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"content": "\u003cp>There are four suicide attempts in Atsuko Hirayanagi’s debut feature film \u003cem>Oh Lucy!\u003c/em> The first one succeeds; it’s the catalyst that spurs Setsuko (Shinobu Terajima) to reexamine her reclusive life. \u003c/p>\n\u003cp>It doesn’t take long to inventory the constituent parts of that life. Her small apartment, where she’s made enough space to watch TV, is a hoarder’s dream. She has an ambivalent relationship with her sister Ayako (Kaho Minami) and her niece Mika (Shioli Kutsuna). On the crowded Tokyo subway, Setsuko commutes to her job as an “office lady” with a tightly secured face mask. It’s yet another symbol of her inability to let the outside world in. \u003c/p>\n\u003cp>In her publicist’s office in downtown San Francisco, Hirayanagi describes the duties of an office lady. “It’s a secretary,” she says. “Basically, they do the same thing and they never move up on the career. They pour tea, make copies and assist the workforce, who are mostly men.” It’s a job performed by 20-somethings. “Usually they quit after the age of 30. So for her to be 43 years old and doing that, she’s an outcast.” These personal and professional doldrums are key to understanding what Setsuko does next. \u003c/p>\n\u003cfigure id=\"attachment_13827294\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg\" alt=\"Shinobu Terajima in 'Oh Lucy!'\" width=\"1480\" height=\"800\" class=\"size-full wp-image-13827294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-520x281.jpg 520w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mika calls her aunt on the day that Setsuko witnesses a suicide. Her niece asks her to take her place at an English language school — and to pay the niece directly for the remaining tuition costs. In need of a change, Setsuko reluctantly agrees. Hirayanagi explains her conception of the character’s motivation to step away from her daily routine, “I feel like the universe is always trying to present you with an incident or to make you meet people or something you need to deal with. And this time she took it.” \u003c/p>\n\u003cp>Setsuko finds the school in a seedy urban alley and meets the handsome American teacher John (an entirely relaxed Josh Hartnett). He hands her a curly blonde wig, renames her Lucy and embraces her. The combination of speaking in English, donning a silly wig and that hug facilitates the release of Setsuko’s pent up emotions. It’s a familiar filmmaking trope: unleash a character’s restricted id and remove them from their comfortable, if drab, circumstances. Following Setsuko’s personal transformation sparked by running toward, not away from, a chaotic world, \u003ci>Oh Lucy!\u003c/i> joins films like Jonathan Demme’s \u003cem>Something Wild\u003c/em>, Martin Scorsese’s \u003cem>After Hours\u003c/em> and Pedro Almodóvar’s \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827295\" class=\"wp-caption aligncenter\" style=\"max-width: 1422px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg\" alt=\"Kaho Minami, Josh Hartnett and Shinobu Terajima in 'Oh Lucy!'\" width=\"1422\" height=\"800\" class=\"size-full wp-image-13827295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg 1422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-520x293.jpg 520w\" sizes=\"(max-width: 1422px) 100vw, 1422px\">\u003cfigcaption class=\"wp-caption-text\">Kaho Minami, Josh Hartnett and Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Hirayanagi’s approach takes into account, as she says, “the fact that what people usually present to the world is completely opposite of what they are.” Once smitten with John, Setsuko — or her inner Lucy — pursues him back to the United States, a foolish and courageous act she never would have undertaken before. The director cast Shinobu Terajima in the part after seeing her in Ryuichi Hiroki’s 2003 film \u003cem>Vibrator\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She does this fearless, daring acting, which I don’t often see in Japanese actresses,” Hirayanagi says. “The producing partner is NHK, which is like the BBC of Japan. Because of them I was able to approach Miss Terajima. She’s an A-list actress, and when they gave me the list of actors for me to consider, I immediately thought she would be the only person who can perform this.”\u003c/p>\n\u003cfigure id=\"attachment_13827297\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg\" alt=\"Atsuko Hirayanagi, director of 'Oh Lucy!'\" width=\"1025\" height=\"862\" class=\"size-full wp-image-13827297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-800x673.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-768x646.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-1020x858.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-960x807.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-240x202.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-520x437.jpg 520w\" sizes=\"(max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">Atsuko Hirayanagi, director of ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Terajima projects Setsuko’s stifled longings as expressively as she does Lucy’s ecstatic, frenzied liberation. Hirayanagi, who also wrote the script, describes the moment when she begins to change, after the man commuting suicide brushes past her before he dies. “He happened to be behind her, but to me it’s not a coincidence,” she says. “People attract each other. Darkness, I think, attracts darkness. I’m talking here about synchronicity. And then I feel like all these five characters are basically the same people, attracted to each other on this journey.” \u003c/p>\n\u003cp>The director says that she has experienced suicide in her circle of acquaintances, even witnessing one when she lived in Singapore. “It’s not like this subject is so far from me. Everybody goes through those dark moments,” she says. “In a way the suicide is telling her, ‘I know who you are.’ That’s why he provoked her.” But the journey Setsuko makes is away from him, away from loneliness and death, and towards an unconventional, bewigged renewal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Oh Lucy!’ opens March 16 in San Francisco, Berkeley and San Rafael.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Atsuko Hirayanagi’s debut feature film follows a reclusive woman's personal transformation sparked by running toward, not away from, a chaotic world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are four suicide attempts in Atsuko Hirayanagi’s debut feature film \u003cem>Oh Lucy!\u003c/em> The first one succeeds; it’s the catalyst that spurs Setsuko (Shinobu Terajima) to reexamine her reclusive life. \u003c/p>\n\u003cp>It doesn’t take long to inventory the constituent parts of that life. Her small apartment, where she’s made enough space to watch TV, is a hoarder’s dream. She has an ambivalent relationship with her sister Ayako (Kaho Minami) and her niece Mika (Shioli Kutsuna). On the crowded Tokyo subway, Setsuko commutes to her job as an “office lady” with a tightly secured face mask. It’s yet another symbol of her inability to let the outside world in. \u003c/p>\n\u003cp>In her publicist’s office in downtown San Francisco, Hirayanagi describes the duties of an office lady. “It’s a secretary,” she says. “Basically, they do the same thing and they never move up on the career. They pour tea, make copies and assist the workforce, who are mostly men.” It’s a job performed by 20-somethings. “Usually they quit after the age of 30. So for her to be 43 years old and doing that, she’s an outcast.” These personal and professional doldrums are key to understanding what Setsuko does next. \u003c/p>\n\u003cfigure id=\"attachment_13827294\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg\" alt=\"Shinobu Terajima in 'Oh Lucy!'\" width=\"1480\" height=\"800\" class=\"size-full wp-image-13827294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/4_setsukostreet-520x281.jpg 520w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mika calls her aunt on the day that Setsuko witnesses a suicide. Her niece asks her to take her place at an English language school — and to pay the niece directly for the remaining tuition costs. In need of a change, Setsuko reluctantly agrees. Hirayanagi explains her conception of the character’s motivation to step away from her daily routine, “I feel like the universe is always trying to present you with an incident or to make you meet people or something you need to deal with. And this time she took it.” \u003c/p>\n\u003cp>Setsuko finds the school in a seedy urban alley and meets the handsome American teacher John (an entirely relaxed Josh Hartnett). He hands her a curly blonde wig, renames her Lucy and embraces her. The combination of speaking in English, donning a silly wig and that hug facilitates the release of Setsuko’s pent up emotions. It’s a familiar filmmaking trope: unleash a character’s restricted id and remove them from their comfortable, if drab, circumstances. Following Setsuko’s personal transformation sparked by running toward, not away from, a chaotic world, \u003ci>Oh Lucy!\u003c/i> joins films like Jonathan Demme’s \u003cem>Something Wild\u003c/em>, Martin Scorsese’s \u003cem>After Hours\u003c/em> and Pedro Almodóvar’s \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13827295\" class=\"wp-caption aligncenter\" style=\"max-width: 1422px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg\" alt=\"Kaho Minami, Josh Hartnett and Shinobu Terajima in 'Oh Lucy!'\" width=\"1422\" height=\"800\" class=\"size-full wp-image-13827295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY.jpg 1422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/L-to-R-Koji-Yakusho-Josh-Hartnett-and-Shinobu-Terajima-in-English-School-in-OH-LUCY-520x293.jpg 520w\" sizes=\"(max-width: 1422px) 100vw, 1422px\">\u003cfigcaption class=\"wp-caption-text\">Kaho Minami, Josh Hartnett and Shinobu Terajima in ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Hirayanagi’s approach takes into account, as she says, “the fact that what people usually present to the world is completely opposite of what they are.” Once smitten with John, Setsuko — or her inner Lucy — pursues him back to the United States, a foolish and courageous act she never would have undertaken before. The director cast Shinobu Terajima in the part after seeing her in Ryuichi Hiroki’s 2003 film \u003cem>Vibrator\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She does this fearless, daring acting, which I don’t often see in Japanese actresses,” Hirayanagi says. “The producing partner is NHK, which is like the BBC of Japan. Because of them I was able to approach Miss Terajima. She’s an A-list actress, and when they gave me the list of actors for me to consider, I immediately thought she would be the only person who can perform this.”\u003c/p>\n\u003cfigure id=\"attachment_13827297\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg\" alt=\"Atsuko Hirayanagi, director of 'Oh Lucy!'\" width=\"1025\" height=\"862\" class=\"size-full wp-image-13827297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-800x673.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-768x646.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-1020x858.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-960x807.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-240x202.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atsuko_Hirayanagi-520x437.jpg 520w\" sizes=\"(max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">Atsuko Hirayanagi, director of ‘Oh Lucy!’ \u003ccite>(Courtesy of Film Movement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Terajima projects Setsuko’s stifled longings as expressively as she does Lucy’s ecstatic, frenzied liberation. Hirayanagi, who also wrote the script, describes the moment when she begins to change, after the man commuting suicide brushes past her before he dies. “He happened to be behind her, but to me it’s not a coincidence,” she says. “People attract each other. Darkness, I think, attracts darkness. I’m talking here about synchronicity. And then I feel like all these five characters are basically the same people, attracted to each other on this journey.” \u003c/p>\n\u003cp>The director says that she has experienced suicide in her circle of acquaintances, even witnessing one when she lived in Singapore. “It’s not like this subject is so far from me. Everybody goes through those dark moments,” she says. “In a way the suicide is telling her, ‘I know who you are.’ That’s why he provoked her.” But the journey Setsuko makes is away from him, away from loneliness and death, and towards an unconventional, bewigged renewal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Oh Lucy!’ opens March 16 in San Francisco, Berkeley and San Rafael.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Israeli Film 'Foxtrot' Is A Bruisingly Powerful Look At A War Without End",
"headTitle": "Israeli Film ‘Foxtrot’ Is A Bruisingly Powerful Look At A War Without End | KQED",
"content": "\u003cp>The characters in the films of Samuel Maoz are all trapped in one way or another. His 2009 drama, \u003cem>Lebanon,\u003c/em> was a blistering critique of Israel’s 1982 invasion of its northern neighbor and an impressively sustained exercise in confinement: It unfolded entirely inside a tank, forcing us to see the devastation of war from the limited vantage of four young troops.\u003c/p>\n\u003cp>Maoz’s remarkable new movie, \u003cem>Foxtrot,\u003c/em> tells a different kind of soldier’s story, set in the present day and divided into three distinct chapters. It’s nowhere near as physically claustrophobic as \u003cem>Lebanon,\u003c/em> but its characters seem just as immobilized. The title, a reference to the three-step dance move that brings you back to your starting position, becomes a clever if heavy-handed metaphor for a nation mired in its own stasis.\u003c/p>\n\u003cp>https://youtu.be/wrBEDEmUceM\u003c/p>\n\u003cp>The first chapter begins with a couple being informed that their son, Jonathan Feldman, has been killed in the line of duty while stationed at a far-flung military outpost. The boy’s mother, Dafna (played by Sarah Adler), passes out and is immediately given tranquilizers by the attending soldiers.\u003c/p>\n\u003cp>For the next half-hour or so, the camera follows her husband, Michael (played by Lior Ashkenazi), as he moves through a kind of trance. He looks on in blank incomprehension as family members offer supportive hugs and a soldier coldly dictates funeral protocol.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maoz evokes Michael’s shellshocked fury by keeping us visually off-balance, sometimes through brazenly theatrical formal conceits. The atmosphere feels airless but charged with suspense. The camera tracks up and down the corridors of the Feldmans’ apartment, whose oppressively stylish monochrome decor adds to the vague air of unreality.\u003c/p>\n\u003cp>Ashkenazi, perhaps the best-known Israeli actor working today, gives a tremendous performance as Michael, barely sublimating and finally unleashing his rage against the government and the military. It isn’t just the tragic news they’ve brought to his door, but the chilly, bureaucratic efficiency with which they treat the newly bereaved.\u003c/p>\n\u003cp>The second chapter brings us to a security checkpoint in the middle of the desert where, at this point in the story, Jonathan (played by Yonatan Shiray) is alive and well. He and his three soldier buddies spend most of their days goofing off in a squalid shipping container that is slowly sinking into the dirt. On those rare occasions when cars approach their checkpoint, however, the young men spring into action.\u003c/p>\n\u003cp>Maoz courts our sympathies for the quiet, nameless Arab civilians trying to pass through the checkpoint, who are forced to sit and wait for long periods of time, or even to stand outside in the pouring rain. The tension cultivated in the first act boils over in the second, ultimately erupting in tragedy.\u003c/p>\n\u003cp>The third chapter returns us to the Feldmans’ apartment sometime later to find the family utterly ravaged by grief. Michael is no longer living with Dafna, but he has dropped in on the occasion of what would have been Jonathan’s 20th birthday.\u003c/p>\n\u003cp>Adler, her character no longer sedated but fully alert and angry, matches Ashkenazi’s performance moment for furious moment. Dafna blames Michael for Jonathan’s death, railing against him for his selfishness and weakness, while giving full voice to the unceasing agony of any parent who has ever lost a child.\u003c/p>\n\u003cp>As demonstrated by past movies like \u003cem>Waltz With Bashir \u003c/em>and \u003cem>Beaufort,\u003c/em> any film that touches on the efforts of the Israel Defense Forces can expect to become a lightning rod for controversy. The nation’s minister of culture and sport, Miri Regev, has already \u003ca href=\"http://www.jpost.com/Opinion/Uncultured-minister-505041\">attacked\u003c/a> \u003cem>Foxtrot\u003c/em> for its “self-flagellation and cooperation with the anti-Israel narrative.”\u003c/p>\n\u003cp>Maoz, for his part, has said in interviews that his critique comes from a place of love. “If I criticize the place I live, I do it because I worry,” he told \u003ca href=\"https://www.timesofisrael.com/foxtrots-samuel-maoz-talks-fate-potted-meat-ministerial-controversy/\">The Times of Israel.\u003c/a>\u003c/p>\n\u003cp>The specificity of the film’s argument is unmistakable. The Feldmans, we learn, lost relatives in Auschwitz, and Maoz suggests that the horrific legacy of the Holocaust is merely the gravest of the many scars that have led his characters to their anguished present mindset. The harsh everyday reality of the occupation has played its part as well.\u003c/p>\n\u003cp>But on a deeper level, \u003cem>Foxtrot\u003c/em> resonates because the attributes we see in these characters — their bitterness, their pride, their instinctive distrust of the other — are hardly the domain of one family or one country alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In its wrenching final moments, this bruisingly powerful movie could be taking place in any state where men and women rage against each other, where historical trauma looms large in the collective memory and where young people are sent off to a war without end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The characters in the films of Samuel Maoz are all trapped in one way or another. His 2009 drama, \u003cem>Lebanon,\u003c/em> was a blistering critique of Israel’s 1982 invasion of its northern neighbor and an impressively sustained exercise in confinement: It unfolded entirely inside a tank, forcing us to see the devastation of war from the limited vantage of four young troops.\u003c/p>\n\u003cp>Maoz’s remarkable new movie, \u003cem>Foxtrot,\u003c/em> tells a different kind of soldier’s story, set in the present day and divided into three distinct chapters. It’s nowhere near as physically claustrophobic as \u003cem>Lebanon,\u003c/em> but its characters seem just as immobilized. The title, a reference to the three-step dance move that brings you back to your starting position, becomes a clever if heavy-handed metaphor for a nation mired in its own stasis.\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/wrBEDEmUceM'\n title='//www.youtube.com/embed/wrBEDEmUceM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first chapter begins with a couple being informed that their son, Jonathan Feldman, has been killed in the line of duty while stationed at a far-flung military outpost. The boy’s mother, Dafna (played by Sarah Adler), passes out and is immediately given tranquilizers by the attending soldiers.\u003c/p>\n\u003cp>For the next half-hour or so, the camera follows her husband, Michael (played by Lior Ashkenazi), as he moves through a kind of trance. He looks on in blank incomprehension as family members offer supportive hugs and a soldier coldly dictates funeral protocol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maoz evokes Michael’s shellshocked fury by keeping us visually off-balance, sometimes through brazenly theatrical formal conceits. The atmosphere feels airless but charged with suspense. The camera tracks up and down the corridors of the Feldmans’ apartment, whose oppressively stylish monochrome decor adds to the vague air of unreality.\u003c/p>\n\u003cp>Ashkenazi, perhaps the best-known Israeli actor working today, gives a tremendous performance as Michael, barely sublimating and finally unleashing his rage against the government and the military. It isn’t just the tragic news they’ve brought to his door, but the chilly, bureaucratic efficiency with which they treat the newly bereaved.\u003c/p>\n\u003cp>The second chapter brings us to a security checkpoint in the middle of the desert where, at this point in the story, Jonathan (played by Yonatan Shiray) is alive and well. He and his three soldier buddies spend most of their days goofing off in a squalid shipping container that is slowly sinking into the dirt. On those rare occasions when cars approach their checkpoint, however, the young men spring into action.\u003c/p>\n\u003cp>Maoz courts our sympathies for the quiet, nameless Arab civilians trying to pass through the checkpoint, who are forced to sit and wait for long periods of time, or even to stand outside in the pouring rain. The tension cultivated in the first act boils over in the second, ultimately erupting in tragedy.\u003c/p>\n\u003cp>The third chapter returns us to the Feldmans’ apartment sometime later to find the family utterly ravaged by grief. Michael is no longer living with Dafna, but he has dropped in on the occasion of what would have been Jonathan’s 20th birthday.\u003c/p>\n\u003cp>Adler, her character no longer sedated but fully alert and angry, matches Ashkenazi’s performance moment for furious moment. Dafna blames Michael for Jonathan’s death, railing against him for his selfishness and weakness, while giving full voice to the unceasing agony of any parent who has ever lost a child.\u003c/p>\n\u003cp>As demonstrated by past movies like \u003cem>Waltz With Bashir \u003c/em>and \u003cem>Beaufort,\u003c/em> any film that touches on the efforts of the Israel Defense Forces can expect to become a lightning rod for controversy. The nation’s minister of culture and sport, Miri Regev, has already \u003ca href=\"http://www.jpost.com/Opinion/Uncultured-minister-505041\">attacked\u003c/a> \u003cem>Foxtrot\u003c/em> for its “self-flagellation and cooperation with the anti-Israel narrative.”\u003c/p>\n\u003cp>Maoz, for his part, has said in interviews that his critique comes from a place of love. “If I criticize the place I live, I do it because I worry,” he told \u003ca href=\"https://www.timesofisrael.com/foxtrots-samuel-maoz-talks-fate-potted-meat-ministerial-controversy/\">The Times of Israel.\u003c/a>\u003c/p>\n\u003cp>The specificity of the film’s argument is unmistakable. The Feldmans, we learn, lost relatives in Auschwitz, and Maoz suggests that the horrific legacy of the Holocaust is merely the gravest of the many scars that have led his characters to their anguished present mindset. The harsh everyday reality of the occupation has played its part as well.\u003c/p>\n\u003cp>But on a deeper level, \u003cem>Foxtrot\u003c/em> resonates because the attributes we see in these characters — their bitterness, their pride, their instinctive distrust of the other — are hardly the domain of one family or one country alone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In its wrenching final moments, this bruisingly powerful movie could be taking place in any state where men and women rage against each other, where historical trauma looms large in the collective memory and where young people are sent off to a war without end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tix Not to Miss at the San Francisco International Film Festival",
"headTitle": "Tix Not to Miss at the San Francisco International Film Festival | KQED",
"content": "\u003cp>Like the rest of the film world, the San Francisco International Film Festival has done some soul-searching this year. At the announcement of this year’s program, the watchwords were “diversity and inclusion,” put forth as both Bay Area values and ideals supported within the festival’s schedule. \u003c/p>\n\u003cp>Perhaps this year’s audiences will get a bit more self-reflection from the stars, directors and soon-to-be box office sensations coming to town April 4-17. Barring that, there will be plenty of opportunities for gutsy audience members to ask their own hard-hitting questions at post-screening Q&As. \u003c/p>\n\u003cp>Already chomping at the bit? Tickets for screenings go on sale Friday, March 16 at 10am, and some of them are obviously hot. Some tips for the shows sure to sell out fast:\u003c/p>\n\u003cfigure id=\"attachment_13827379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg\" alt=\"Claire Danes, Jim Parsons, and Leo James Davis appear in 'A Kid Like Jake' by Silas Howard.\" width=\"1200\" height=\"764\" class=\"size-full wp-image-13827379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-520x331.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claire Danes, Jim Parsons, and Leo James Davis appear in ‘A Kid Like Jake’ by Silas Howard. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/opening-night-a-kid-like-jake\" rel=\"noopener\" target=\"_blank\">Opening Night: ‘A Kid Like Jake’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 4, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSetting a tone of openness and vulnerability against an often hateful national discussion is the festival’s kickoff film \u003ci>A Kid Like Jake\u003c/i>. Helmed by Silas Howard (the first trans director of a \u003ci>Transparent\u003c/i> episode), the film follows Jim Parsons and Claire Danes as the parents of a preschool-aged son who likes to engage in “gender-variant play.” Should they use their child’s possible transgender leanings as a “diversity” selling point in their quest for entry into New York’s exclusive private schools? What’s best for Jake?\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/how-to-talk-to-girls-at-parties\" rel=\"noopener\" target=\"_blank\">‘How to Talk to Girls at Parties’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 6, 9pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nJohn Cameron Mitchell (\u003ci>Hedwig and the Angry Inch\u003c/i>) brings a Neil Gaiman short story to life in this “punk rock 1970s alien invasion film” starring Elle Fanning as a visitor from another planet and Nicole Kidman as a leather-clad club queen. Four words to pique your interest: shape-shifting anal probes. \u003c/p>\n\u003cfigure id=\"attachment_13827382\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg\" alt=\"'Robin Williams: Come Inside My Mind' by Marina Zenovich.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13827382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Robin Williams: Come Inside My Mind’ by Marina Zenovich. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/robin-williams-come-inside-my-mind\" rel=\"noopener\" target=\"_blank\">‘Robin Williams: Come Inside My Mind’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 7, 2pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nLocal audiences won’t want to miss Marina Zenovich’s sensitive portrait of the late, great comedy hero. Including never-before heard audio tapes recorded by Williams, in which he discusses his life and career, this rousing tribute should have us simultaneously laughing and weeping in our seats. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/tribute-to-charlize-theron-tully\" rel=\"noopener\" target=\"_blank\">A Tribute to Charlize Theron\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 7:30pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSFFILM honors Charlize Theron’s impressive career with an on-stage conversation followed by the screening of her latest film, the Diablo Cody-written, Jason Reitman-directed \u003ci>Tully\u003c/i>. As she has with so many of her roles (\u003cem>Monster\u003c/em>, \u003cem>Young Adult\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>), Theron shapeshifts into her character — this time to become Marlo, a burned-out mother of three who reluctantly allows her brother to gift her a night nanny, played by Mackenzie Davis. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">State of Cinema: Guy Maddin\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 12:30pm / Victoria Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nThe director behind last year’s closing night — \u003ci>The Green Fog\u003c/i>, a reimagining of Alfred Hitchcock’s \u003ci>Vertigo\u003c/i> using only clips from other Bay Area films (playing at Stanford on \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" rel=\"noopener\" target=\"_blank\">April 6\u003c/a>) — brings his mind to bear on the current state of cinema. Maddin’s description of his talk sounds a bit like the plot of \u003ci>Inception\u003c/i> (“What are the limits of the nested trance?”), but he promises “dreamy clips galore” in this mind-bending discussion of dream-states, sleeping actors and elevating cinema to action. \u003c/p>\n\u003cfigure id=\"attachment_13827381\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg\" alt=\"Marc Capelle & The Red Room Orchestra\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13827381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marc Capelle & The Red Room Orchestra \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films-with-marc-capelle%E2%80%99s-red-room-orchestra\" rel=\"noopener\" target=\"_blank\">A Celebration of Oddball Films with Marc Capelle’s Red Room Orchestra\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 9, 8pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nMarc Capelle’s eclectic and versatile group of musicians promise a No Wave/disco score to a selection of clips from Stephen Parr’s legendary Oddball Films collection. Parr, who \u003ca href=\"https://www.kqed.org/arts/13813188\" rel=\"noopener\" target=\"_blank\">passed away last October\u003c/a>, was known for placing the right reel (be it industrial, educational or just plain odd) in the hands of every indie filmmaker, documentarian or big studio director who came to him for material. Let’s hope these types of tributes to him just keep coming.\u003c/p>\n\u003cfigure id=\"attachment_13827380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg\" alt=\"A scene from Sam Green and Joe Bini's 'A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13827380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sam Green and Joe Bini’s ‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-thousand-thoughts\" rel=\"noopener\" target=\"_blank\">‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet’\u003c/a>\n\u003c/h3>\u003cp>\u003cstrong>April 10, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nHow’s this for meta? Bay Area favorite Sam Green focuses his special brand of “live filmmaking” on another set of Bay Area favorites, Kronos Quartet, blending archival footage, interviews and interactive storytelling — all scored live onstage by Kronos Quartet. It seems a bit unfair to have to play during a movie that’s ostensibly about you, but I’m sure the audience will be able to set those feelings aside and simply enjoy this audio-visual treat. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/rbg\" rel=\"noopener\" target=\"_blank\">‘RBG’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 14, 1pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSupreme Court Justice Ruth Bader Ginsburg is 85 today, and she didn’t earn the nickname “Notorious RBG” for nothing. Chronicling her legal career battling gender discrimination cases to her long and storied history with the court, filmmakers Betsy West and Julie Cohen deliver a lively and necessary documentary on a living legend.\u003c/p>\n\u003cfigure id=\"attachment_13827377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg\" alt=\"Joaquin Phoenix and Johah Hill appear in 'Don't Worry, He Won't Get Far On Foot,' by Gus Van Sant.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13827377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix and Johah Hill appear in ‘Don’t Worry, He Won’t Get Far On Foot,’ by Gus Van Sant. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/dont-worry-he-wont-get-far-on-foot\" rel=\"noopener\" target=\"_blank\">Closing Night: ‘Don’t Worry He Won’t Get Far on Foot’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 15, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nGus Van Sant turns his attention to the life and work of celebrated Portland cartoonist, alcoholic and quadriplegic John Callahan, who \u003ca href=\"http://www.nytimes.com/2010/07/28/arts/design/28callahan.html\" rel=\"noopener\" target=\"_blank\">died in 2010\u003c/a> after decades of sparing no one — including the disabled — from his macabre sense of humor. Joaquin Phoenix stars as Callahan, with Jonah Hill (nearly unrecognizable in leisurewear, long hair and a beard) as his AA group leader and Rooney Mara and Jack Black rounding out the supporting cast. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Live performances, special guests and a chat with Furiosa herself are sure to sell quick at this year's fest.",
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"title": "Tix Not to Miss at the San Francisco International Film Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like the rest of the film world, the San Francisco International Film Festival has done some soul-searching this year. At the announcement of this year’s program, the watchwords were “diversity and inclusion,” put forth as both Bay Area values and ideals supported within the festival’s schedule. \u003c/p>\n\u003cp>Perhaps this year’s audiences will get a bit more self-reflection from the stars, directors and soon-to-be box office sensations coming to town April 4-17. Barring that, there will be plenty of opportunities for gutsy audience members to ask their own hard-hitting questions at post-screening Q&As. \u003c/p>\n\u003cp>Already chomping at the bit? Tickets for screenings go on sale Friday, March 16 at 10am, and some of them are obviously hot. Some tips for the shows sure to sell out fast:\u003c/p>\n\u003cfigure id=\"attachment_13827379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg\" alt=\"Claire Danes, Jim Parsons, and Leo James Davis appear in 'A Kid Like Jake' by Silas Howard.\" width=\"1200\" height=\"764\" class=\"size-full wp-image-13827379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Jake_1200-520x331.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Claire Danes, Jim Parsons, and Leo James Davis appear in ‘A Kid Like Jake’ by Silas Howard. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/opening-night-a-kid-like-jake\" rel=\"noopener\" target=\"_blank\">Opening Night: ‘A Kid Like Jake’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 4, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSetting a tone of openness and vulnerability against an often hateful national discussion is the festival’s kickoff film \u003ci>A Kid Like Jake\u003c/i>. Helmed by Silas Howard (the first trans director of a \u003ci>Transparent\u003c/i> episode), the film follows Jim Parsons and Claire Danes as the parents of a preschool-aged son who likes to engage in “gender-variant play.” Should they use their child’s possible transgender leanings as a “diversity” selling point in their quest for entry into New York’s exclusive private schools? What’s best for Jake?\u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/how-to-talk-to-girls-at-parties\" rel=\"noopener\" target=\"_blank\">‘How to Talk to Girls at Parties’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 6, 9pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nJohn Cameron Mitchell (\u003ci>Hedwig and the Angry Inch\u003c/i>) brings a Neil Gaiman short story to life in this “punk rock 1970s alien invasion film” starring Elle Fanning as a visitor from another planet and Nicole Kidman as a leather-clad club queen. Four words to pique your interest: shape-shifting anal probes. \u003c/p>\n\u003cfigure id=\"attachment_13827382\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg\" alt=\"'Robin Williams: Come Inside My Mind' by Marina Zenovich.\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13827382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/WIlliams_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Robin Williams: Come Inside My Mind’ by Marina Zenovich. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/robin-williams-come-inside-my-mind\" rel=\"noopener\" target=\"_blank\">‘Robin Williams: Come Inside My Mind’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 7, 2pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nLocal audiences won’t want to miss Marina Zenovich’s sensitive portrait of the late, great comedy hero. Including never-before heard audio tapes recorded by Williams, in which he discusses his life and career, this rousing tribute should have us simultaneously laughing and weeping in our seats. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/tribute-to-charlize-theron-tully\" rel=\"noopener\" target=\"_blank\">A Tribute to Charlize Theron\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 7:30pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSFFILM honors Charlize Theron’s impressive career with an on-stage conversation followed by the screening of her latest film, the Diablo Cody-written, Jason Reitman-directed \u003ci>Tully\u003c/i>. As she has with so many of her roles (\u003cem>Monster\u003c/em>, \u003cem>Young Adult\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>), Theron shapeshifts into her character — this time to become Marlo, a burned-out mother of three who reluctantly allows her brother to gift her a night nanny, played by Mackenzie Davis. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">State of Cinema: Guy Maddin\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 12:30pm / Victoria Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nThe director behind last year’s closing night — \u003ci>The Green Fog\u003c/i>, a reimagining of Alfred Hitchcock’s \u003ci>Vertigo\u003c/i> using only clips from other Bay Area films (playing at Stanford on \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" rel=\"noopener\" target=\"_blank\">April 6\u003c/a>) — brings his mind to bear on the current state of cinema. Maddin’s description of his talk sounds a bit like the plot of \u003ci>Inception\u003c/i> (“What are the limits of the nested trance?”), but he promises “dreamy clips galore” in this mind-bending discussion of dream-states, sleeping actors and elevating cinema to action. \u003c/p>\n\u003cfigure id=\"attachment_13827381\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg\" alt=\"Marc Capelle & The Red Room Orchestra\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13827381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Marc-Capelle_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marc Capelle & The Red Room Orchestra \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films-with-marc-capelle%E2%80%99s-red-room-orchestra\" rel=\"noopener\" target=\"_blank\">A Celebration of Oddball Films with Marc Capelle’s Red Room Orchestra\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 9, 8pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nMarc Capelle’s eclectic and versatile group of musicians promise a No Wave/disco score to a selection of clips from Stephen Parr’s legendary Oddball Films collection. Parr, who \u003ca href=\"https://www.kqed.org/arts/13813188\" rel=\"noopener\" target=\"_blank\">passed away last October\u003c/a>, was known for placing the right reel (be it industrial, educational or just plain odd) in the hands of every indie filmmaker, documentarian or big studio director who came to him for material. Let’s hope these types of tributes to him just keep coming.\u003c/p>\n\u003cfigure id=\"attachment_13827380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg\" alt=\"A scene from Sam Green and Joe Bini's 'A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13827380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Kronos_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sam Green and Joe Bini’s ‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-thousand-thoughts\" rel=\"noopener\" target=\"_blank\">‘A Thousand Thoughts: A Live Documentary by Sam Green and Kronos Quartet’\u003c/a>\n\u003c/h3>\u003cp>\u003cstrong>April 10, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nHow’s this for meta? Bay Area favorite Sam Green focuses his special brand of “live filmmaking” on another set of Bay Area favorites, Kronos Quartet, blending archival footage, interviews and interactive storytelling — all scored live onstage by Kronos Quartet. It seems a bit unfair to have to play during a movie that’s ostensibly about you, but I’m sure the audience will be able to set those feelings aside and simply enjoy this audio-visual treat. \u003c/p>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/rbg\" rel=\"noopener\" target=\"_blank\">‘RBG’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 14, 1pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nSupreme Court Justice Ruth Bader Ginsburg is 85 today, and she didn’t earn the nickname “Notorious RBG” for nothing. Chronicling her legal career battling gender discrimination cases to her long and storied history with the court, filmmakers Betsy West and Julie Cohen deliver a lively and necessary documentary on a living legend.\u003c/p>\n\u003cfigure id=\"attachment_13827377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg\" alt=\"Joaquin Phoenix and Johah Hill appear in 'Don't Worry, He Won't Get Far On Foot,' by Gus Van Sant.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13827377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/HeWontGetFar_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix and Johah Hill appear in ‘Don’t Worry, He Won’t Get Far On Foot,’ by Gus Van Sant. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/dont-worry-he-wont-get-far-on-foot\" rel=\"noopener\" target=\"_blank\">Closing Night: ‘Don’t Worry He Won’t Get Far on Foot’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 15, 7pm / Castro Theater, San Francisco\u003c/strong>\u003cbr>\n \u003cbr>\nGus Van Sant turns his attention to the life and work of celebrated Portland cartoonist, alcoholic and quadriplegic John Callahan, who \u003ca href=\"http://www.nytimes.com/2010/07/28/arts/design/28callahan.html\" rel=\"noopener\" target=\"_blank\">died in 2010\u003c/a> after decades of sparing no one — including the disabled — from his macabre sense of humor. Joaquin Phoenix stars as Callahan, with Jonah Hill (nearly unrecognizable in leisurewear, long hair and a beard) as his AA group leader and Rooney Mara and Jack Black rounding out the supporting cast. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Like Rex Tillerson, Cy Musiker is out of the office — and thus, Suzie Racho and Gabe Meline are your Do List secretaries of state this week. Listen above for our picks which, as usual, were culled from a huge list of great events around the Bay Area. (One that we couldn’t squeeze in for North Bay listeners is the \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Sebastopol Documentary Film Festival\u003c/a>, running March 22–25; \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.)\u003c/p>\n\u003cp>This week’s picks are below; click through the links below for more details.\u003c/p>\n\u003cul>\n\u003cli>\u003cb>March 17:\u003c/b> \u003ca href=\"https://www.kqed.org/arts/13827267/ute-lempers-german-cabaret-rollercoaster-of-emotion\" rel=\"noopener\" target=\"_blank\">Ute Lemper is most often affiliated with Kurt Weill, but this tour she interprets Edith Piaf, Jacques Brel, Astor Piazzolla and more.\u003c/a> \u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Opening March 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827275/hip-hop-history-at-the-oakland-museum\" target=\"_blank\" rel=\"noopener\">Bay Area rappers and producers get recognized at an expansive exhibit of hip-hop’s influence at the Oakland Museum.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 22–25:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827261/weve-come-a-long-way-since-steamboat-willie\" rel=\"noopener\" target=\"_blank\">Berkeley’s Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827255/giving-the-drummer-some-at-a-rejuvenated-ivy-room\" rel=\"noopener\" target=\"_blank\">Jazz drummer Scott Amendola blows into Albany’s erstwhile dive bar with keyboardists, sax players, and members of Los Lobos in tow.\u003c/a>\u003c/li>\n\u003cp>\u003cbr clear=\"all\">\u003cbr>\n\u003cb>Shout Outs:\u003c/b>\u003cbr>\n\u003c/p>\n\u003cli>\u003cstrong>March 22:\u003c/strong> \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Mahler-Fifth.aspx\" rel=\"noopener\" target=\"_blank\">Michael Tilson Thomas and his favorite composer, Mahler, together again at Davies Symphony Hall.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>June 30 – July 1:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826271\" rel=\"noopener\" target=\"_blank\">Devo, the Damned and more in this year’s lineup for Burger Boogaloo in Oakland\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like Rex Tillerson, Cy Musiker is out of the office — and thus, Suzie Racho and Gabe Meline are your Do List secretaries of state this week. Listen above for our picks which, as usual, were culled from a huge list of great events around the Bay Area. (One that we couldn’t squeeze in for North Bay listeners is the \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Sebastopol Documentary Film Festival\u003c/a>, running March 22–25; \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.)\u003c/p>\n\u003cp>This week’s picks are below; click through the links below for more details.\u003c/p>\n\u003cul>\n\u003cli>\u003cb>March 17:\u003c/b> \u003ca href=\"https://www.kqed.org/arts/13827267/ute-lempers-german-cabaret-rollercoaster-of-emotion\" rel=\"noopener\" target=\"_blank\">Ute Lemper is most often affiliated with Kurt Weill, but this tour she interprets Edith Piaf, Jacques Brel, Astor Piazzolla and more.\u003c/a> \u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Opening March 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827275/hip-hop-history-at-the-oakland-museum\" target=\"_blank\" rel=\"noopener\">Bay Area rappers and producers get recognized at an expansive exhibit of hip-hop’s influence at the Oakland Museum.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 22–25:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827261/weve-come-a-long-way-since-steamboat-willie\" rel=\"noopener\" target=\"_blank\">Berkeley’s Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827255/giving-the-drummer-some-at-a-rejuvenated-ivy-room\" rel=\"noopener\" target=\"_blank\">Jazz drummer Scott Amendola blows into Albany’s erstwhile dive bar with keyboardists, sax players, and members of Los Lobos in tow.\u003c/a>\u003c/li>\n\u003cp>\u003cbr clear=\"all\">\u003cbr>\n\u003cb>Shout Outs:\u003c/b>\u003cbr>\n\u003c/p>\n\u003cli>\u003cstrong>March 22:\u003c/strong> \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Mahler-Fifth.aspx\" rel=\"noopener\" target=\"_blank\">Michael Tilson Thomas and his favorite composer, Mahler, together again at Davies Symphony Hall.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>June 30 – July 1:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826271\" rel=\"noopener\" target=\"_blank\">Devo, the Damned and more in this year’s lineup for Burger Boogaloo in Oakland\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Wielding a silver shovel instead of a lightsaber, \u003cem>Star Wars\u003c/em> creator George Lucas joined a handful of elected officials Wednesday in breaking ground on a billion-dollar museum dedicated to the art of visual storytelling.\u003c/p>\n\u003cp>Construction of the Lucas Museum of Narrative Art, a dream of the 73-year-old writer-director for more than a decade, is expected to be completed by the end of 2021.\u003c/p>\n\u003cp>Trucks rumbled by the museum site near downtown Los Angeles as Lucas, dressed casually in a white- and blue-checkered shirt, jeans and tennis shoes, thanked more than 100 well-wishers. Among them was his collaborator and longtime friend, director Steven Spielberg.\u003c/p>\n\u003cp>“I think it’s important to have a museum that, as I was joking and saying, supports all the orphan arts that nobody else wants to see, but that everybody loves,” Lucas said, describing the project.\u003c/p>\n\u003cp>His museum’s mission, he added, will be to explain the myths, legends, stories and portraits of people that shape societies and bring them together as one. The art will range from paintings and digital works to comic strips and, yes, movies like \u003cem>Star Wars\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Danny Trejo came of age in the California prison system, doing time in a juvenile detention center as well as in San Quentin, Folsom and Soledad, on charges relating to drugs. He says that background prepared him well for acting.\u003c/p>\n\u003cp>“Standing on the yard in San Quentin, knowing that there’s a riot coming, you’re absolutely scared to death with every fiber of your body,” Trejo says. “[But] you have to pretend you’re not. You have to stand there and make everybody think you like it.”\u003c/p>\n\u003cp>As an actor, he’s made a name for himself by playing menacing characters on TV shows like \u003cem>Breaking Bad\u003c/em> and in movies like \u003cem>Machete. \u003c/em>He jokes that he’s perfectly suited for the roles he’s landed: “Somebody finally got it right! They’re not using Marky Wahlberg to play the mean Chicano dude.”\u003c/p>\n\u003cp>Trejo still returns to prisons to talk with inmates. His latest project is the documentary \u003cem>Survivors Guide To Prison,\u003c/em> which focuses on injustices within the criminal justice system and highlights the cases of two men who spent decades behind bars for murders they didn’t commit. The film is available for streaming on Amazon and iTunes.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting addicted to heroin at age 12 \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My uncle gave me a fix when I was about 12. … In his defense, I got to say that I threatened to snitch on him if he didn’t give me some. I caught him fixing and I said, “Give me some,” and he said, “No.” And I said, “Give me some or I’ll tell.” So basically he gave me some, and from there on I found, again, a euphoric area that I liked, that my brain liked, and I was off and running.\u003c/p>\n\u003cp>\u003cstrong>On experiencing violence and rage in prison \u003c/strong>\u003c/p>\n\u003cp>There’s two types of people in prison: There’s predator and prey. You have to decide every day which you’re going to be, and it’s that simple. The more intimidating [you are], the more people you have behind you. Because I never seen a fist fight in prison, you understand? It’s so much easier to stab somebody and walk away — because if you get in a fight, if I sock you, you’re going to sock me back, and then we’re going to tussle and then [the guards are] going to shoot us. If I walk up behind you, stab you three times and walk away, I’m not going to get caught, and that is the idea: not to get caught.\u003c/p>\n\u003cp>Anger is probably something you don’t have in prison. You don’t have anger. You can’t afford to get mad. If it is worth your time, then you go directly to rage. … I can remember it’s like, I’ve watched attorneys argue and I’m waiting for somebody to get socked. Wait a minute? You’re not going to sock him? Because in prison, you don’t get angry, you go directly to rage, because that’s your defense. …\u003c/p>\n\u003cp>The bottom line to an argument is a murder, so if you say something to me that I think is an attack or belittling, I have to think, is this worth killing him over? … It only takes a split second.\u003c/p>\n\u003cp>\u003cstrong>On how he broke into acting \u003c/strong>\u003c/p>\n\u003cp>I was running around, trying to be an extra, getting some extra money … they used to give you $50 bucks for being an extra. I ran into a good friend of mine, a guy named Eddie Bunker, who was a great writer and people don’t know it. Eddie actually got famous because he could write writs [of habeas corpus] in prison. …\u003c/p>\n\u003cp>I knew him for years, and when I ran into him on a movie called \u003cem>Runaway Train\u003c/em> with Jon Voight and Eric Roberts, he asked me if I was still boxing, because he saw me win the lightweight and welterweight title up in San Quentin. … And I said, “Eddie, I’m 40 years old. I don’t want to get hit in the face anymore. I train. I’m in shape.” And he said, “We need somebody to train one of the actors how to box.” And I said, “What’s it pay?” And he said, “$320 a day,” and I said, “How bad you want this guy beat up?”\u003c/p>\n\u003cp>$320 a day! That was more money than I was making in a week and I was a drug counselor, right? So he was like, “No, you gotta be real careful because the actor’s real high-strung. He might sock you.” I said, “Eddie, for $320 a day give him a stick. Are you crazy? I been beat up for free, homes.” [So] I started training Eric Roberts how to box for the movie \u003cem>Runaway Train\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Danny+Trejo+On+Acting%2C+Addiction+And+Playing+%27The+Mean+Chicano+Dude%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You'",
"headTitle": "Let’s Overanalyze the Trailer for Boots Riley’s ‘Sorry to Bother You’ | KQED",
"content": "\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\u003c/p>\n\u003cp>https://youtu.be/enH3xA4mYcY\u003c/p>\n\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
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"description": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\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/enH3xA4mYcY'\n title='//www.youtube.com/embed/enH3xA4mYcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! At the Roxie, Kiarostami’s Final, Exquisite Elegy",
"headTitle": "Now Playing! At the Roxie, Kiarostami’s Final, Exquisite Elegy | KQED",
"content": "\u003cp>Inscrutable behind his shades, Abbas Kiarostami reveled in being an enigma. The world-renowned Iranian director’s refusal to be categorized was apparent from his neorealist masterpieces, such as \u003cem>Taste of Cherry\u003c/em> and \u003cem>The Wind Will Carry Us\u003c/em>, that employed novice or nonprofessional actors to blur the parameters signifying (and separating) fiction and nonfiction. However, although the art house world recognized Kiarostami as an iconoclast and a humanist, his predisposition to experiment often went unnoticed.\u003c/p>\n\u003cp>His final film, \u003cem>24 Frames\u003c/em>, completed under the supervision of his son Ahmad after Kiarostami’s death in July 2016, spotlights both the filmmaker’s acuity with short filmmaking and his fascination with nature photography. Working primarily from his own pictures of landscapes and wildlife, Kiarostami used CGI to depict what could have happened before or after the moment of exposure. The result is two dozen exquisitely shaped shorts that range from ephemeral episodes to esoteric experiments to meditative interludes.\u003c/p>\n\u003cfigure id=\"attachment_13826976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg\" alt=\"Still from Abbas Kiarostami's '24 Frames,' 2017.\" width=\"1200\" height=\"680\" class=\"size-full wp-image-13826976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-520x295.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Abbas Kiarostami’s ’24 Frames,’ 2017. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>24 Frames\u003c/em>, opening Friday, March 16 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=26056\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, is a rare and rarefied filmgoing experience. Now, a certain delicacy and poignancy accompanies the last work of a major director, but the waters run even deeper: \u003cem>24 Frames\u003c/em> proves, beyond all debate, that Abbas Kiarostami was not merely a great filmmaker but a major artist. Ahmad Kiarostami will be at the Roxie with writer and distributor Jonathan Marlow for a Q&A session after the 6:30pm screening on Saturday, March 17.\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>\u003ci>’24 Frames’ plays at San Francisco’s Roxie Theater March 16-22. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inscrutable behind his shades, Abbas Kiarostami reveled in being an enigma. The world-renowned Iranian director’s refusal to be categorized was apparent from his neorealist masterpieces, such as \u003cem>Taste of Cherry\u003c/em> and \u003cem>The Wind Will Carry Us\u003c/em>, that employed novice or nonprofessional actors to blur the parameters signifying (and separating) fiction and nonfiction. However, although the art house world recognized Kiarostami as an iconoclast and a humanist, his predisposition to experiment often went unnoticed.\u003c/p>\n\u003cp>His final film, \u003cem>24 Frames\u003c/em>, completed under the supervision of his son Ahmad after Kiarostami’s death in July 2016, spotlights both the filmmaker’s acuity with short filmmaking and his fascination with nature photography. Working primarily from his own pictures of landscapes and wildlife, Kiarostami used CGI to depict what could have happened before or after the moment of exposure. The result is two dozen exquisitely shaped shorts that range from ephemeral episodes to esoteric experiments to meditative interludes.\u003c/p>\n\u003cfigure id=\"attachment_13826976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg\" alt=\"Still from Abbas Kiarostami's '24 Frames,' 2017.\" width=\"1200\" height=\"680\" class=\"size-full wp-image-13826976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-520x295.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Abbas Kiarostami’s ’24 Frames,’ 2017. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>24 Frames\u003c/em>, opening Friday, March 16 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=26056\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, is a rare and rarefied filmgoing experience. Now, a certain delicacy and poignancy accompanies the last work of a major director, but the waters run even deeper: \u003cem>24 Frames\u003c/em> proves, beyond all debate, that Abbas Kiarostami was not merely a great filmmaker but a major artist. Ahmad Kiarostami will be at the Roxie with writer and distributor Jonathan Marlow for a Q&A session after the 6:30pm screening on Saturday, March 17.\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>\u003ci>’24 Frames’ plays at San Francisco’s Roxie Theater March 16-22. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Tale of Friendship and Luck (But Not Pecs), Propelled By 'The Room'",
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"content": "\u003cp>Bands \u003ca href=\"https://www.google.com/url?q=http://www.nme.com/photos/50-stories-behind-band-names-you-probably-don-t-know-1406319&sa=D&ust=1520536788401000&usg=AFQjCNEWjsvjJgPxN57qXdctP04PRaving\" target=\"_blank\" rel=\"noopener\">lift\u003c/a> their names from all sorts of bizarre places — \u003ca href=\"https://www.npr.org/artists/16002572/vampire-weekend\" target=\"_blank\" rel=\"noopener\">abandoned vampire movie scripts\u003c/a>, \u003ca href=\"https://www.npr.org/artists/16699158/fall-out-boy\" target=\"_blank\" rel=\"noopener\">extremely obscure characters from \u003cem>The Simpsons\u003c/em>\u003c/a>. For its part, the Kyoto-based duo of \u003ca href=\"http://www.wearenicelegs.com/\" target=\"_blank\" rel=\"noopener\">Nice Legs\u003c/a> is an homage to a throwaway line from “the worst movie ever made,” \u003cem>The Room\u003c/em>, and a typically stilted little romantic \u003ca href=\"https://theroomscriptblog.files.wordpress.com/2016/04/the-room-original-script-by-tommy-wiseau.pdf\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> between leading man Johnny (Tommy Wiseau) and his girlfriend, Lisa (Juliette Danielle):\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>JOHNNY\u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice legs. \u003c/em>\u003c/p>\n\u003cp>\u003cem>(HE’S MUMBLING.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>LISA\u003c/em>\u003c/p>\n\u003cp>\u003cem>(LISA IS TAPPING HIS SHOULDER.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice pecs. \u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>“I always thought it was really funny because it was very awkward just watching him talk to his girlfriend saying, ‘You have nice legs,'” Greg Sestero, who played Wiseau’s friend Mark in the film, tells NPR Music. “To me, his gesture of his hands to his hair is pretty funny. [The line] stood out to me, as well.”\u003c/p>\n\u003cp>Nice Legs’ band name is a particularly dedicated reflection of \u003cem>The Room\u003c/em>‘s status as a newly minted cult classic, fueled by the film’s mesmerizingly deficient directing, acting and plotting. But aside from its odd tone, at its heart lies the strangely heartwarming/disturbing friendship between Johnny and Mark, which worked, in part, because of the Wiseau and Sistero’s real-life friendship. Their on-screen chemistry — if you care to call it that — is now being revisited in a new two-volume film, \u003cem>Best F(r)iends, \u003c/em>directed by Justin MacGregor.\u003c/p>\n\u003cp>When Nice Legs heard about the onscreen reunion, they sensed an opportunity.\u003c/p>\n\u003cp>“Basically, we saw that a new Tommy and Greg film was in production,” band member Mark Lentz tells NPR Music. “Then we dug around until we found the email of the production company.” From there, he lobbed an email into the abyss. For six months, nothing but radio silence. Then: “They responded out of the blue asking to work with us,” he says. “We took it as a good sign they opened the email with, ‘Oh hai, Mark!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OTu9N40E_MI\u003c/p>\n\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "For the Kyoto-based, Alabama-born duo of Nice Legs, its band name was more than just an homage to \u003cem>The Room \u003c/em>-- it was an homage to friendship that ended up yielding a sorta-lucky break.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\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/OTu9N40E_MI'\n title='//www.youtube.com/embed/OTu9N40E_MI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\u003c/p>\n\u003cp>https://youtu.be/AAFRI12Cxb0\u003c/p>\n\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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