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"content": "\u003cp>The great tragedy of modern life, Sofia Coppola might say, is that the accoutrements of success—clothes, toys, technology and beautiful lovers—don’t provide happiness or nourishment. This is not a recent realization: Sixty years ago, the Italian filmmaker Michelangelo Antonioni discerned the boredom and self-loathing of affluent urbanites amid the glittery, gritty grandeur of his country’s postwar economic revival. Luce Cinecitta’s April 28 retrospective at the Castro, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Michelangelo Antonioni\u003c/a>, summons the director’s radically unflinching and impeccably designed dissections of human nature for a contemporary generation of conspicuous consumers.\u003c/p>\n\u003cp>In the exquisite black-and-white films \u003cem>L’avventura\u003c/em> (1960) and \u003cem>L’eclisse\u003c/em> (1962), as well as his aggressive forays into color, \u003cem>Red Desert\u003c/em> (1964) and \u003cem>Blow-Up\u003c/em> (1966), Antonioni exposed the trap door beneath the trappings of privilege: the gradual disintegration of morality, a concurrent loss of empathy, a tenuous, nebulous sense of identity and an inability to connect on a meaningful level with another person. (One can imagine what Antonioni would make of the people wearing earbuds and staring at their screens on the 45 Union, let alone the Google buses to Silicon Valley.)\u003c/p>\n\u003cp>The genius of Antonioni’s 1960s films lay in his ability to express entire themes and interpersonal relationships through his compositions: Every image conveyed the whole story. Even the outlier in this roundup of career highlights, \u003cem>The Passenger\u003c/em> (1974), a sweaty, dusty road movie starring Jack Nicholson at his peak, ends with one of the most astonishing and moving sequences in all of cinema. Surely some of San Francisco’s nouveau bourgeoisie will identify with the existential journey of a man ditching his identity and escaping his self-created prison of ties and responsibilities. Antonioni, you see, is one of the immortals.\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>The great tragedy of modern life, Sofia Coppola might say, is that the accoutrements of success—clothes, toys, technology and beautiful lovers—don’t provide happiness or nourishment. This is not a recent realization: Sixty years ago, the Italian filmmaker Michelangelo Antonioni discerned the boredom and self-loathing of affluent urbanites amid the glittery, gritty grandeur of his country’s postwar economic revival. Luce Cinecitta’s April 28 retrospective at the Castro, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Michelangelo Antonioni\u003c/a>, summons the director’s radically unflinching and impeccably designed dissections of human nature for a contemporary generation of conspicuous consumers.\u003c/p>\n\u003cp>In the exquisite black-and-white films \u003cem>L’avventura\u003c/em> (1960) and \u003cem>L’eclisse\u003c/em> (1962), as well as his aggressive forays into color, \u003cem>Red Desert\u003c/em> (1964) and \u003cem>Blow-Up\u003c/em> (1966), Antonioni exposed the trap door beneath the trappings of privilege: the gradual disintegration of morality, a concurrent loss of empathy, a tenuous, nebulous sense of identity and an inability to connect on a meaningful level with another person. (One can imagine what Antonioni would make of the people wearing earbuds and staring at their screens on the 45 Union, let alone the Google buses to Silicon Valley.)\u003c/p>\n\u003cp>The genius of Antonioni’s 1960s films lay in his ability to express entire themes and interpersonal relationships through his compositions: Every image conveyed the whole story. Even the outlier in this roundup of career highlights, \u003cem>The Passenger\u003c/em> (1974), a sweaty, dusty road movie starring Jack Nicholson at his peak, ends with one of the most astonishing and moving sequences in all of cinema. Surely some of San Francisco’s nouveau bourgeoisie will identify with the existential journey of a man ditching his identity and escaping his self-created prison of ties and responsibilities. Antonioni, you see, is one of the immortals.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The director of \u003cem>The Exorcist\u003c/em> witnesses a real exorcism.” It’s a hook too devilish to resist, so in 2016 \u003cem>Vanity Fair \u003c/em>\u003ca href=\"https://www.vanityfair.com/hollywood/2016/10/father-amorth-the-vatican-exorcist\" target=\"_blank\" rel=\"noopener\">sent filmmaker William Friedkin to Italy\u003c/a> to file a story about Father Gabriele Amorth. Rome’s leading exorcist was then 91 and, though he didn’t yet know it, only a few months from death. He plowed ahead with his work, performing a ritual on a woman he believed to be possessed by Satan, and invited Friedkin to document it, in a rare sit-in. \u003c/p>\n\u003cp>This was basically the plot of Friedkin’s 1973 blockbuster, a landmark of horror cinema that to this day can still send an icy blast of panic directly into your soul. Despite spending the last four decades professing he was done with the exorcism business, it was inevitable he’d be diving back in at some point.\u003cem> The Devil and Father Amorth\u003c/em>, a documentary Friedkin compiled from the footage he filmed for the article, is quite short, running just over an hour … but it’s one of the most bizarre hours of documentary you’re likely to see from an accomplished director. Mostly because, despite Friedkin’s pedigree, it seems to have been made by someone who’s never seen a movie before.\u003c/p>\n\u003cp>Let’s tackle the obvious question first. Did Friedkin, and Father Amorth, actually dance with the devil? Well, Satan doesn’t carry dental records, so your interpretation of the footage will vary. But oddly enough, the original \u003cem>Exorcist\u003c/em>, with its unparalleled special effects, shocking imagery and disturbingly committed performance from Linda Blair,was a better argument for the existence of demonic possession than the direct source, because the visions from our nightmares were so lush and detailed they could only be neutered by the real thing. Here the exorcism footage plays out in more or less real time, for about fifteen minutes. Friedkin films this while crouching in the corner of a bare room, right next to the patient, surrounded by her family, Father Amorth and rosary beads. The woman, whose name is Christina, trembles in her chair in a trance-like state as the priest chants Latin spells to cast out evil spirits. Then she shakes awake, with a voice that doesn’t seem to be her own, screaming “DON’T TOUCH HER!” and “I AM SATAN!” and “WE ARE LEGION!” This is her ninth exorcism, and she’s clearly in a lot of distress. But it doesn’t seem like any of these sessions will bring her true relief.\u003c/p>\n\u003cp>Friedkin clearly believes this is a momentous discovery, but he has a vanilla way of showing it. The first 15 minutes of \u003cem>The Devil and Father Amorth\u003c/em> play like a making-of featurette from \u003cem>The Exorcist\u003c/em>, with Friedkin giving us an out-of-nowhere guided tour of the original film’s Georgetown locations, interspersed with 20-year-old interviews with the film’s writer, William Peter Blatty (who died last year). Then we get the run-up to Father Amorth’s session, which Friedkin approaches with Herzogian glee as he explains the strict filming conditions he was under: no crews, only a tiny digital camera permitted, etc. We’re not dealing quite with the Cave of Forgotten Dreams here, but sure, we can get onboard with a few limitations. Yet Friedkin must have liked that handheld feeling, because he films nearly every interview, even the ones that aren’t with demons, while holding that tiny DSLR camera, elbow leaning lazily on a desk. He also sets up a reverse-shot so we can see him interviewing his subject as he holds the camera in front of his face. It’s disorienting and serves no clear aesthetic purpose, and seems to point to the whole enterprise being a rush job.\u003c/p>\n\u003cp>The exorcism takes us through the film’s halfway point, and it gets somehow weirder and duller at the same time. The back end is a clunky, History Channel-like mishmash of interviews, none of which really deepen our understanding of possession, exorcisms or the like. There are various neurologists and psychiatrists, who offer their best guesses as to what took place, mostly determining that they don’t know, either. (One interesting possibility, that Christina’s brain created the Devil within her because that’s what her religious background imbued in her psyche, is floated but not explored.) And an American bishop politely recuses himself from any future exorcisms: “You gotta be really, really holy.” Finally, Friedkin has a climactic encounter, one to which he doesn’t even bring a camera. So he tells us about it later instead, in a “you had to be there” vibe. C’mon, dude. Pics or it didn’t happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sort of thing would normally be catnip for a rant from BBC film critic Mark Kermode, who not only loves going off on bad movies but has also called \u003cem>The Exorcist \u003c/em>his favorite film of all time. Except… Kermode co-wrote the documentary with Friedkin, which only deepens the mystery of its alien ineptitude. Where are the human stakes that made \u003cem>The Exorcist\u003c/em> so frightfully compelling? We learn little about Father Amorth, the tens of thousands of exorcisms he claimed to have performed, or his theories about Satanic possession in Nazi Germany and the Vatican. We barely get to know Christina at all. And we come to understand modern science’s response to demonic possession only in the most perfunctory way. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before Father Amorth performed any exorcism, he would literally thumb his nose at the devil. Maybe this sloppy, amateurish effort to capture him is Friedkin’s way of doing the same. \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=William+Friedkin+Meets+%27The+Devil+And+Father+Amorth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "In ‘The Rider,’ Chloé Zhao Tells an Intimate and Cautionary Tale | KQED",
"content": "\u003cp>For her second feature, Chinese director Chloé Zhao returned to a place she first visited in 2015 – the South Dakota Badlands – to tell the (slightly fictionalized) story of a rodeo rider and horse trainer she’s now turned into a movie star. “Historically, people go West when they feel lost,” Zhao says in our interview. “I just took a trip there and the place immediately made sense to me.” \u003c/p>\n\u003cp>As she speaks about filming \u003ci>The Rider\u003c/i> on and off the Pine Ridge Indian Reservation, Brady Jandreau, her star, enters the room. Zhao voices her disapproval over the slim can of Red Bull he’s drinking. Throughout the interview, the director maintains a maternal stance toward the young man, at times even wagging her finger in his direction. \u003c/p>\n\u003cp>\u003cem>The Rider\u003c/em> runs parallel to that gesticulation, like a warning to young cowboys who risk their lives for the rush and the glory that comes from riding bulls and broncos. But the director’s approach is never that obvious or patronizing.\u003c/p>\n\u003cfigure id=\"attachment_13829499\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg\" alt=\"Writer/director Chloé Zhao on the set of 'The Rider.'\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13829499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1920x1272.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-520x344.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Writer/director Chloé Zhao on the set of ‘The Rider.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zhao sets an early scene in darkness. Her camera takes in the expansive prairie landscape until it settles on four young men sitting around a campfire. Three of them are joking around with each other, starting to raise hell on a Friday night – they’ve barely grown past their boyhood selves. The fourth is Jandreau, playing a character named Brady Blackburn. \u003c/p>\n\u003cp>When the camera focuses on him, the downward tilt of his face as he stares into the fire suggests that he’s both in the moment with his friends but also standing outside of it, contemplating his fate. As his friends holler and chase each other into the moonless night, Blackburn stays behind, drawing the audience in close to his point of view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To sustain this sense of intimacy with him throughout the movie, Zhao says, “I was clean on him, and every time it goes to somebody else, it’s always dirtied by him in the foreground. It’s forever through Brady’s perspective.” \u003c/p>\n\u003cp>The director chose him for the role after meeting many other cowboys. “I was looking for somebody who truly believes in his way of life. He has to convince me, and you, and a lot of people who lived very differently than the way he did,” she says. “He believes in it, and he lives by it. It’s hard to come by with young people today.”\u003c/p>\n\u003cp>Zhao establishes the central tension of \u003cem>The Rider\u003c/em> early. We watch as Blackburn removes a bloodied bandage from his head. And then, without much delicacy, he also plucks out the staples that have been holding the wound closed. Blackburn is recovering from a rodeo fall that takes place before the film starts. \u003c/p>\n\u003cfigure id=\"attachment_13829501\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg\" alt=\"Brady Jandreau as Brady Blackburn.\" width=\"1528\" height=\"858\" class=\"size-full wp-image-13829501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-520x292.jpg 520w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">Brady Jandreau as Brady Blackburn. \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point during the interview, Zhao mentions Darren Aronofsky’s \u003cem>The Wrestler\u003c/em> as an analogous story. Mickey Rourke’s character risks his life when he returns to the ring; that irresistible pull back to something dangerous drives Zhao’s narrative as well.\u003c/p>\n\u003cp>Without being able to ride, Blackburn loses his connection to what makes him feel whole and alive. Jandreau, despite having suffered the same injury off-screen, says he still thinks about riding, even when Zhao raises her finger when the subject comes up. “I had a long break from rodeo even before the shooting began. I was thinking about maybe riding again once my bones even healed in my head,” he says. “I put a lot of thought into it, and it’s not about really whether I ride or not, it’s about the idea of doing it. It led me to almost everything I achieved today. I don’t know, just going to rodeos, it put a bad taste in my mouth anymore, because I miss it so bad.”\u003c/p>\n\u003cp>In a dream sequence, Blackburn imagines a stabled horse pacing back and forth, restless for a ride. Talking about the scene triggers a reaction in Jandreau. He recounts a dream he had while he was in a coma after his own real-life accident: “I was a horse being trained.” While the nurses and doctors intubated him, they cut off his clothes and fitted him with a neck brace. He felt as if he was being saddled. He remembers feeling scared. In the dream, one of the hospital staff occupied Jandreau’s own role as a horse trainer: “He was really calm, and pretty soon, he got on, and rode, and everything. I tried to buck him off. I remember it vividly. I had no control over myself. I had no sense that I was me.”\u003c/p>\n\u003cp>In \u003cem>The Rider\u003c/em>, Zhao captures a natural affinity between human and animal spirits. The film is an expression of Jandreau’s joy and his pain. “I feel like I can identify with horses better than I can identify with people,” he says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Rider’ opens Friday, April 20 at Landmark Embarcadero in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For her second feature, Chinese director Chloé Zhao returned to a place she first visited in 2015 – the South Dakota Badlands – to tell the (slightly fictionalized) story of a rodeo rider and horse trainer she’s now turned into a movie star. “Historically, people go West when they feel lost,” Zhao says in our interview. “I just took a trip there and the place immediately made sense to me.” \u003c/p>\n\u003cp>As she speaks about filming \u003ci>The Rider\u003c/i> on and off the Pine Ridge Indian Reservation, Brady Jandreau, her star, enters the room. Zhao voices her disapproval over the slim can of Red Bull he’s drinking. Throughout the interview, the director maintains a maternal stance toward the young man, at times even wagging her finger in his direction. \u003c/p>\n\u003cp>\u003cem>The Rider\u003c/em> runs parallel to that gesticulation, like a warning to young cowboys who risk their lives for the rush and the glory that comes from riding bulls and broncos. But the director’s approach is never that obvious or patronizing.\u003c/p>\n\u003cfigure id=\"attachment_13829499\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg\" alt=\"Writer/director Chloé Zhao on the set of 'The Rider.'\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13829499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1920x1272.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/16_Zhao-520x344.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Writer/director Chloé Zhao on the set of ‘The Rider.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zhao sets an early scene in darkness. Her camera takes in the expansive prairie landscape until it settles on four young men sitting around a campfire. Three of them are joking around with each other, starting to raise hell on a Friday night – they’ve barely grown past their boyhood selves. The fourth is Jandreau, playing a character named Brady Blackburn. \u003c/p>\n\u003cp>When the camera focuses on him, the downward tilt of his face as he stares into the fire suggests that he’s both in the moment with his friends but also standing outside of it, contemplating his fate. As his friends holler and chase each other into the moonless night, Blackburn stays behind, drawing the audience in close to his point of view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To sustain this sense of intimacy with him throughout the movie, Zhao says, “I was clean on him, and every time it goes to somebody else, it’s always dirtied by him in the foreground. It’s forever through Brady’s perspective.” \u003c/p>\n\u003cp>The director chose him for the role after meeting many other cowboys. “I was looking for somebody who truly believes in his way of life. He has to convince me, and you, and a lot of people who lived very differently than the way he did,” she says. “He believes in it, and he lives by it. It’s hard to come by with young people today.”\u003c/p>\n\u003cp>Zhao establishes the central tension of \u003cem>The Rider\u003c/em> early. We watch as Blackburn removes a bloodied bandage from his head. And then, without much delicacy, he also plucks out the staples that have been holding the wound closed. Blackburn is recovering from a rodeo fall that takes place before the film starts. \u003c/p>\n\u003cfigure id=\"attachment_13829501\" class=\"wp-caption aligncenter\" style=\"max-width: 1528px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg\" alt=\"Brady Jandreau as Brady Blackburn.\" width=\"1528\" height=\"858\" class=\"size-full wp-image-13829501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse.jpg 1528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/9_whitehorse-520x292.jpg 520w\" sizes=\"(max-width: 1528px) 100vw, 1528px\">\u003cfigcaption class=\"wp-caption-text\">Brady Jandreau as Brady Blackburn. \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point during the interview, Zhao mentions Darren Aronofsky’s \u003cem>The Wrestler\u003c/em> as an analogous story. Mickey Rourke’s character risks his life when he returns to the ring; that irresistible pull back to something dangerous drives Zhao’s narrative as well.\u003c/p>\n\u003cp>Without being able to ride, Blackburn loses his connection to what makes him feel whole and alive. Jandreau, despite having suffered the same injury off-screen, says he still thinks about riding, even when Zhao raises her finger when the subject comes up. “I had a long break from rodeo even before the shooting began. I was thinking about maybe riding again once my bones even healed in my head,” he says. “I put a lot of thought into it, and it’s not about really whether I ride or not, it’s about the idea of doing it. It led me to almost everything I achieved today. I don’t know, just going to rodeos, it put a bad taste in my mouth anymore, because I miss it so bad.”\u003c/p>\n\u003cp>In a dream sequence, Blackburn imagines a stabled horse pacing back and forth, restless for a ride. Talking about the scene triggers a reaction in Jandreau. He recounts a dream he had while he was in a coma after his own real-life accident: “I was a horse being trained.” While the nurses and doctors intubated him, they cut off his clothes and fitted him with a neck brace. He felt as if he was being saddled. He remembers feeling scared. In the dream, one of the hospital staff occupied Jandreau’s own role as a horse trainer: “He was really calm, and pretty soon, he got on, and rode, and everything. I tried to buck him off. I remember it vividly. I had no control over myself. I had no sense that I was me.”\u003c/p>\n\u003cp>In \u003cem>The Rider\u003c/em>, Zhao captures a natural affinity between human and animal spirits. The film is an expression of Jandreau’s joy and his pain. “I feel like I can identify with horses better than I can identify with people,” he says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Rider’ opens Friday, April 20 at Landmark Embarcadero in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Out of the Past With Lucrecia Martel",
"headTitle": "Out of the Past With Lucrecia Martel | KQED",
"content": "\u003cp>Every now and then, there emerges a film director who seems almost helplessly original, for whom making movies means reinventing the most basic elements of film grammar. One thinks of Orson Welles, Chantal Ackerman, Stanley Kubrick, and, more recently, Lucrecia Martel. It may have taken the New Argentine Cinema luminary a decade to follow \u003cem>The Headless Woman\u003c/em> (2008), but her latest film \u003cem>Zama\u003c/em> marks a brilliant advance for one of contemporary cinema’s most distinctive stylists. She appears in person multiple times in the Bay Area this weekend, at BAMPFA in Berkeley (April 22) and YBCA in San Francisco (April 23).\u003c/p>\n\u003cp>Martel’s earlier films—all of which screen in 35mm at BAMPFA over the coming weeks—burrow deeply into the Argentine bourgeoisie’s psyche, with characters drifting through threshold states of adolescence and midlife crisis. Not since Michelangelo Antonioni’s prime has disaffection seemed so perilously seductive, with a pervasive sense of decay felt at every level of composition. Indeed, Martel displays an almost preternatural sense for the way sounds and images can be combined and pulled apart to activate and envelope the audience’s affective experience, such that story comes to seem ancillary to the raw stuff of curiosity, dread, confusion, and desire.\u003c/p>\n\u003cfigure id=\"attachment_13829729\" 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/ZAM-still-003-800x450.jpg\" alt=\"Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2005 profile fittingly titled “In the Thick of It,” critic Kent Jones tempered his admiration for Martel’s filmmaking chops by noting that the self-contained quality of her first two films made it difficult to see her next move. As the 18th century-set \u003cem>Zama\u003c/em> amply demonstrates, however, the hermetic style lends itself to distant imaginings. More particularly, Martel’s poetics of dislocation are well suited to a corrosive historical account of colonialism.\u003c/p>\n\u003cp>The locus of this malaise is Don Diego de Zama, a magistrate for the Spanish crown pining to be transferred from his backwater post in present-day Paraguay. The plot is the unraveling of his plot, with Zama biding his time in a series of increasingly hopeless ploys for promotion. A supremely slippery antihero, by turns pathetic and tragic, reticent and cruel, morally compromised and most assuredly not “relatable” in the Hollywood style, actor Daniel Giménez Cacho nonetheless evokes the character’s all-too-human desperation. Marked as a voyeur from the first scene, Zama’s power is inseparable from his impotence.\u003c/p>\n\u003cp>Martel adapted the script from Antonio Di Benedetto’s 1953 novel, a modernist landmark only recently published in English translation. The novel would seem unpromising material for a film given its densely matted first-person narration (notions of unreliable narrators and dramatic irony don’t even begin to suggest the chasm that Di Benedetto opens between reader and character). Remarkably, though, Martel achieves the same kind of disjunctive effects in the eccentric framing and cryptic details that make every shot its own mystery.\u003c/p>\n\u003cfigure id=\"attachment_13829728\" 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/ZAM-still-002-800x450.jpg\" alt=\"A scene from Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a governor’s bright nail polish to a whining drone periodically heard on the soundtrack, Zama is freely anachronistic. In one scene, we unexpectedly find ourselves granted access to a minor character’s thoughts. In another, the camera is momentarily fixated on a horse’s mute gaze. As a result of these peculiar distancing effects, we are neither identified with Zama’s plight nor free of its foreboding. The character’s final descent is no less harrowing for its eerie calm, as if several Werner Herzog movies’ worth of lunacy had been distilled into a few spare sequences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One wishes Hollywood’s revisionists might study \u003cem>Zama\u003c/em> for its implicit recognition that repudiating history’s myths requires a strong formal commitment. A period piece that seeks to redress past wrongs while maintaining clear lines of cause and effect—to say nothing of heroes and villains—can only take us so far. \u003cem>Zama\u003c/em> undermines teleology at every level, in the process suggesting that colonialism’s destiny is madness and that it enfolds us still. In this sense, Zama’s final line of dialogue insinuates the viewer as well: “I do for you what no one did for me. I say no to your hopes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Lucrecia Martel appears Sunday, April 22, at BAMPFA’s screenings of ‘Zama’ and ‘The Headless Woman’; \u003ca href=\"https://bampfa.org/program/anxiety-identity-films-lucrecia-martel\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>. Martel also appears at the Yerba Buena Center for the Arts’ screening of ‘Zama’ in San Francisco on Monday, April 23; \u003ca href=\"https://www.ybca.org/whats-on/zama\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every now and then, there emerges a film director who seems almost helplessly original, for whom making movies means reinventing the most basic elements of film grammar. One thinks of Orson Welles, Chantal Ackerman, Stanley Kubrick, and, more recently, Lucrecia Martel. It may have taken the New Argentine Cinema luminary a decade to follow \u003cem>The Headless Woman\u003c/em> (2008), but her latest film \u003cem>Zama\u003c/em> marks a brilliant advance for one of contemporary cinema’s most distinctive stylists. She appears in person multiple times in the Bay Area this weekend, at BAMPFA in Berkeley (April 22) and YBCA in San Francisco (April 23).\u003c/p>\n\u003cp>Martel’s earlier films—all of which screen in 35mm at BAMPFA over the coming weeks—burrow deeply into the Argentine bourgeoisie’s psyche, with characters drifting through threshold states of adolescence and midlife crisis. Not since Michelangelo Antonioni’s prime has disaffection seemed so perilously seductive, with a pervasive sense of decay felt at every level of composition. Indeed, Martel displays an almost preternatural sense for the way sounds and images can be combined and pulled apart to activate and envelope the audience’s affective experience, such that story comes to seem ancillary to the raw stuff of curiosity, dread, confusion, and desire.\u003c/p>\n\u003cfigure id=\"attachment_13829729\" 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/ZAM-still-003-800x450.jpg\" alt=\"Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-003-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Giménez Cacho as Don Diego de Zama in Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2005 profile fittingly titled “In the Thick of It,” critic Kent Jones tempered his admiration for Martel’s filmmaking chops by noting that the self-contained quality of her first two films made it difficult to see her next move. As the 18th century-set \u003cem>Zama\u003c/em> amply demonstrates, however, the hermetic style lends itself to distant imaginings. More particularly, Martel’s poetics of dislocation are well suited to a corrosive historical account of colonialism.\u003c/p>\n\u003cp>The locus of this malaise is Don Diego de Zama, a magistrate for the Spanish crown pining to be transferred from his backwater post in present-day Paraguay. The plot is the unraveling of his plot, with Zama biding his time in a series of increasingly hopeless ploys for promotion. A supremely slippery antihero, by turns pathetic and tragic, reticent and cruel, morally compromised and most assuredly not “relatable” in the Hollywood style, actor Daniel Giménez Cacho nonetheless evokes the character’s all-too-human desperation. Marked as a voyeur from the first scene, Zama’s power is inseparable from his impotence.\u003c/p>\n\u003cp>Martel adapted the script from Antonio Di Benedetto’s 1953 novel, a modernist landmark only recently published in English translation. The novel would seem unpromising material for a film given its densely matted first-person narration (notions of unreliable narrators and dramatic irony don’t even begin to suggest the chasm that Di Benedetto opens between reader and character). Remarkably, though, Martel achieves the same kind of disjunctive effects in the eccentric framing and cryptic details that make every shot its own mystery.\u003c/p>\n\u003cfigure id=\"attachment_13829728\" 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/ZAM-still-002-800x450.jpg\" alt=\"A scene from Lucrecia Martel's 'Zama.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/ZAM-still-002-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucrecia Martel’s ‘Zama.’ \u003ccite>(Strand Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a governor’s bright nail polish to a whining drone periodically heard on the soundtrack, Zama is freely anachronistic. In one scene, we unexpectedly find ourselves granted access to a minor character’s thoughts. In another, the camera is momentarily fixated on a horse’s mute gaze. As a result of these peculiar distancing effects, we are neither identified with Zama’s plight nor free of its foreboding. The character’s final descent is no less harrowing for its eerie calm, as if several Werner Herzog movies’ worth of lunacy had been distilled into a few spare sequences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One wishes Hollywood’s revisionists might study \u003cem>Zama\u003c/em> for its implicit recognition that repudiating history’s myths requires a strong formal commitment. A period piece that seeks to redress past wrongs while maintaining clear lines of cause and effect—to say nothing of heroes and villains—can only take us so far. \u003cem>Zama\u003c/em> undermines teleology at every level, in the process suggesting that colonialism’s destiny is madness and that it enfolds us still. In this sense, Zama’s final line of dialogue insinuates the viewer as well: “I do for you what no one did for me. I say no to your hopes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Lucrecia Martel appears Sunday, April 22, at BAMPFA’s screenings of ‘Zama’ and ‘The Headless Woman’; \u003ca href=\"https://bampfa.org/program/anxiety-identity-films-lucrecia-martel\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>. Martel also appears at the Yerba Buena Center for the Arts’ screening of ‘Zama’ in San Francisco on Monday, April 23; \u003ca href=\"https://www.ybca.org/whats-on/zama\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s hard to imagine that anyone in this time zone knows more about African cinema, past and present, than Cornelius Moore. So when the longtime co-director of the San Francisco distribution company \u003ca href=\"http://newsreel.org\" rel=\"noopener\" target=\"_blank\">California Newsreel\u003c/a> programs a series, you know you’re getting the straight dope. His latest survey, \u003ca href=\"https://www.moadsf.org/blog/born-free-film-looks-at-post-apartheid-south-africa-april-18-may-31/\" rel=\"noopener\" target=\"_blank\">\u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em>\u003c/a>, commencing this Wednesday, April 18 at MOAD, delivers an exciting array of revelatory recent movies—fiction and docs—backed by a couple standouts from the turn of the century. \u003c/p>\n\u003cp>Moore cannily invites us to face the truth, and face the music, by beginning the series with \u003cem>Mama Africa: Miriam Makeba\u003c/em>, Finnish director Mika Kaurismaki’s 2011 biography of the gifted singer. A brave voice of revolutionary pride, Makeba’s passion for fairness and justice rattled the rafters far and wide, and echoes loudly in the present moment.\u003c/p>\n\u003cp>Looking ahead, and back, Oliver Schmitz’s 2000 drama \u003cem>Hijack Stories\u003c/em> (Apr. 26) explores the tensions between poor and middle-class black South Africans through an actor whose bright idea of preparing for a role by immersing himself in Soweto goes sideways. Ramadan Suleman’s 2004 \u003cem>Zulu Love Letter\u003c/em> (May 2) examines the painfully unresolved past through the story of a tormented journalist who sets out to find the grave of an activist murdered by the regime.\u003c/p>\n\u003cp>Moore’s kaleidoscope of hard truths continues through May 31, when Rehad Desai’s \u003cem>The Giant is Falling\u003c/em> (2016) rings down the curtain. Bringing the viewer up to the near-present, the documentary captures the people’s anger with the vaunted African National Congress for the party’s failure to fulfill Nelson Mandela’s promises. The gulf between lofty aspiration and daily life is painful to behold, yet \u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em> doesn’t flinch from acknowledging the reality of the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine that anyone in this time zone knows more about African cinema, past and present, than Cornelius Moore. So when the longtime co-director of the San Francisco distribution company \u003ca href=\"http://newsreel.org\" rel=\"noopener\" target=\"_blank\">California Newsreel\u003c/a> programs a series, you know you’re getting the straight dope. His latest survey, \u003ca href=\"https://www.moadsf.org/blog/born-free-film-looks-at-post-apartheid-south-africa-april-18-may-31/\" rel=\"noopener\" target=\"_blank\">\u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em>\u003c/a>, commencing this Wednesday, April 18 at MOAD, delivers an exciting array of revelatory recent movies—fiction and docs—backed by a couple standouts from the turn of the century. \u003c/p>\n\u003cp>Moore cannily invites us to face the truth, and face the music, by beginning the series with \u003cem>Mama Africa: Miriam Makeba\u003c/em>, Finnish director Mika Kaurismaki’s 2011 biography of the gifted singer. A brave voice of revolutionary pride, Makeba’s passion for fairness and justice rattled the rafters far and wide, and echoes loudly in the present moment.\u003c/p>\n\u003cp>Looking ahead, and back, Oliver Schmitz’s 2000 drama \u003cem>Hijack Stories\u003c/em> (Apr. 26) explores the tensions between poor and middle-class black South Africans through an actor whose bright idea of preparing for a role by immersing himself in Soweto goes sideways. Ramadan Suleman’s 2004 \u003cem>Zulu Love Letter\u003c/em> (May 2) examines the painfully unresolved past through the story of a tormented journalist who sets out to find the grave of an activist murdered by the regime.\u003c/p>\n\u003cp>Moore’s kaleidoscope of hard truths continues through May 31, when Rehad Desai’s \u003cem>The Giant is Falling\u003c/em> (2016) rings down the curtain. Bringing the viewer up to the near-present, the documentary captures the people’s anger with the vaunted African National Congress for the party’s failure to fulfill Nelson Mandela’s promises. The gulf between lofty aspiration and daily life is painful to behold, yet \u003cem>Born Free: Film Looks at Post-Apartheid South Africa\u003c/em> doesn’t flinch from acknowledging the reality of the streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \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=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Early in the Swedish-made sports movie \u003cem>Borg vs. McEnroe\u003c/em>, Bjorn Borg (Sverrir Gudnason) ducks into a Monaco bar to escape a pack of screaming girls after practicing for an especially tricky upcoming Wimbledon championship. The tennis star is without his wallet, so he helps out schlepping boxes in return for a free espresso and tries to convince the bartender that he’s an electrician by trade. The barkeep doesn’t buy it, and really, who would when confronted with those chiseled facial bones, maximally toned leg muscles, and blond curls improbably squashed under a baseball cap? \u003c/p>\n\u003cp>Lest you imagine, though, that all you’re about to see is the humble man of the people beneath the superstar, director Janus Metz and screenwriter Ronnie Sandahl have a different tale to tell about the legendary rivalry between Borg, a four-time Wimbledon winner, and John McEnroe, the brash American upstart with a killer backhand and truly awful manners.\u003c/p>\n\u003cp>Which is not to say that the smoothly crafted, satisfyingly earnest \u003cem>Borg vs. McEnroe\u003c/em> ventures far from the standard sports biopic template. There they are: the backstories full of heartache and deficit parenting; the intertitles insisting that sports are the ultimate metaphor for life; the separate narrative paths all inexorably leading to a Great Event — in this case the fabled 1980 Wimbledon game in which two stellar players bludgeoned one another into a seemingly endless run of match points before one came out on top. Nicely gussied-up with special effects and tennis-playing stand-ins intercut with actual footage, the finale is a riveting spectacle. The rest is biography, heavy on the flashbacks, of two radically different temperaments with more history in common than meets the eye. \u003c/p>\n\u003cp>Shia LaBeouf surely didn’t have to dig too deep within himself to come up with a terrific rendition of McEnroe, a curly-headed, ferocious competitor who is rude and aggressive on and off the court, prone to cheating even a close friend, a showy fighter with a killer left backhand. A player with more drive than finesse, McEnroe is equally unpopular with umpires and the crowd, and he pretends not to care that the crowd invariably roars for his graceful, focused opponent. \u003c/p>\n\u003cp>The twist is that Gudnason’s Borg comes off as his own species of psychological wreck. Shy, anxious and compulsive, he travels with umpteen tennis racquets whose precise tension he tests out by walking on them before every match. And though he is an elegant stylist on the court — a gentleman in a gentleman’s sport despite, or more likely \u003cem>because \u003c/em>of, his working-class background — Borg fails to attend to the mounting frustration of his patient, longtime girlfriend (Tuva Novotny). Both men, we learn, had troubled childhoods that scarred them with a load of rage and frustration and left them eternally incomplete, forever striving for elusive perfection. In the film one of them is rescued and steadied by a coach (Stellan Skarsgard) who has seen enough failure himself to understand that anger and pain must be channeled, not repressed, and that as in life, every game must be won point by point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Their undernourished childhoods have made unhappy winners of both men. One of them has to lose this round; in this big-hearted movie, life is more than the sum of its victories and defeats. The finale has us rooting for it to be true that, in the nail-biting final stretch of the game, Borg murmured a few words to his opponent that defrosted some hard, undernourished place in both their hearts — and allowed them to grow into men, \u003cem>menschen,\u003c/em> and lifelong friends. \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=%27Borg+vs.+McEnroe%27%3A+Game%2C+Set+And+An+Unlikely+Match&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the Swedish-made sports movie \u003cem>Borg vs. McEnroe\u003c/em>, Bjorn Borg (Sverrir Gudnason) ducks into a Monaco bar to escape a pack of screaming girls after practicing for an especially tricky upcoming Wimbledon championship. The tennis star is without his wallet, so he helps out schlepping boxes in return for a free espresso and tries to convince the bartender that he’s an electrician by trade. The barkeep doesn’t buy it, and really, who would when confronted with those chiseled facial bones, maximally toned leg muscles, and blond curls improbably squashed under a baseball cap? \u003c/p>\n\u003cp>Lest you imagine, though, that all you’re about to see is the humble man of the people beneath the superstar, director Janus Metz and screenwriter Ronnie Sandahl have a different tale to tell about the legendary rivalry between Borg, a four-time Wimbledon winner, and John McEnroe, the brash American upstart with a killer backhand and truly awful manners.\u003c/p>\n\u003cp>Which is not to say that the smoothly crafted, satisfyingly earnest \u003cem>Borg vs. McEnroe\u003c/em> ventures far from the standard sports biopic template. There they are: the backstories full of heartache and deficit parenting; the intertitles insisting that sports are the ultimate metaphor for life; the separate narrative paths all inexorably leading to a Great Event — in this case the fabled 1980 Wimbledon game in which two stellar players bludgeoned one another into a seemingly endless run of match points before one came out on top. Nicely gussied-up with special effects and tennis-playing stand-ins intercut with actual footage, the finale is a riveting spectacle. The rest is biography, heavy on the flashbacks, of two radically different temperaments with more history in common than meets the eye. \u003c/p>\n\u003cp>Shia LaBeouf surely didn’t have to dig too deep within himself to come up with a terrific rendition of McEnroe, a curly-headed, ferocious competitor who is rude and aggressive on and off the court, prone to cheating even a close friend, a showy fighter with a killer left backhand. A player with more drive than finesse, McEnroe is equally unpopular with umpires and the crowd, and he pretends not to care that the crowd invariably roars for his graceful, focused opponent. \u003c/p>\n\u003cp>The twist is that Gudnason’s Borg comes off as his own species of psychological wreck. Shy, anxious and compulsive, he travels with umpteen tennis racquets whose precise tension he tests out by walking on them before every match. And though he is an elegant stylist on the court — a gentleman in a gentleman’s sport despite, or more likely \u003cem>because \u003c/em>of, his working-class background — Borg fails to attend to the mounting frustration of his patient, longtime girlfriend (Tuva Novotny). Both men, we learn, had troubled childhoods that scarred them with a load of rage and frustration and left them eternally incomplete, forever striving for elusive perfection. In the film one of them is rescued and steadied by a coach (Stellan Skarsgard) who has seen enough failure himself to understand that anger and pain must be channeled, not repressed, and that as in life, every game must be won point by point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Limitations are a horror filmmaker’s best friend, whether it’s confining characters to a haunted house, constructing a forest menace out of shaky “found footage,” waiting until the third act to show the shark, or starving the senses in order to heighten them. \u003cem>A Quiet Place\u003c/em> is about a wave of blind, deadly arachnid creatures that are sensitive to sound — imagine if the aliens in the Vin Diesel film \u003cem>Pitch Black \u003c/em>were deposited on earth, more or less — but it’s really about isolating an effect and custom-fitting a story around it. When a single utterance or unintended noise means quick and certain death, the audience will hang on every bump of the soundtrack, like a heart patient eyeing an EKG. \u003c/p>\n\u003cp>There are high-minded ways to interpret \u003cem>A Quiet Place\u003c/em>, which develops into a affecting metaphor for the perils of parenthood, but it’s effective primarily as a back-to-basics statement of genre fundamentals. We’re so accustomed to being pummeled into submission by studio soundtracks that the deprivation here has a clarifying effect, reminding us of what’s possible when sound and music is carefully placed. That the film comes from Platinum Dunes, the production company of \u003cem>Transformers\u003c/em> director Michael Bay, feels like an act of penance from Hollywood’s chief supplier of ear-splitting rackets. \u003c/p>\n\u003cp>The unlikely frightmaster responsible for \u003cem>A Quiet Place\u003c/em> is John Krasinski, best known as Jim from \u003cem>The Office \u003c/em>and less well-known for \u003cem>Brief Interviews with Hideous Men\u003c/em> and \u003cem>The Hollars\u003c/em>, his mediocre forays into independent filmmaking. Krasinski starred in Bay’s thriller \u003cem>13 Hours: The Secret Soldiers of Benghazi\u003c/em>, and Bay has returned the favor by allowing him to merge the quiet, character-driven qualities of his indie films with the sledgehammer impact of a mainstream shocker. 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After a deadly encounter, the film cuts to roughly a year later, when the family is holed up in a farmhouse and expecting a new addition. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bringing a newborn into a world where noise can kill brings another dimension to the phrase “planned parenthood,” and there will no doubt be arguments over the wisdom of Lee and Evelyn’s decision, just as there are over victims running \u003cem>up\u003c/em> the stairs in a slasher film. Rest assured, the Abbotts have thought it through completely, but even the best-laid plans can’t account for, say, an errant nail on the basement stairs or an ill-timed plumbing issue. And once the creatures’ attention is roused, they have a tendency to stick around until they find the source and tear it to shreds. \u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em> operates like a more wide-open version of \u003cem>Don’t Breathe\u003c/em>, the superb Fede Álvarez thriller from two years ago about three robbers invading the home of a blind veteran. Krasinski doesn’t have Álvarez’s penchant for atmosphere and calculated aggression, but he comes close enough, and the performances make up much of the difference. Blunt is particularly good as an expectant mother turned reluctant warrior, but the entire cast works hard to humanize characters who could just as easily be waved around as flesh-colored arachnid bait. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Embedded in the film’s story is a touching truth about how the parental instinct to protect children from the dangers of the world don’t always square with reality. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Limitations are a horror filmmaker’s best friend, whether it’s confining characters to a haunted house, constructing a forest menace out of shaky “found footage,” waiting until the third act to show the shark, or starving the senses in order to heighten them. \u003cem>A Quiet Place\u003c/em> is about a wave of blind, deadly arachnid creatures that are sensitive to sound — imagine if the aliens in the Vin Diesel film \u003cem>Pitch Black \u003c/em>were deposited on earth, more or less — but it’s really about isolating an effect and custom-fitting a story around it. When a single utterance or unintended noise means quick and certain death, the audience will hang on every bump of the soundtrack, like a heart patient eyeing an EKG. \u003c/p>\n\u003cp>There are high-minded ways to interpret \u003cem>A Quiet Place\u003c/em>, which develops into a affecting metaphor for the perils of parenthood, but it’s effective primarily as a back-to-basics statement of genre fundamentals. We’re so accustomed to being pummeled into submission by studio soundtracks that the deprivation here has a clarifying effect, reminding us of what’s possible when sound and music is carefully placed. That the film comes from Platinum Dunes, the production company of \u003cem>Transformers\u003c/em> director Michael Bay, feels like an act of penance from Hollywood’s chief supplier of ear-splitting rackets. \u003c/p>\n\u003cp>The unlikely frightmaster responsible for \u003cem>A Quiet Place\u003c/em> is John Krasinski, best known as Jim from \u003cem>The Office \u003c/em>and less well-known for \u003cem>Brief Interviews with Hideous Men\u003c/em> and \u003cem>The Hollars\u003c/em>, his mediocre forays into independent filmmaking. Krasinski starred in Bay’s thriller \u003cem>13 Hours: The Secret Soldiers of Benghazi\u003c/em>, and Bay has returned the favor by allowing him to merge the quiet, character-driven qualities of his indie films with the sledgehammer impact of a mainstream shocker. Krasinski lands on a loud-quiet-loud formula akin to ’90s alternative rock: When the chorus kicks in, the jump-scares really pop. \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/WR7cc5t7tv8'\n title='//www.youtube.com/embed/WR7cc5t7tv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By Day 89 of the invasion, an entire planet of loudmouths has seemingly been winnowed down to one family wandering through a Cormac McCarthy apocalypse. The Abbotts—Lee (Krasinski), Evelyn (Emily Blunt), and their three children — are first shown tiptoeing around a general store in bare feet, culling medications and other essentials they need for their journey. (Sorting through pills bottles, in this context, is like dangling your toes in piranha-infested waters.) After a deadly encounter, the film cuts to roughly a year later, when the family is holed up in a farmhouse and expecting a new addition. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bringing a newborn into a world where noise can kill brings another dimension to the phrase “planned parenthood,” and there will no doubt be arguments over the wisdom of Lee and Evelyn’s decision, just as there are over victims running \u003cem>up\u003c/em> the stairs in a slasher film. Rest assured, the Abbotts have thought it through completely, but even the best-laid plans can’t account for, say, an errant nail on the basement stairs or an ill-timed plumbing issue. And once the creatures’ attention is roused, they have a tendency to stick around until they find the source and tear it to shreds. \u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em> operates like a more wide-open version of \u003cem>Don’t Breathe\u003c/em>, the superb Fede Álvarez thriller from two years ago about three robbers invading the home of a blind veteran. Krasinski doesn’t have Álvarez’s penchant for atmosphere and calculated aggression, but he comes close enough, and the performances make up much of the difference. Blunt is particularly good as an expectant mother turned reluctant warrior, but the entire cast works hard to humanize characters who could just as easily be waved around as flesh-colored arachnid bait. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Embedded in the film’s story is a touching truth about how the parental instinct to protect children from the dangers of the world don’t always square with reality. As much as Lee and Evelyn fret over the logistics of a new baby —common questions like “Bottle or formula?” or “Cloth diapers or disposable?” are not as pressing here — they also have to deal with two older kids who are pushing the boundaries and testing their independence. We may not recognize the monsters that lurk around every errant peep in \u003cem>A Quiet Place\u003c/em>, but the world outside the theater has plenty of its own. \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=%27A+Quiet+Place%27+Will+Leave+You+Shhhhhhaken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\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>[ad fullwidth]\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",
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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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"slug": "kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock",
"title": "Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock",
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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": "\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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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