former Hollywood producer of damaging her career after she rebuffed his sexual advances.\u003c/p>\n\u003cp>In a lawsuit filed in Los Angeles, Judd alleges sexual harassment and defamation, saying Weinstein “badmouthed her to filmmaker Peter Jackson and cost her a role in the \u003cem>Lord of the Rings\u003c/em> trilogy,” according to \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/ashley-judd-sues-harvey-weinstein-sexual-harassment-defamation-1107165\">Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>Judd, now 50, says in 1998 she was in contention for one of two major roles in the adaptation of the J.R.R. Tolkien books when Weinstein told Jackson that she was “a ‘nightmare’ to work with and should be avoided ‘at all costs.’ ”\u003c/p>\n\u003cp>“Mr. Weinstein’s abusive conduct toward others has caused no end of damage to aspiring actors and others in the film and entertainment industry,” Judd said in a statement, \u003ca href=\"http://variety.com/2018/film/news/ashley-judd-harvey-weinstein-retaliation-1202792862/\">according to Variety.\u003c/a> “As my experience and the experience of others shows, even a few false statements from Mr. Weinstein could destroy potentially career-changing professional opportunities. It’s time that Mr. Weinstein be held accountable for that conduct and for the ways in which he’s damaged careers.”\u003c/p>\n\u003cp>Weinstein, whose production company, Miramax, then held the rights to \u003cem>Lord of the Rings\u003c/em>, has denied trying to hurt Judd’s career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein has been accused by dozens of women of harassment and sexual abuse dating back decades – allegations that surfaced last year, sparking the emergence of the #meToo movement. Judd was among the first women to come forward against the producer.\u003c/p>\n\u003cp>Judd says that in 1997 at the Peninsula Hotel in Beverly Hills, Weinstein — in what was supposed to be a breakfast meeting — “appeared in a bathrobe [and] asked Judd to watch him shower and to let him massage her,” The Associated Press says of the lawsuit.\u003c/p>\n\u003cp>“Cornered, and desperate to escape without angering a man who had the ability to end her budding career, Ms. Judd engaged in a mock bargain with Weinstein, suggesting that she would consider letting him touch her only if she won an Academy Award in one of his films,” the lawsuit says.\u003c/p>\n\u003cp>“Weinstein responded: ‘When you get nominated.’ Ms. Judd held firm, saying, ‘No, when I win.’ And then she fled the scene.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the AP:\u003c/p>\n\u003cblockquote>\n\u003cp>“The lawsuit seeks injunctions against Weinstein engaging in unfair competition and any further retaliation against Judd. It asks for damages to be determined at trial, but a statement from her attorneys said any money she is awarded will be donated to a charity that combats sexual harassment and discrimination.\u003c/p>\n\u003cp>The suit is among many pending against Weinstein, 66, who is also under criminal investigation in Los Angeles and New York.”\u003c/p>\n\u003c/blockquote>\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=Ashley+Judd+Sues+Harvey+Weinstein%2C+Saying+He+Tried+To+Damage+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "A Diva Deconstructed In ‘Grace Jones: Bloodlight and Bami’ | KQED",
"content": "\u003cp>There’s a sequence in the documentary \u003cem>Grace Jones: Bloodlight and Bami\u003c/em> that follows the pop-art icon before, during, and after a pre-recorded TV performance she’s giving in front of a studio audience in France. As she makes her way toward the stage in a black corset, high heels, and a lacy purple headdress that masks her eyes — an amusing contrast with the lumpen roadies and stagehands she greets along the way — Jones frets about the possibility of the set being tacky. And sure enough, when she’s escorted on stage, she’s surrounded by beautiful women in white lingerie, dancing suggestively around high-back wooden chairs. Without saying a word, she performs for the crowd and absolutely kills it, as usual. \u003c/p>\n\u003cp>Backstage, however, it’s another story. Jones unloads on the show’s producer, likening herself to “a madam in a whorehouse” and comparing the dance choreography to women strutting around a brothel. The producer accepts the criticism and asks if she wants the dancers removed from the next taping. Jones says yes, but with regrets: “Those poor girls,” she says. “They will be so upset with me. They will hate me.” Such is the personal cost of artistic integrity: By insisting on a creative environment that meets her standards, Jones will have to make a few enemies. After decades in the spotlight, no doubt those few have become many. \u003c/p>\n\u003cp>The word for that is “diva.” \u003c/p>\n\u003cp>Among its virtues, Sophie Fiennes’ idiosyncratic documentary will make you think twice about what \u003cem>diva \u003c/em>means when applied to a performer like Jones, whose longevity has as much to do with carefully managing her own image as capitalizing on the evident gifts of her husky voice and regal cheekbones. As a conceptual artist, she might be compared to musicians like Prince or David Byrne, but because they’re men, they’re labeled iconoclasts, not divas, and in \u003cem>Bloodlight and Bami\u003c/em>, she’s often forced to put her foot down to get what she wants. She has a new album she’s recording on her own dime, which means that when a session player doesn’t show up the studio or a venue host balks at paying for a hotel suite, Jones has to yell into the phone. Otherwise, the show doesn’t go on. \u003c/p>\n\u003cp>Fiennes hasn’t constructed \u003cem>Bloodlight and Bami\u003c/em> like an ordinary behind-the-music profile, so those nostalgic for Jones’ disco glory days are advised to look elsewhere. The past \u003cem>does\u003c/em> figure heavily into the film, but only through the lens of the present, as Jones returns to Jamaica, her birthplace, to reconnect with members of her family. It’s a joyous occasion for Jones to see her mother, who gets to show off her own vocal formidable range in a church hymn, but she’s also haunted by bad memories of her childhood on the island. Her grandmother’s second husband, known as “Mas P,” was an angry religious zealot who subjected her to sadistic beatings before she finally left Jamaica at 13 to join her parents in upstate New York. Jones attributes her fierceness on stage— and her temperamental behavior off it, too — to his influence, though how much she’s internalized his abuse is a mystery the film doesn’t endeavor to solve. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though Fiennes specializes in documentary profiles — she did one on the German painter and sculptor Anselm Kiefer (\u003cem>Over Your Cities Grass Will Grow\u003c/em>) and two on the Slovenian philosopher Slavoj Žižek (\u003cem>The Pervert’s Guide to Cinema\u003c/em> and \u003cem>The Pervert’s Guide to Ideology\u003c/em>) — she doesn’t care much for context or any information that could be gleaned from a Wikipedia page. Consequently, \u003cem>Bloodlight and Bami\u003c/em> can feel misshapen and listless, with a two-hour running time that’s not only taxing, but a little arbitrary. The electrifying live performance sequences give the film whatever structure it has, but the behind-the-scenes material, shot in grimy video, is unpolished to a fault. Sometimes even fly-on-the-wall footage needs to be swatted. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet Fiennes does achieve a level of intimacy and candor with Jones that’s uncommon for documentaries about figures who control their images this closely. Where a film like \u003cem>Madonna: Truth or Dare\u003c/em> whiffs like an exercise in brand extension, \u003cem>Bloodlight and Bami\u003c/em> finds Jones giving herself over to Fiennes in a way she wouldn’t to, say, the French producer who turned her stage show into a tacky brothel. Her performances testify to her indomitable presence, but she also gives a piece of herself to the camera, some small window into her soul. It’s only fitting that she leaves us wanting more. \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+Diva+Deconstructed+In+%27Grace+Jones%3A+Bloodlight+and+Bami%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Fiennes specializes in documentary profiles — she did one on the German painter and sculptor Anselm Kiefer (\u003cem>Over Your Cities Grass Will Grow\u003c/em>) and two on the Slovenian philosopher Slavoj Žižek (\u003cem>The Pervert’s Guide to Cinema\u003c/em> and \u003cem>The Pervert’s Guide to Ideology\u003c/em>) — she doesn’t care much for context or any information that could be gleaned from a Wikipedia page. Consequently, \u003cem>Bloodlight and Bami\u003c/em> can feel misshapen and listless, with a two-hour running time that’s not only taxing, but a little arbitrary. The electrifying live performance sequences give the film whatever structure it has, but the behind-the-scenes material, shot in grimy video, is unpolished to a fault. Sometimes even fly-on-the-wall footage needs to be swatted. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet Fiennes does achieve a level of intimacy and candor with Jones that’s uncommon for documentaries about figures who control their images this closely. Where a film like \u003cem>Madonna: Truth or Dare\u003c/em> whiffs like an exercise in brand extension, \u003cem>Bloodlight and Bami\u003c/em> finds Jones giving herself over to Fiennes in a way she wouldn’t to, say, the French producer who turned her stage show into a tacky brothel. Her performances testify to her indomitable presence, but she also gives a piece of herself to the camera, some small window into her soul. It’s only fitting that she leaves us wanting more. \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+Diva+Deconstructed+In+%27Grace+Jones%3A+Bloodlight+and+Bami%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a kid growing up on Staten Island, RZA became obsessed with martial arts films, in part because they represented a struggle against oppression he didn’t yet realize existed outside of black America. Classics like \u003cem>The 36th Chamber of Shao Lin \u003c/em>awakened his nascent political consciousness, and samples from it and other films lend Wu-Tang Clan’s music an air of militancy and brotherhood.\u003c/p>\n\u003cp>That early obsession with martial arts films continues to be a guiding force in RZA’s work: His latest collection for his clothing brand, 36 Chambers, had its \u003ca href=\"https://www.kqed.org/arts/13809267\" target=\"_blank\" rel=\"noopener\">debut at San Francisco’s Asian Art Museum\u003c/a> last fall. And now, RZA returns to the Bay Area to perform a live soundtrack for a special screening of \u003cem>The 36th Chamber of Shao Lin.\u003c/em>\u003c/p>\n\u003cp>For the new score, RZA will draw on Wu-Tang Clan’s nearly 30-year catalog, programming beats live throughout the film’s 115-minute run time. It’s happening at the Castro Theatre on Apr. 26, and there are still \u003ca href=\"https://www.eventbrite.com/e/rza-live-from-the-36th-chamber-the-castro-theatre-sf-tickets-44005973050\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> on sale.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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