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"headTitle": "Pssst… We’ve Got the Best Hidden Gems at SFFILM This Year | KQED",
"content": "\u003cp>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a>’s usual crush of marquee events and big-ticket premieres — many of them highlighted in KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2018/03/15/tix-not-to-miss-at-the-san-francisco-international-film-festival/\" rel=\"noopener\" target=\"_blank\">hot ticket roundup\u003c/a> — some of the festival’s best films can get lost in the limelight. \u003c/p>\n\u003cp>To be sure, this year features a scruffier slate of special events than usual: \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/state-of-cinema-guy-maddin\" rel=\"noopener\" target=\"_blank\">Guy Maddin\u003c/a> promises an eccentric take on the typically staid “State of Cinema” address; a suitably chaotic tribute is set for Oddball Films legend \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/a-celebration-of-oddball-films\" rel=\"noopener\" target=\"_blank\">Stephen Parr\u003c/a>; and San Francisco’s 16mm poet laureate, \u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/pov-award-nathaniel-dorsky\" rel=\"noopener\" target=\"_blank\">Nathaniel Dorsky\u003c/a>, wins a well-deserved Persistence of Vision Award. \u003c/p>\n\u003cp>As always, though, many of the festival’s discoveries require digging deeper into the program guide. Here are a handful of under-the-radar highlights:\u003c/p>\n\u003cfigure id=\"attachment_13828049\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg\" alt=\"A scene from Alee People's 'Decoy.'\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13828049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Decoy_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Alee People’s ‘Decoy.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/the-shape-of-a-surface-experimental-shorts\" rel=\"noopener\" target=\"_blank\">‘Decoy’\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>April 8, 6pm at BAMPFA / April 11, 6:30pm at Roxie Theater\u003c/strong>\u003cbr>\n \u003c/p>\n\u003cp>A Rubik’s Cube of a film, and a shot in the arm, Alee Peoples’ \u003cem>Decoy\u003c/em> anchors a fine program of recent experimental films selected by curators Kathy Geritz and Vanessa O’Neill. Stimulated by Angela Davis’s remark that “Walls turned sideways are bridges,” Peoples makes like a structural anthropologist and free-associates different figures of these opposed concepts, wall and bridge. In so doing, the film grapples with meaning rather than grasping for it, subjecting the insanities and inanities of the political imagination to a fierce form of play. While not as immediately comic as her earlier pieces, \u003cem>Decoy\u003c/em> is every bit as nimble in its generative juxtapositions and tactile effects. The program also features two lyrical shorts by Paul Clipson, a beloved Bay Area filmmaker who \u003ca href=\"https://www.kqed.org/arts/13823720\" rel=\"noopener\" target=\"_blank\">died last month\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828052\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg\" alt=\"A scene from Sasha Waters Freyer's 'Garry Winogrand: All Things Are Photographable.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13828052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Winogrand_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sasha Waters Freyer’s ‘Garry Winogrand: All Things Are Photographable.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/garry-winogrand-all-things-are-photographable\" rel=\"noopener\" target=\"_blank\">‘Garry Winogrand: All Things are Photographable’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 14, 8pm at SFMOMA / April 15, 1pm at BAMPFA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This documentary profile of the seminal street photographer was directed by noted experimental filmmaker Sasha Waters Freyer, and her rhythmic editing is marvelously responsive to the elusive snap of a Winogrand. The \u003cem>American Experience\u003c/em> format has its limitations, to be sure, but Freyer’s doc resists hagiography and comes spiked with surprises like a series of animations by Kelly Gallagher (an intervention that, along with the large number of female curators and photographers addressing Winogrand’s legacy, offers welcome balance in sorting out the photographer’s sexual politics). The SFMOMA screening will be followed by a conversation between Freyer and one of the film’s liveliest speakers, Geoff Dyer. Shutterbugs will be duly inspired to get to work.\u003c/p>\n\u003cfigure id=\"attachment_13828050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg\" alt=\"A scene from Lee Anne Schmitt's 'Purge This Land.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Purge_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lee Anne Schmitt’s ‘Purge This Land.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/purge-this-land\" rel=\"noopener\" target=\"_blank\">‘Purge This Land’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 10, 6pm at YBCA / April 11, 6:30pm at BAMPFA / April 14, 5:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>Lee Anne Schmitt’s contemplative study of America’s history of racial violence sits uneasily, and pointedly, at the intersection of personal essay and historical documentation. Dedicated to her young son, and scored by her partner Jeff Parker, the intimacy of \u003cem>Purge This Land\u003c/em>’s reckoning flows from Schmitt’s position as a white woman with a biracial child. The film covers a lot of literal ground, cataloging the historical sites of race riots, slave auctions, and police actions in the unadorned documentary style of forbearers like James Benning, John Gianvito, and her own excellent \u003cem>California Company Town\u003c/em> (2008). Freely drawing upon geographic and temporal coincidence, the overall effect is to suggest a land that offers no refuge from racial violence. \u003c/p>\n\u003cp>A few days after seeing \u003cem>Purge This Land\u003c/em>, I’m left wondering why it relies so heavily on well-known incidences of racial violence rather than exhuming unwritten histories; what its streamlined account of John Brown loses in excluding his religiosity; and what exactly it suggests we make of the knowledge of what happened at a particular site. These are productive questions, to be sure, indicative of a film doing its work. \u003c/p>\n\u003cfigure id=\"attachment_13828047\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg\" alt=\"A scene from Hope Tucker's 'Atomkraftwerk Zwentendorf.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13828047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Atomkraftwerk_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hope Tucker’s ‘Atomkraftwerk Zwentendorf.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shorts-4-new-visions\" rel=\"noopener\" target=\"_blank\">‘Atomkraftwerk Zwentendorf’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 7:30pm at Roxie Theater / April 16, 4:30pm at Roxie Theater\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fourth of six shorts programs (“New Visions”) features pieces by Kevin Jerome Everson, Jem Cohen, and this strikingly lucid work of documentary by Hope Tucker. Part of her ongoing Obituary Project, Tucker’s film finds an ambiguous monument in the decommissioned Zwentendorf Nuclear Power Plant. It was never operational, having been voted closed in a 1978 referendum following years of construction and protest. Incorporating archival footage and her own field recordings, Tucker uses the Austrian site as a meditation on various forms of power. While innocuous as a stage set, the site is shadowed by disasters at Three Mile Island, Chernobyl, and Fukushima. The sci-fi flavor of Tucker’s film finally owes as much to her delineation of these alternate realities as to Zwentendorf’s inscrutable gadgetry. \u003c/p>\n\u003cfigure id=\"attachment_13828048\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg\" alt=\"A scene from Hong Sang-soo's 'Claire's Camera.'\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13828048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Claire_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hong Sang-soo’s ‘Claire’s Camera.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/claire%E2%80%99s-camera\" rel=\"noopener\" target=\"_blank\">‘Claire’s Camera’\u003c/a>\u003c/h3>\n\u003cp>\u003cb>April 7, 3:30pm at YBCA / April 9, 4pm at SFMOMA / April 12, 8:30pm at YBCA\u003c/b>\u003cbr>\n \u003c/p>\n\u003cp>The fact that \u003cem>Claire’s Camera\u003c/em> — one of two films Hong Sang-soo films unveiled at Cannes, where it’s also set — is so plainly off-the-cuff only drives home the acuity of the South Korean auteur’s style: He approaches film narrative as a kind of music, all theme and variation, melody and motif. The roundelay here turns on a characteristic love triangle here enlivened by Isabelle Huppert’s titular sprite. The scenes between her and the Korean trio play in halted English, and it’s one measure of Hong’s genius that he sees dramatic possibility in such comically mundane circumstances. Huppert’s photographer says she takes pictures because people are different afterwards, and that little koan ripples throughout this disarmingly transparent movie.\u003cbr>\n \u003c/p>\n\u003cp>Other highlights? What about a trio of docs fresh off Sundance raves (\u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/shirkers\" rel=\"noopener\" target=\"_blank\">Shirkers\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/minding-the-gap\" rel=\"noopener\" target=\"_blank\">Minding the Gap\u003c/a>\u003c/i>, and \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/hale-county-this-morning-this-evening\" rel=\"noopener\" target=\"_blank\">Hale County This Morning, This Evening\u003c/a>\u003c/i>), recovering transcendentalist Paul Schrader’s \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/first-reformed\" rel=\"noopener\" target=\"_blank\">First Reformed\u003c/a>\u003c/i>, or art-rockers Blonde Redhead thrashing it out to Yasujiro Ozu’s delicate coming-of-age comedy, \u003ci>\u003ca href=\"https://www.sffilm.org/2018-sffilm-festival/festival-calendar/blonde-redhead-with-i-was-born-but\" rel=\"noopener\" target=\"_blank\">I Was Born, But…\u003c/a>\u003c/i> (1932)? That last could well prove a miscalculation, but my curiosity is piqued. Such is festival season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The 61st San Francisco International Film Festival takes place April 4-17 in various Bay Area theaters. For tickets and more information, \u003ca href=\"https://www.sffilm.org/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Fast And The Furry Us: Wes Anderson's Masterful 'Isle Of Dogs'",
"headTitle": "The Fast And The Furry Us: Wes Anderson’s Masterful ‘Isle Of Dogs’ | KQED",
"content": "\u003cp>You have an opinion, probably, on which of the two most common species of household pet you deem superior — and an opinion, possibly, on the fastidious filmography of Wes Anderson. But this much, at least, is fact: Nobody ever made a good movie about the nobility of cats.\u003c/p>\n\u003cp>Not even Anderson, who certainly \u003cem>seems\u003c/em> like he might be a cat person, with his velvet-and-tweed blazers and his indoor scarves and his arched-eyebrow worldview. But no one will question his right-thinking canine-supremacy bone-a-fides after \u003cem>Isle of Dogs\u003c/em>. (Go on, say the title out loud.) His dizzying new stop-motion epic is so visually rich, so narratively ambitious and so openhearted in its admiration for Japanese culture \u003cem>and\u003c/em> the unshakable loyalty of doggos that it’ll likely roll right over the familiar cries that Anderson is too fussy or whatnot like a Corgi rolling over for a belly rub.\u003c/p>\n\u003cp>https://youtu.be/dt__kig8PVU\u003c/p>\n\u003cp>It’s a gorgeous mutt of a movie, all right, mashing up Akira Kurosawa — not just his samurai epics (and their scores), but his urban crime pictures, too — and postapocalyptic survival flicks like \u003cem>Mad Max\u003c/em> into a wholly original adventure that’ll leave you wanting to pet every dog you meet, its bloody warnings about the hazards of petting strange dogs be damned.\u003c/p>\n\u003cp>Set in Japan “20 years from now,” \u003cem>Isle of Dogs\u003c/em> posits a Snout Fever outbreak in fictional Megasaki City that compels authoritarian Mayor Kobayashi (Kunichi Nomura) — a descendant of the cat-loving Kobayashi dynasty, whose inhumanity to Man’s Best Friend goes back to before “The Age of Obedience” — to order all dogs in the prefecture deported to Trash Island. (Nomura is also part of the writing team, along with Anderson and frequent collaborators Roman Coppola and Jason Schwartzman.) First to go: Spots (Liev Schreiber), elite guard-dog to the Mayor’s 12-year-old nephew Atari (newcomer Koyu Rankin).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The double-whammy of a reactor meltdown and a volcanic eruption have left Trash Island unfit for human habitation. There, sneezing, starving mongrels fight over rotten scraps amid abandoned theme parks and rusted-out power plants. Chief (Bryan Cranston), a stray who’s used to scrounging for his supper, encounters a pack of fallen pets struggling to adapt to life in the wild. “I’ve seen \u003cem>cats\u003c/em> with more balls than you dogs,” he spits.\u003c/p>\n\u003cp>Voicing the pampered pups are the Wes Anderson Players: Rex (Edward Norton); baseball team mascot Boss (Bill Murray), Puppy Chop Puppy Chow spokesdog King (Bob Balaban) and Duke (Jeff Goldblum), for whom gossip is the one comfort that exile to a radioactive garbage dump can’t take away.\u003c/p>\n\u003cp>The dogs’ stop-motion fights, charmingly rendered in “dust clouds” that are in fact wads of cotton, draw stop-motion blood, which is perhaps why this profanity-free doggy cartoon carries a PG-13 rating. It’s not for little kids, who may be entranced by the visuals — stop-motion has an analog character and dimensionality that even the best computer animation can’t replicate — while finding the film’s conspiracy plot baffling.\u003c/p>\n\u003cp>Nine features and 22 years into his career, Anderson’s pungent cocktail of childlike wonder and grown-up ennui no longer feels as jarring as it once did. His sensibility arrived fully formed with 1996’s \u003cem>Bottle Rocket,\u003c/em> and by 2004’s \u003cem>The Life Aquatic with Steve Zissou \u003c/em>— which used stop-motion to depict its exotic specimens of marine life — some critics were accusing him of being less an artist than a walking assemblage of tics. “In 12 years he’ll be eleven-and-a-half,” Cate Blanchett’s character says at \u003cem>The Life Aquatic\u003c/em>‘s climax, looking down at her pregnant belly. “That was my favorite age,” Bill Murray’s Steve replies. The line finds an echo in Anderson’s new film, when Nutmeg, a former show dog voiced by Scarlett Johansson, tells Chief that he \u003cem>should\u003c/em> stick his flea-bitten neck out for young Atari because “he’s a 12-year-old boy. Dogs love those.”\u003c/p>\n\u003cp>It’s true: Anderson is obsessed with the transition from late boyhood to young manhood, and that obsession has been a barrier-to-entry for some. His prior opus, 2014’s \u003cem>The Grand Budapest Hotel\u003c/em>, brought a lot of skeptics around, eventually scoring him an Oscar nomination for Best Director and another for Best Picture. His only other fully stop-motion feature, 2009’s \u003cem>Fantastic Mr. Fox\u003c/em>, dropped us into a world of wild animals under mortal threat from humans, even as George Clooney’s Mr. Fox struggled to master the feral impulses that kept putting his family and his community at risk. Like every Anderson movie regardless of the age (or species) of its protagonist, it was a story about how painful it is to grow up.\u003c/p>\n\u003cp>Atari, the preteen hero of \u003cem>Dogs,\u003c/em> is already virtuous and honorable when the story begins. It’s Chief and Spots, primarily, who’re forced to grow. And these remarkable puppets, their bulbous eyes frequently spilling over with emotion, have no difficulty stoking our empathy.\u003c/p>\n\u003cp>As is often the case with Anderson’s work, the movie’s formalism is itself a refined pleasure, especially with its approach to language. Courtney B. Vance’s stentorian voice-over is in English, and the dogs speak English, but all the Japanese human characters speak Japanese and are performed by Japanese actors. (Rankin, who was all of eight years old when he recorded his dialogue, is half-Japanese, born in Canada to a Japanese mother.) All onscreen text, including the credits and the judiciously deployed subtitles, is shown in English and Japanese, and when Anderson translates the Japanese speech, he uses a number of ingenious methods, including an onscreen interpreter voiced by Frances McDormand. Equally inventive is the way that all video feeds seen in this stop-motion world display hand-drawn animation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s too bad that Tracy — Greta Gerwig’s American exchange student — gets to drive the conspiracy plot instead of one of her Japanese classmates, but at least she has a more active role than female characters tend to get, in Anderson films. But by the time Anderson’s animators show us a meal of sushi being prepared in meticulous close-up, I was ready for any trick Anderson wanted to perform for me. \u003cem>Isle of Dogs\u003c/em> takes Best in Show. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Fast+And+The+Furry+Us%3A+Wes+Anderson%27s+Masterful+%27Isle+Of+Dogs%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You have an opinion, probably, on which of the two most common species of household pet you deem superior — and an opinion, possibly, on the fastidious filmography of Wes Anderson. But this much, at least, is fact: Nobody ever made a good movie about the nobility of cats.\u003c/p>\n\u003cp>Not even Anderson, who certainly \u003cem>seems\u003c/em> like he might be a cat person, with his velvet-and-tweed blazers and his indoor scarves and his arched-eyebrow worldview. But no one will question his right-thinking canine-supremacy bone-a-fides after \u003cem>Isle of Dogs\u003c/em>. (Go on, say the title out loud.) His dizzying new stop-motion epic is so visually rich, so narratively ambitious and so openhearted in its admiration for Japanese culture \u003cem>and\u003c/em> the unshakable loyalty of doggos that it’ll likely roll right over the familiar cries that Anderson is too fussy or whatnot like a Corgi rolling over for a belly rub.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dt__kig8PVU'\n title='//www.youtube.com/embed/dt__kig8PVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a gorgeous mutt of a movie, all right, mashing up Akira Kurosawa — not just his samurai epics (and their scores), but his urban crime pictures, too — and postapocalyptic survival flicks like \u003cem>Mad Max\u003c/em> into a wholly original adventure that’ll leave you wanting to pet every dog you meet, its bloody warnings about the hazards of petting strange dogs be damned.\u003c/p>\n\u003cp>Set in Japan “20 years from now,” \u003cem>Isle of Dogs\u003c/em> posits a Snout Fever outbreak in fictional Megasaki City that compels authoritarian Mayor Kobayashi (Kunichi Nomura) — a descendant of the cat-loving Kobayashi dynasty, whose inhumanity to Man’s Best Friend goes back to before “The Age of Obedience” — to order all dogs in the prefecture deported to Trash Island. (Nomura is also part of the writing team, along with Anderson and frequent collaborators Roman Coppola and Jason Schwartzman.) First to go: Spots (Liev Schreiber), elite guard-dog to the Mayor’s 12-year-old nephew Atari (newcomer Koyu Rankin).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The double-whammy of a reactor meltdown and a volcanic eruption have left Trash Island unfit for human habitation. There, sneezing, starving mongrels fight over rotten scraps amid abandoned theme parks and rusted-out power plants. Chief (Bryan Cranston), a stray who’s used to scrounging for his supper, encounters a pack of fallen pets struggling to adapt to life in the wild. “I’ve seen \u003cem>cats\u003c/em> with more balls than you dogs,” he spits.\u003c/p>\n\u003cp>Voicing the pampered pups are the Wes Anderson Players: Rex (Edward Norton); baseball team mascot Boss (Bill Murray), Puppy Chop Puppy Chow spokesdog King (Bob Balaban) and Duke (Jeff Goldblum), for whom gossip is the one comfort that exile to a radioactive garbage dump can’t take away.\u003c/p>\n\u003cp>The dogs’ stop-motion fights, charmingly rendered in “dust clouds” that are in fact wads of cotton, draw stop-motion blood, which is perhaps why this profanity-free doggy cartoon carries a PG-13 rating. It’s not for little kids, who may be entranced by the visuals — stop-motion has an analog character and dimensionality that even the best computer animation can’t replicate — while finding the film’s conspiracy plot baffling.\u003c/p>\n\u003cp>Nine features and 22 years into his career, Anderson’s pungent cocktail of childlike wonder and grown-up ennui no longer feels as jarring as it once did. His sensibility arrived fully formed with 1996’s \u003cem>Bottle Rocket,\u003c/em> and by 2004’s \u003cem>The Life Aquatic with Steve Zissou \u003c/em>— which used stop-motion to depict its exotic specimens of marine life — some critics were accusing him of being less an artist than a walking assemblage of tics. “In 12 years he’ll be eleven-and-a-half,” Cate Blanchett’s character says at \u003cem>The Life Aquatic\u003c/em>‘s climax, looking down at her pregnant belly. “That was my favorite age,” Bill Murray’s Steve replies. The line finds an echo in Anderson’s new film, when Nutmeg, a former show dog voiced by Scarlett Johansson, tells Chief that he \u003cem>should\u003c/em> stick his flea-bitten neck out for young Atari because “he’s a 12-year-old boy. Dogs love those.”\u003c/p>\n\u003cp>It’s true: Anderson is obsessed with the transition from late boyhood to young manhood, and that obsession has been a barrier-to-entry for some. His prior opus, 2014’s \u003cem>The Grand Budapest Hotel\u003c/em>, brought a lot of skeptics around, eventually scoring him an Oscar nomination for Best Director and another for Best Picture. His only other fully stop-motion feature, 2009’s \u003cem>Fantastic Mr. Fox\u003c/em>, dropped us into a world of wild animals under mortal threat from humans, even as George Clooney’s Mr. Fox struggled to master the feral impulses that kept putting his family and his community at risk. Like every Anderson movie regardless of the age (or species) of its protagonist, it was a story about how painful it is to grow up.\u003c/p>\n\u003cp>Atari, the preteen hero of \u003cem>Dogs,\u003c/em> is already virtuous and honorable when the story begins. It’s Chief and Spots, primarily, who’re forced to grow. And these remarkable puppets, their bulbous eyes frequently spilling over with emotion, have no difficulty stoking our empathy.\u003c/p>\n\u003cp>As is often the case with Anderson’s work, the movie’s formalism is itself a refined pleasure, especially with its approach to language. Courtney B. Vance’s stentorian voice-over is in English, and the dogs speak English, but all the Japanese human characters speak Japanese and are performed by Japanese actors. (Rankin, who was all of eight years old when he recorded his dialogue, is half-Japanese, born in Canada to a Japanese mother.) All onscreen text, including the credits and the judiciously deployed subtitles, is shown in English and Japanese, and when Anderson translates the Japanese speech, he uses a number of ingenious methods, including an onscreen interpreter voiced by Frances McDormand. Equally inventive is the way that all video feeds seen in this stop-motion world display hand-drawn animation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s too bad that Tracy — Greta Gerwig’s American exchange student — gets to drive the conspiracy plot instead of one of her Japanese classmates, but at least she has a more active role than female characters tend to get, in Anderson films. But by the time Anderson’s animators show us a meal of sushi being prepared in meticulous close-up, I was ready for any trick Anderson wanted to perform for me. \u003cem>Isle of Dogs\u003c/em> takes Best in Show. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Fast+And+The+Furry+Us%3A+Wes+Anderson%27s+Masterful+%27Isle+Of+Dogs%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XaBGcorkzpk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other films with Bay Area connections include \u003cem>Come Inside My Mind, \u003c/em>a documentary about Robin Williams; \u003cem>Endgame\u003c/em>, a film about hospice directed by Bay Area filmmakers Rob Epstein and Jeffrey Friedman. And the festival is honoring Bay Area filmmaker Wayne Wang, who made \u003cem>Smoke\u003c/em>, \u003cem>Chan is Missing\u003c/em>, \u003cem>Dim Sum\u003c/em>, and \u003cem>The Joy Luck Club\u003c/em>. The festival runs April 4-17 at the Castro and other theaters in San Francisco, and the Grand Lake and the PFA in Berkeley. \u003ca href=\"https://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uem9TbvQpFk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco International Film Festival (SFIFF) opens April 4 with a nearly-endless variety of features, shorts and documentaries from around the world. But despite it having “international” in the name, there’s always a local angle at SFIFF. \u003c/p>\n\u003cp>Opening night is reserved for \u003cem>A Kid Like Jake, \u003c/em>directed by Silas Howard. He was a guitarist with the San Francisco “queercore” punk band Tribe 8, before doing films, and working on the show \u003cem>Transparent\u003c/em>. In an interview at Sundance, Howard described what drew him to this film that stars Clair Danes and Jim Parsons as parents trying to find the right kindergarten for their Gender Fluid child: “I’m very fond of characters saying the wrong thing, and then ultimately doing the right thing. Especially when someone you care about is maybe at risk of being hurt or made fun of.”\u003c/p>\n\u003cfigure id=\"attachment_13828196\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg\" alt=\"'A Kid Like Jake' features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-1180x751.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/still-1-1.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Kid Like Jake’ features Claire Danes, Jim Parsons and Leo James Davis in a film directed by Silas Howard \u003ccite>(Courtesy of Sundance Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And another local angle, Howard got a grant to help finance this film from SFFILM and San Francisco’s Kenneth Rainin Foundation.\u003c/p>\n\u003cp>Both my co-host and I are most excited about the debut film for Oakland musician Boots Riley, who directed and wrote the film \u003cem>Sorry to Bother You\u003c/em>. It’s a wild comedy set in Oakland about Cassius Green (Lakeith Greenfield), a black man, who gets a job as a telemarketer, and then becomes a phenomenal success by pretending to have a “white voice.” Arnie Hammer, Terry Crews and Bay Area resident Danny Glover co-star, and it looks hilarious and a bit surreal.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XaBGcorkzpk'\n title='//www.youtube.com/embed/XaBGcorkzpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>By law, anyone checked into a psychiatric hospital in France without their consent – ostensibly because they are a danger to themselves or others – must receive a judicial hearing within 12 days. We glean from veteran filmmaker Raymond Depardon’s empathetic 2017 observational documentary, \u003cem>12 Days\u003c/em>, that judges typically follow the doctors’ recommendations to release a patient or return him or her to custody for further treatment. The effect of the law (and its presumed intent), it appears, is to protect individuals from being indefinitely locked up, ignored and warehoused.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> (screening March 29 at 7:30pm and March 31 and April 1 at 2pm at \u003ca href=\"https://www.ybca.org/whats-on/12-days\">Yerba Buena Center for the Arts\u003c/a>), filmed at a hospital in Lyon, plays like a dispassionate dispatch from a civilized country. Depardon isn’t an investigative journalist, activist or sociologist, and is uninterested in how or why these troubled souls ended up in range of his camera. His aim, as with 2005’s \u003cem>10th District Court\u003c/em> and 1995’s \u003cem>Caught in the Act\u003c/em> (both of which played the S.F. International Film Festival), is to show the operation of an arm of the French justice system out of view of the not-quite-innocent majority.\u003c/p>\n\u003cp>https://youtu.be/Mn6CbSBi3ho\u003c/p>\n\u003cp>That said, Depardon does editorialize, via deliberate tracking shots through near-empty (but not silent) hallways lined with locked doors, and outdoor, fixed-camera sequences of patients pacing or sitting alone with their thoughts. These artfully composed passages convey a palpable sense of isolation and misery, and contrast sharply with the brightly lit rooms and ritualized interactions of the hearings.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> offers neither answers nor suggestions, neither complaints nor incitements. It provides a nonjudgmental glimpse of the human condition, steeped in compassion and respect. If you’ve read this far, that is likely sufficient incentive, and reward, for you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By law, anyone checked into a psychiatric hospital in France without their consent – ostensibly because they are a danger to themselves or others – must receive a judicial hearing within 12 days. We glean from veteran filmmaker Raymond Depardon’s empathetic 2017 observational documentary, \u003cem>12 Days\u003c/em>, that judges typically follow the doctors’ recommendations to release a patient or return him or her to custody for further treatment. The effect of the law (and its presumed intent), it appears, is to protect individuals from being indefinitely locked up, ignored and warehoused.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> (screening March 29 at 7:30pm and March 31 and April 1 at 2pm at \u003ca href=\"https://www.ybca.org/whats-on/12-days\">Yerba Buena Center for the Arts\u003c/a>), filmed at a hospital in Lyon, plays like a dispassionate dispatch from a civilized country. Depardon isn’t an investigative journalist, activist or sociologist, and is uninterested in how or why these troubled souls ended up in range of his camera. His aim, as with 2005’s \u003cem>10th District Court\u003c/em> and 1995’s \u003cem>Caught in the Act\u003c/em> (both of which played the S.F. International Film Festival), is to show the operation of an arm of the French justice system out of view of the not-quite-innocent majority.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Mn6CbSBi3ho'\n title='//www.youtube.com/embed/Mn6CbSBi3ho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That said, Depardon does editorialize, via deliberate tracking shots through near-empty (but not silent) hallways lined with locked doors, and outdoor, fixed-camera sequences of patients pacing or sitting alone with their thoughts. These artfully composed passages convey a palpable sense of isolation and misery, and contrast sharply with the brightly lit rooms and ritualized interactions of the hearings.\u003c/p>\n\u003cp>\u003cem>12 Days\u003c/em> offers neither answers nor suggestions, neither complaints nor incitements. It provides a nonjudgmental glimpse of the human condition, steeped in compassion and respect. If you’ve read this far, that is likely sufficient incentive, and reward, for you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I’m just like you,” says gay 17-year-old Simon Spier (straight 22-year-old Nick Robinson), by way of introduction. We assume, at first, that he’s just getting his Ferris Bueller on and introducing himself to the audience, but it turns out he’s instead replying, via pseudonymous e-mail account, to an anonymous blog post written by one of his schoolmates. A correspondence ensues between their respective, most secret selves, as both Simon and the young man he calls “Blue” are still in the closet. Their sweet, sincere e-mail exchange, full of nervous confessions, mutual support and music playlists, makes up the epistolary backbone of \u003cem>Love, Simon\u003c/em>, a mainstream gay high-school romance that’s causing some people — both within and without the 20th Century Fox PR department — to call it “groundbreaking.”\u003c/p>\n\u003cp>https://youtu.be/E0cbWdlQg_8\u003c/p>\n\u003cp>It \u003cem>is \u003c/em>that, in a way, so long as we’re careful to get specific about just which patch of cinematic ground is truly getting excavated, here. Certainly, high-school romances have been piling up for decades now. In recent years, we’ve amassed a much smaller but not inconsiderate amount of gay high-school movies, from the broad (1999’s \u003cem>But I’m A Cheerleader\u003c/em>), to the raunchy (2006’s \u003cem>Another Gay Movie\u003c/em>), to those that plant their feet in just-be-true-to-yourself uplift (2006’s \u003cem>The Curiosity of Chance\u003c/em>; this year’s \u003cem>Freak Show\u003c/em>).\u003c/p>\n\u003cp>It’s also worth noting that there have been more than a few swoony gay high-school romances — though admittedly these tend to get imported from places like Great Britain (1996’s \u003cem>Beautiful Thing\u003c/em>) and Brazil (2016’s \u003cem>The Way He Looks\u003c/em>).\u003c/p>\n\u003cp>If \u003cem>Love, Simon\u003c/em> is a mainstream gay high-school romance (and it is) then clearly the word that’s doing the \u003cem>real \u003c/em>groundbreaking work — the one that’s truly operating the jackhammer — isn’t \u003cem>romance\u003c/em>, or \u003cem>high-school\u003c/em>, or even \u003cem>gay\u003c/em>; it’s \u003cem>mainstream\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those previous films focusing on the romantic/sexual travails and triumphs of queer kids were scrappy independent/international productions, and whatever public reception they got was fueled by film festival buzz, a handful of reviews and word of mouth. \u003cem>Love, Simon\u003c/em> is a major studio release, backed by the full might and majesty of 20th Century Fox’s marketing and promotional departments. It has been ruthlessly engineered, its every rough edge rock-tumbled to a polished, smooth perfection, so as to better sail over the nation’s art-houses and land squarely in the American multiplex.\u003c/p>\n\u003cp>Teams of professionals have ergonomically designed it for mass consumption. Everything about it is charming and palatable, cute and inoffensive. It is a gay coming-out story set squarely in a world of upscale suburban homes, where parents who buy their kids Subarus — complete with the giant hood-ribbon you only see in car commercials — can be counted upon to be tearfully understanding, when the time comes. It’s a world where bullying happens, when it happens, in a strangely feckless manner that gets swiftly and permanently dealt with by concerned, acutely observant teachers.\u003c/p>\n\u003cp>In other words, it’s pure fantasy.\u003c/p>\n\u003cp>In \u003cem>other \u003c/em>other words, it’s a mainstream high-school romance, just exactly like the scores of mainstream high-school romances that have come before.\u003c/p>\n\u003cp>Consider: In \u003cem>Love, Simon\u003c/em>, our hero and his friends mouth dialogue that vacillates between \u003cem>Buffy\u003c/em>-clever and Disney Channel-twee. [Check!] A blackmail scheme drives the plot [Check!], forcing Simon to ally himself with a character we’re meant to find both repellent and endearing (which: yep to the former, nope to the latter). [Check!] There is a my-parents-are-away house party. [Check!] Over the course of the film, love triangles and least one love rhombus bloom [Check! Check!], none of which seem particularly convincing. [Check!] The climactic kiss is neither sensual nor erotic — it’s a peck, a place-holder, just another rom-com box to be dutifully [Check!]ed.\u003c/p>\n\u003cp>And yet.\u003c/p>\n\u003cp>If that’s the task the film sets for itself, why begrudge its efficiency at achieving it? Yes, \u003cem>Love, Simon \u003c/em>does everything it can do to parboil the flavor, color, consistency and fabulousness out of its queer romance, until all that’s left is the familiar beige, featureless pap of overcooked heterosexual teen rom-coms. But that’s … kind of the point. Why shouldn’t queer kids get the chance to see generic, mass-produced versions of themselves onscreen, overcoming minor obstacles on their path to True Love(tm)?\u003c/p>\n\u003cp>They absolutely should, and with \u003cem>Love, Simon\u003c/em> (and the films that will certainly follow it) they will.\u003c/p>\n\u003cp>But while they’re watching it, they — and the friends and family members they bring along with them — will get to see something else. Something about which the film, gratifyingly, is much more specific, and thoughtful and acutely detailed. Because while the romance elements of \u003cem>Love, Simon\u003c/em> will earn it headlines and, perhaps more importantly, butts-in-seats, it’s the film’s quieter, deeper coming-out storyline that forms its true emotional center.\u003c/p>\n\u003cp>It’s here where the unquestioned privilege of the film’s main character becomes a feature, not a bug. He doesn’t remain in the closet out of fear of being rejected by family and friends, or because it would place him at physical, social or financial risk. No, he resists confessing his sexuality because to do so would mean his perfect suburban life would change. That’s a small, smart, sharply observed detail. Screenwriters Elizabeth Berger and Isaac Aptaker (and Becky Albertalli, who wrote the 2015 YA novel on which the film is based) have clearly done their homework; they know that the closet is not just a lonely and secretive place, but in cases like Simon’s, it’s a toxically selfish one too.\u003c/p>\n\u003cp>When he \u003cem>does \u003c/em>decide to crack the closet door, those scenes play out with an unforced immediacy and realness; the vaguely diffident quality Robinson brings to Simon charges those looooong silences, enriches them. Anyone who’s been on either side of that particular conversation will likely find themselves involuntarily holding their breath.\u003c/p>\n\u003cp>\u003cem>Love, Simon \u003c/em>can do some good in the world, and it likely will — but perhaps not the precise kind of good it thinks it will. The audience at my pre-release screening dependably oohed and aahed as the film churned through its various romantic feints and reveals. But the moment that a character finally spoke the words “I’m gay,” they did more than murmur.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>They cheered.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Gay+Teen+Romance%2C+Sealed+With+A+Peck%3A+%27Love%2C+Simon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m just like you,” says gay 17-year-old Simon Spier (straight 22-year-old Nick Robinson), by way of introduction. We assume, at first, that he’s just getting his Ferris Bueller on and introducing himself to the audience, but it turns out he’s instead replying, via pseudonymous e-mail account, to an anonymous blog post written by one of his schoolmates. A correspondence ensues between their respective, most secret selves, as both Simon and the young man he calls “Blue” are still in the closet. Their sweet, sincere e-mail exchange, full of nervous confessions, mutual support and music playlists, makes up the epistolary backbone of \u003cem>Love, Simon\u003c/em>, a mainstream gay high-school romance that’s causing some people — both within and without the 20th Century Fox PR department — to call it “groundbreaking.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E0cbWdlQg_8'\n title='//www.youtube.com/embed/E0cbWdlQg_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It \u003cem>is \u003c/em>that, in a way, so long as we’re careful to get specific about just which patch of cinematic ground is truly getting excavated, here. Certainly, high-school romances have been piling up for decades now. In recent years, we’ve amassed a much smaller but not inconsiderate amount of gay high-school movies, from the broad (1999’s \u003cem>But I’m A Cheerleader\u003c/em>), to the raunchy (2006’s \u003cem>Another Gay Movie\u003c/em>), to those that plant their feet in just-be-true-to-yourself uplift (2006’s \u003cem>The Curiosity of Chance\u003c/em>; this year’s \u003cem>Freak Show\u003c/em>).\u003c/p>\n\u003cp>It’s also worth noting that there have been more than a few swoony gay high-school romances — though admittedly these tend to get imported from places like Great Britain (1996’s \u003cem>Beautiful Thing\u003c/em>) and Brazil (2016’s \u003cem>The Way He Looks\u003c/em>).\u003c/p>\n\u003cp>If \u003cem>Love, Simon\u003c/em> is a mainstream gay high-school romance (and it is) then clearly the word that’s doing the \u003cem>real \u003c/em>groundbreaking work — the one that’s truly operating the jackhammer — isn’t \u003cem>romance\u003c/em>, or \u003cem>high-school\u003c/em>, or even \u003cem>gay\u003c/em>; it’s \u003cem>mainstream\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those previous films focusing on the romantic/sexual travails and triumphs of queer kids were scrappy independent/international productions, and whatever public reception they got was fueled by film festival buzz, a handful of reviews and word of mouth. \u003cem>Love, Simon\u003c/em> is a major studio release, backed by the full might and majesty of 20th Century Fox’s marketing and promotional departments. It has been ruthlessly engineered, its every rough edge rock-tumbled to a polished, smooth perfection, so as to better sail over the nation’s art-houses and land squarely in the American multiplex.\u003c/p>\n\u003cp>Teams of professionals have ergonomically designed it for mass consumption. Everything about it is charming and palatable, cute and inoffensive. It is a gay coming-out story set squarely in a world of upscale suburban homes, where parents who buy their kids Subarus — complete with the giant hood-ribbon you only see in car commercials — can be counted upon to be tearfully understanding, when the time comes. It’s a world where bullying happens, when it happens, in a strangely feckless manner that gets swiftly and permanently dealt with by concerned, acutely observant teachers.\u003c/p>\n\u003cp>In other words, it’s pure fantasy.\u003c/p>\n\u003cp>In \u003cem>other \u003c/em>other words, it’s a mainstream high-school romance, just exactly like the scores of mainstream high-school romances that have come before.\u003c/p>\n\u003cp>Consider: In \u003cem>Love, Simon\u003c/em>, our hero and his friends mouth dialogue that vacillates between \u003cem>Buffy\u003c/em>-clever and Disney Channel-twee. [Check!] A blackmail scheme drives the plot [Check!], forcing Simon to ally himself with a character we’re meant to find both repellent and endearing (which: yep to the former, nope to the latter). [Check!] There is a my-parents-are-away house party. [Check!] Over the course of the film, love triangles and least one love rhombus bloom [Check! Check!], none of which seem particularly convincing. [Check!] The climactic kiss is neither sensual nor erotic — it’s a peck, a place-holder, just another rom-com box to be dutifully [Check!]ed.\u003c/p>\n\u003cp>And yet.\u003c/p>\n\u003cp>If that’s the task the film sets for itself, why begrudge its efficiency at achieving it? Yes, \u003cem>Love, Simon \u003c/em>does everything it can do to parboil the flavor, color, consistency and fabulousness out of its queer romance, until all that’s left is the familiar beige, featureless pap of overcooked heterosexual teen rom-coms. But that’s … kind of the point. Why shouldn’t queer kids get the chance to see generic, mass-produced versions of themselves onscreen, overcoming minor obstacles on their path to True Love(tm)?\u003c/p>\n\u003cp>They absolutely should, and with \u003cem>Love, Simon\u003c/em> (and the films that will certainly follow it) they will.\u003c/p>\n\u003cp>But while they’re watching it, they — and the friends and family members they bring along with them — will get to see something else. Something about which the film, gratifyingly, is much more specific, and thoughtful and acutely detailed. Because while the romance elements of \u003cem>Love, Simon\u003c/em> will earn it headlines and, perhaps more importantly, butts-in-seats, it’s the film’s quieter, deeper coming-out storyline that forms its true emotional center.\u003c/p>\n\u003cp>It’s here where the unquestioned privilege of the film’s main character becomes a feature, not a bug. He doesn’t remain in the closet out of fear of being rejected by family and friends, or because it would place him at physical, social or financial risk. No, he resists confessing his sexuality because to do so would mean his perfect suburban life would change. That’s a small, smart, sharply observed detail. Screenwriters Elizabeth Berger and Isaac Aptaker (and Becky Albertalli, who wrote the 2015 YA novel on which the film is based) have clearly done their homework; they know that the closet is not just a lonely and secretive place, but in cases like Simon’s, it’s a toxically selfish one too.\u003c/p>\n\u003cp>When he \u003cem>does \u003c/em>decide to crack the closet door, those scenes play out with an unforced immediacy and realness; the vaguely diffident quality Robinson brings to Simon charges those looooong silences, enriches them. Anyone who’s been on either side of that particular conversation will likely find themselves involuntarily holding their breath.\u003c/p>\n\u003cp>\u003cem>Love, Simon \u003c/em>can do some good in the world, and it likely will — but perhaps not the precise kind of good it thinks it will. The audience at my pre-release screening dependably oohed and aahed as the film churned through its various romantic feints and reveals. But the moment that a character finally spoke the words “I’m gay,” they did more than murmur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They cheered.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Gay+Teen+Romance%2C+Sealed+With+A+Peck%3A+%27Love%2C+Simon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "woman-says-steven-seagal-sexually-assaulted-her-at-audition",
"title": "Woman Says Steven Seagal Sexually Assaulted Her at Audition",
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"content": "\u003cp>A woman on Monday said she was a 17-year-old model and aspiring actress when Steven Seagal sexually assaulted her at a supposed casting session at a Beverly Hills hotel room in 2002.\u003c/p>\n\u003cp>Faviola Dadis was emotional but composed as she spoke at a news conference in Los Angeles, becoming the latest of several women to accuse the action star of sexual misconduct.\u003c/p>\n\u003cp>Dadis said Seagal reached under her bikini top, grabbed her nipples and then grabbed her genitals soon after the audition began. She said she promptly ended the audition and left deeply shaken.\u003c/p>\n\u003cp>“I have suffered from depression, anxiety and post-traumatic stress, have found it difficult to form trusting relationships with men,” Dadis said through tears as she read from a written statement.\u003c/p>\n\u003cp>She recently filed a report with police, and Los Angeles prosecutors said Monday that her case is under review.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dadis spoke at the news conference alongside her attorney, Lisa Bloom, and another woman, Regina Simons, who said Seagal sexually assaulted her in 1995 when she was 18, allegations she previously made on NBC’s \u003cem>Megyn Kelly Today\u003c/em> in January.\u003c/p>\n\u003cp>Seagal’s attorney Anthony Falangetti said the actor adamantly denies the allegations.\u003c/p>\n\u003cp>“These claims by the two women who spoke today are completely fictitious and totally made up,” Falangetti told The Associated Press in a phone interview later Monday.\u003c/p>\n\u003cp>He said it was implausible that either woman ended up unaccompanied with Seagal in the ways they said they were.\u003cbr>\n“Neither one of their accounts is at all believable,” Falangetti said.\u003c/p>\n\u003cp>Dadis, now a 33-year-old doctoral candidate in clinical neuroscience, said she had recently moved to the U.S. from the Netherlands when a music producer introduced her to Seagal. After several phone calls and text messages, Seagal invited Dadis to a hotel room in Beverly Hills for the late-night casting session for a film he planned to make about Genghis Khan, Dadis said.\u003c/p>\n\u003cfigure id=\"attachment_13827539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg\" alt=\"Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \u003ccite>(Stasevich Andrei Olegovich /AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dadis brought a family friend because her mother was suspicious, but the person stayed in the lobby and she ended up in a room with only Seagal and his personal security guard.\u003c/p>\n\u003cp>Seagal had told her to wear a bikini or bra and panties under her clothes, and had her walk around the room in the bikini before saying he wanted to test their chemistry together and started touching her, Dadis said.\u003c/p>\n\u003cp>“Steven sat there calmly as if nothing had happened while I was noticeably upset and terrified by the experience,” she said. “I left feeling horrified and totally violated.”\u003c/p>\n\u003cp>She said she told friends after about a month, but did not go to authorities at the time because she feared being blacklisted in the entertainment industry. She said Seagal later called her, but she never accepted the calls.\u003c/p>\n\u003cp>Dadis said she was inspired by the recent wave of reports of sexual misconduct by men in the entertainment industry, and was spurred to come forward especially by actress Portia de Rossi saying Seagal once unzipped his pants during an audition with her.\u003c/p>\n\u003cp>Actress Jenny McCarthy has also said Seagal sexually harassed her at an audition in 1995.\u003c/p>\n\u003cp>Seagal has denied the actresses’ allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dadis and Simons’ allegations were first reported by \u003cem>TheWrap\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A woman on Monday said she was a 17-year-old model and aspiring actress when Steven Seagal sexually assaulted her at a supposed casting session at a Beverly Hills hotel room in 2002.\u003c/p>\n\u003cp>Faviola Dadis was emotional but composed as she spoke at a news conference in Los Angeles, becoming the latest of several women to accuse the action star of sexual misconduct.\u003c/p>\n\u003cp>Dadis said Seagal reached under her bikini top, grabbed her nipples and then grabbed her genitals soon after the audition began. She said she promptly ended the audition and left deeply shaken.\u003c/p>\n\u003cp>“I have suffered from depression, anxiety and post-traumatic stress, have found it difficult to form trusting relationships with men,” Dadis said through tears as she read from a written statement.\u003c/p>\n\u003cp>She recently filed a report with police, and Los Angeles prosecutors said Monday that her case is under review.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dadis spoke at the news conference alongside her attorney, Lisa Bloom, and another woman, Regina Simons, who said Seagal sexually assaulted her in 1995 when she was 18, allegations she previously made on NBC’s \u003cem>Megyn Kelly Today\u003c/em> in January.\u003c/p>\n\u003cp>Seagal’s attorney Anthony Falangetti said the actor adamantly denies the allegations.\u003c/p>\n\u003cp>“These claims by the two women who spoke today are completely fictitious and totally made up,” Falangetti told The Associated Press in a phone interview later Monday.\u003c/p>\n\u003cp>He said it was implausible that either woman ended up unaccompanied with Seagal in the ways they said they were.\u003cbr>\n“Neither one of their accounts is at all believable,” Falangetti said.\u003c/p>\n\u003cp>Dadis, now a 33-year-old doctoral candidate in clinical neuroscience, said she had recently moved to the U.S. from the Netherlands when a music producer introduced her to Seagal. After several phone calls and text messages, Seagal invited Dadis to a hotel room in Beverly Hills for the late-night casting session for a film he planned to make about Genghis Khan, Dadis said.\u003c/p>\n\u003cfigure id=\"attachment_13827539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg\" alt=\"Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Steven-Seagal-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Seagal holds two water melons during his meeting with the Belarus President at his residence of Drozdy, outside Minsk, on August 24, 2016. \u003ccite>(Stasevich Andrei Olegovich /AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dadis brought a family friend because her mother was suspicious, but the person stayed in the lobby and she ended up in a room with only Seagal and his personal security guard.\u003c/p>\n\u003cp>Seagal had told her to wear a bikini or bra and panties under her clothes, and had her walk around the room in the bikini before saying he wanted to test their chemistry together and started touching her, Dadis said.\u003c/p>\n\u003cp>“Steven sat there calmly as if nothing had happened while I was noticeably upset and terrified by the experience,” she said. “I left feeling horrified and totally violated.”\u003c/p>\n\u003cp>She said she told friends after about a month, but did not go to authorities at the time because she feared being blacklisted in the entertainment industry. She said Seagal later called her, but she never accepted the calls.\u003c/p>\n\u003cp>Dadis said she was inspired by the recent wave of reports of sexual misconduct by men in the entertainment industry, and was spurred to come forward especially by actress Portia de Rossi saying Seagal once unzipped his pants during an audition with her.\u003c/p>\n\u003cp>Actress Jenny McCarthy has also said Seagal sexually harassed her at an audition in 1995.\u003c/p>\n\u003cp>Seagal has denied the actresses’ allegations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dadis and Simons’ allegations were first reported by \u003cem>TheWrap\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hire a skywriter, or a street prophet: Christ and DeMille are together again! Well, they’ve actually never been apart. DeMille’s film about Christ, 1927’s \u003cem>The King of Kings\u003c/em>, has been seen by more people than any movie in human history. \u003c/p>\n\u003cp>How and why? For years after its theatrical release, religious groups were encouraged to rent prints for a minimal fee and missionaries schlepped copies ‘round the world. Like few movies before or since, Cecil B. DeMille’s spare-no-expense amalgam of religious gospel, carnival kitsch and educational film reached a mass(ive) audience. \u003c/p>\n\u003cp>But the faithful moved on to sound and color films and DeMille’s biblical epic faded into memory, superseded by Nicholas Ray, Martin Scorsese and Mel Gibson’s respective renderings of the pre-prosperity gospel. Then Serge Bromberg of Paris-based Lobster Films, a familiar and popular presence at the \u003ca href=\"http://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> every year, took a vow to restore \u003cem>The King of Kings\u003c/em> up to its original length and down to its striking two-color Technicolor sequences. \u003c/p>\n\u003cfigure id=\"attachment_13827524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg\" alt=\"Still from Cecil B. DeMille's 'The King of Kings,' 1927.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13827524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecil B. DeMille’s ‘The King of Kings,’ 1927. \u003ccite>(Courtesy of San Francisco Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. Silent Film Festival and the Ghiberti Center for Culture at \u003ca href=\"https://www.gracecathedral.org/events/sf-silent-film-festival-the-king-of-kings/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a> co-present the U.S. premiere of Lobster’s restoration this Saturday night, March 24, at 7pm. How will DeMille’s unrestrained blend of sincerity and showmanship, shameless spectacle and moral uplift play in secular, self-obsessed, selfie-saturated San Francisco? With David Briggs (from New York’s Cathedral of St. John the Divine) hitting the keys of Grace Cathedral’s mammoth pipe organ, assuredly souls will be saved by the word (via intertitles) of Jesus Christ, superstar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hire a skywriter, or a street prophet: Christ and DeMille are together again! Well, they’ve actually never been apart. DeMille’s film about Christ, 1927’s \u003cem>The King of Kings\u003c/em>, has been seen by more people than any movie in human history. \u003c/p>\n\u003cp>How and why? For years after its theatrical release, religious groups were encouraged to rent prints for a minimal fee and missionaries schlepped copies ‘round the world. Like few movies before or since, Cecil B. DeMille’s spare-no-expense amalgam of religious gospel, carnival kitsch and educational film reached a mass(ive) audience. \u003c/p>\n\u003cp>But the faithful moved on to sound and color films and DeMille’s biblical epic faded into memory, superseded by Nicholas Ray, Martin Scorsese and Mel Gibson’s respective renderings of the pre-prosperity gospel. Then Serge Bromberg of Paris-based Lobster Films, a familiar and popular presence at the \u003ca href=\"http://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a> every year, took a vow to restore \u003cem>The King of Kings\u003c/em> up to its original length and down to its striking two-color Technicolor sequences. \u003c/p>\n\u003cfigure id=\"attachment_13827524\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg\" alt=\"Still from Cecil B. DeMille's 'The King of Kings,' 1927.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13827524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/King-of-Kings.8_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecil B. DeMille’s ‘The King of Kings,’ 1927. \u003ccite>(Courtesy of San Francisco Silent Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. Silent Film Festival and the Ghiberti Center for Culture at \u003ca href=\"https://www.gracecathedral.org/events/sf-silent-film-festival-the-king-of-kings/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a> co-present the U.S. premiere of Lobster’s restoration this Saturday night, March 24, at 7pm. How will DeMille’s unrestrained blend of sincerity and showmanship, shameless spectacle and moral uplift play in secular, self-obsessed, selfie-saturated San Francisco? With David Briggs (from New York’s Cathedral of St. John the Divine) hitting the keys of Grace Cathedral’s mammoth pipe organ, assuredly souls will be saved by the word (via intertitles) of Jesus Christ, superstar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"title": "An Office Lady Becomes a Leading Lady in 'Oh Lucy!' | KQED",
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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",
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"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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"title": "On the Air: Suzie & Gabe's Picks for March 16, 2018",
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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"meta": {
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"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",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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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": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"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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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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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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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"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",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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