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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Orlando (Francisco Reyes) enters a rooftop supper-club in Santiago at the beginning of the film, he can’t take his eyes off Marina (Daniela Vega), a striking young vocalist who’s crooning lyrics about throwing her boyfriend out with the garbage because, she sings, his love “is like yesterday’s newspaper.” \u003c/p>\n\u003cp>She sings that line straight to Orlando, with a little smile. She’s definitely not throwing \u003cem>him\u003c/em> away … she’s moving into his apartment as soon as they celebrate her 27th birthday. \u003c/p>\n\u003cp>But that night, things take a terrible turn. Orlando wakes up feeling ill. Marina rushes him to the hospital, where less than half an hour later, he dies due to an aneurysm. \u003c/p>\n\u003cp>At that point, Marina’s ordeal is only beginning. The doctors who couldn’t save Orlando look at Marina in the harsh hospital lighting and begin to treat her as a suspect. A policeman demands to see identification and frowns at the fact that the name on her ID card is “Daniel.”\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/PJHex4ZitgA'\n title='//www.youtube.com/embed/PJHex4ZitgA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> is Chile’s submission to this year’s Academy Awards, and it’ll be one of the five films up for best foreign language film on Oscar night. Director Sebastian Lelio often makes films with strong, complicated women at their centers — his 2013 awards-circuit hit, \u003cem>Gloria\u003c/em> for instance. In Marina, he’s got a uniquely striking heroine, whom he is forever surrounding with mirrors and reflective surfaces, as if determined that we should see her from every possible angle. \u003c/p>\n\u003cp>The director first encountered Daniela Vega, who plays Marina, while researching Santiago’s transgender community. Initially a consultant, Vega not only won the part, she clearly influenced it — she is herself a trans woman, and an opera-trained singer who supplies her own vocals throughout the film. Vega gives Marina a fierce dignity that the character needs when dealing with Orlando’s son and with his ex-wife, who refuses even to see Marina as a woman.\u003c/p>\n\u003cp>“When I look at you I don’t know what I’m seeing” she says bluntly, but she also uses the word “perversion” — which suggests she at least knows what she \u003cem>thinks\u003c/em> about what she’s seeing. And she’s adamant that Marina not attend Orlando’s funeral, something she emphasizes by always addressing him as Daniel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Complicated,” she says at one point, “quantum physics complicated.” The film reflects that, while also acknowledging that things don’t have to be. Even as she copes with her own grief, Marina must deal with being mistreated, misjudged, even mugged. And then there’ll be a moment of grace — as a gentleman simply stands aside to let her enter an elevator first. Someone who can navigate all that, and remain resilient, assertive, even charismatic? Yes — she’s a fantastic woman.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If hip-hop fans were wondering if Kendrick Lamar and Sacramento rapper Mozzy had a collaboration in the works after K.Dot \u003ca href=\"http://www.sacbee.com/news/local/article197178319.html\" target=\"_blank\" rel=\"noopener\">quoted Mozzy\u003c/a> during his Grammys acceptance speech, we now have our answer. Earlier today, Lamar tweeted the highly anticipated tracklist for \u003cem>Black Panther\u003c/em>, the reportedly groundbreaking Marvel film directed by Ryan Coogler.\u003c/p>\n\u003cp>Coogler, who also directed \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, is originally from Oakland, so it makes sense that \u003cem>Black Panther’s\u003c/em> soundtrack shows Northern California some love. In addition to “Seasons” by Mozzy (also featuring South African artists Sjava and Reason), it includes a new song by Vallejo upstarts SOBxRBE called “Paramedic!”\u003c/p>\n\u003cp>The rest of the soundtrack, curated by Lamar, features heavy-hitters like Future, Swae Lee, the Weeknd, Travis Scott, SZA, and James Blake. Ab-Soul and Jay Rock from Lamar’s Top Dawg Entertainment also make appearances and notable newcomers like Jorja Smith, Zacari, and Khalid are on the soundtrack as well.\u003c/p>\n\u003cp>https://twitter.com/kendricklamar/status/958788331420069888\u003c/p>\n\u003cp>\u003cstrong>Tracklist\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Black Panther,” Kendrick Lamar\u003cbr>\n“All The Stars,” Kendrick Lamar, SZA\u003cbr>\n“X,” ScHoolboy Q, 2 Chainz, Saudi\u003cbr>\n“The Ways,” Khalid, Swae Lee\u003cbr>\n“Opps,” Vince Staples, Yugen Blakrok\u003cbr>\n“I Am,” Jorja Smith\u003cbr>\n“Paramedic!” SOB X RBE\u003cbr>\n“Bloody Waters,” Ab-Soul, Anderson .Paak, James Blake\u003cbr>\n“King’s Dead,” Jay Rock, Kendrick Lamar, Future, James Blake\u003cbr>\n“Redemption Interlude”\u003cbr>\n“Redemption,” Zacari, Babes Wodumo\u003cbr>\n“Seasons,” Mozzy, Sjava, Reason\u003cbr>\n“Big Shot,” Kendrick Lamar, Travis Scott\u003cbr>\n“Pray For Me,” The Weeknd, Kendrick Lamar\u003c/p>\n\u003cp>So far, only the rap scorcher “\u003ca href=\"https://soundcloud.com/topdawgent/kings-dead\" target=\"_blank\" rel=\"noopener\">King’s Dead\u003c/a>” and soaring electro-R&B track “\u003ca href=\"https://youtu.be/GfCqMv--ncA\" target=\"_blank\" rel=\"noopener\">All the Stars\u003c/a>” are out; we’ll have to wait ’til the soundtrack’s Feb. 9 release to hear more. \u003cem>Black Panther\u003c/em> hits theaters on Feb. 16.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/382202108″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If hip-hop fans were wondering if Kendrick Lamar and Sacramento rapper Mozzy had a collaboration in the works after K.Dot \u003ca href=\"http://www.sacbee.com/news/local/article197178319.html\" target=\"_blank\" rel=\"noopener\">quoted Mozzy\u003c/a> during his Grammys acceptance speech, we now have our answer. Earlier today, Lamar tweeted the highly anticipated tracklist for \u003cem>Black Panther\u003c/em>, the reportedly groundbreaking Marvel film directed by Ryan Coogler.\u003c/p>\n\u003cp>Coogler, who also directed \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, is originally from Oakland, so it makes sense that \u003cem>Black Panther’s\u003c/em> soundtrack shows Northern California some love. In addition to “Seasons” by Mozzy (also featuring South African artists Sjava and Reason), it includes a new song by Vallejo upstarts SOBxRBE called “Paramedic!”\u003c/p>\n\u003cp>The rest of the soundtrack, curated by Lamar, features heavy-hitters like Future, Swae Lee, the Weeknd, Travis Scott, SZA, and James Blake. Ab-Soul and Jay Rock from Lamar’s Top Dawg Entertainment also make appearances and notable newcomers like Jorja Smith, Zacari, and Khalid are on the soundtrack as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Black Panther,” Kendrick Lamar\u003cbr>\n“All The Stars,” Kendrick Lamar, SZA\u003cbr>\n“X,” ScHoolboy Q, 2 Chainz, Saudi\u003cbr>\n“The Ways,” Khalid, Swae Lee\u003cbr>\n“Opps,” Vince Staples, Yugen Blakrok\u003cbr>\n“I Am,” Jorja Smith\u003cbr>\n“Paramedic!” SOB X RBE\u003cbr>\n“Bloody Waters,” Ab-Soul, Anderson .Paak, James Blake\u003cbr>\n“King’s Dead,” Jay Rock, Kendrick Lamar, Future, James Blake\u003cbr>\n“Redemption Interlude”\u003cbr>\n“Redemption,” Zacari, Babes Wodumo\u003cbr>\n“Seasons,” Mozzy, Sjava, Reason\u003cbr>\n“Big Shot,” Kendrick Lamar, Travis Scott\u003cbr>\n“Pray For Me,” The Weeknd, Kendrick Lamar\u003c/p>\n\u003cp>So far, only the rap scorcher “\u003ca href=\"https://soundcloud.com/topdawgent/kings-dead\" target=\"_blank\" rel=\"noopener\">King’s Dead\u003c/a>” and soaring electro-R&B track “\u003ca href=\"https://youtu.be/GfCqMv--ncA\" target=\"_blank\" rel=\"noopener\">All the Stars\u003c/a>” are out; we’ll have to wait ’til the soundtrack’s Feb. 9 release to hear more. \u003cem>Black Panther\u003c/em> hits theaters on Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/382202108″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/382202108″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Whose 'Muse?' Liv Ullmann Talks Bergman and Beyond",
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"content": "\u003cp>As my phone interview with Liv Ullmann draws to a close, I hear papers rustling in her New York hotel room. “I had all these notes about Bergman,” she confides with a laugh, she never referred to them. So much the better, for the great actress (and accomplished director, in her own right) had been wondrously in the moment, drawing on a pinpoint memory to elucidate the essence of her alliance with the Swedish icon Ingmar Bergman.\u003c/p>\n\u003cp>“I had been an actress for seven years, [and] I felt that I had been an actress my whole life,” Ullmann says, recounting their meeting in the mid-1960s. “I had worked with one of his closest collaborators, Bibi Andersson, and I came to Stockholm to visit her. He was an incredible filmmaker in my mind already then. I met him on the street and he had heard about me and seen my films, and he said immediately, ‘I would like to work with you.’ Though that movie never happened, \u003cem>Persona\u003c/em> happened because of that meeting. I think he was very struck, standing there on the street with Bibi and with me, by our alikeness in the way we looked and in the way we talked.\u003c/p>\n\u003cfigure id=\"attachment_13823278\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg\" alt=\"Liv Ullmann and Max Von Sydow in 'Shame,' 1968.\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1180x946.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--960x770.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--520x417.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Max Von Sydow in ‘Shame,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the picture I was supposed to be in was cancelled, Bibi and I went on a cultural tour to Poland and Czechoslovakia. We were told that Ingmar was ill and was in the hospital. But he always became ill when he didn’t want to do something. [In] Czechoslovakia we were told by the embassy that we had to come back to Sweden because he was well again and he had made a new script in the hospital, and that was \u003cem>Persona\u003c/em>.”\u003c/p>\n\u003cp>A harrowing portrayal of the identity and power dynamics between an actress who’s stopped speaking (Ullmann) and her nurse (Andersson), \u003cem>Persona\u003c/em> (1966) made international stars out of both actresses. It’s the natural choice to open \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">Bergman 100: A Tribute to Liv Ullmann\u003c/a> on Thursday, Feb. 1, the first of five programs in BAMPFA’s year-long celebration of Bergman’s centennial.\u003c/p>\n\u003cp>Ullmann’s in-person appearances at BAMPFA, at this show and for \u003cem>Shame\u003c/em> (1968) on Feb. 3, are both sold out. Screenings have been added on Feb. 3 and 4, respectively, but she won’t be present. The \u003ca href=\"https://rafaelfilm.cafilm.org/liv-ullmann/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> in San Rafael hosts Ullmann for an evening of conversation and clips on Feb. 2, and a discussion following \u003cem>Autumn Sonata\u003c/em> (1978) on Feb. 4. Ullmann will then introduce \u003cem>Faithless\u003c/em>, the 2000 film she directed from Bergman’s screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13823284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg\" alt=\"Liv Ullmann and Ingrid Bergman in 'Autumn Sonata,' 1978.\" width=\"1200\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Ingrid Bergman in ‘Autumn Sonata,’ 1978. \u003ccite>(Courtesy of BAMPFA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was struck by something that he had seen with Bibi and me, and he built \u003cem>Persona\u003c/em> on that thing,” Ullmann says. “We never saw it as an incredible movie at the time. I was 25 years old, I didn’t really understand it and neither did Bibi, but we understood the feelings. I knew one thing very well, and that I was him. Not that I could verbalize what I knew or understood about him but I recognized him, and I think he recognized me. He was almost 50, he had come to a sad moment where he wanted to isolate and not talk and turn away from society and people and love and everything. And he put all of that into my part. Bibi was the other part — maybe she was him, too — that wanted to connect, to understand.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A small film but a penetrating character study, \u003cem>Persona\u003c/em> marked a change in Bergman’s moviemaking as well as Ullmann’s breakthrough. While the director advised his stock company of Max von Sydow, Erland Josephson and Bibi and Harriet Andersson not to travel or take roles in big films, he wasn’t opposed when Ullmann did it.\u003c/p>\n\u003cp>“Ingmar would sometimes be asked, ‘What about Liv, and all this world fame she got suddenly?’ ‘Well, it doesn’t matter for her because she’ll always be this girl from Norway. That’s who she is,’” Ullmann recalls. “I think what we recognized in each other was that I was doing things that he would have liked to do but he just couldn’t. That’s why very quickly after I met him he decided to live on [the island of] Gotland.”\u003c/p>\n\u003cfigure id=\"attachment_13823282\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg\" alt=\"Liv Ullmann, Max von Sydow and Gertrud Fridh in 'Hour of the Wolf,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1020x799.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-520x407.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann, Max von Sydow and Gertrud Fridh in ‘Hour of the Wolf,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ullmann describes Bergman and his wife jetting to New York for one night in 1975 to see her play Nora onstage in Henrik Ibsen’s \u003cem>A Doll’s House\u003c/em>, which prompts a singularly incongruous anecdote.\u003c/p>\n\u003cp>“He came once to Los Angeles and thought maybe he would do a movie there, but he packed up immediately,” Ullmann says. “Barbra Streisand called him and said, ‘I’m having a swimming pool party tomorrow, just bring your bathing suit and come over.’ That’s when he decided he had to go home very, very, very quickly. Home, and to his island. That would have never happened to me, because I would have thought, ‘Oh, what fun. I’m going to do that.’”\u003c/p>\n\u003cp>The power of Ullmann’s acting derives from her bravery — her willingness to explore raw, painful situations — matched by an ability to express thoughts and emotions with extraordinary immediacy and transparency.\u003c/p>\n\u003cfigure id=\"attachment_13823288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg\" alt=\"Liv Ullmann in 'Saraband,' 2003.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13823288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann in ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not a character actor, because I can’t do this wonderful thing that [Gary Oldman], who played Churchill [in \u003cem>Darkest Hour\u003c/em>] did. But whoever I’m supposed to be, I can let the feelings of that person go through me but it all goes through Liv. It goes through the face. I don’t have to act. I can be, and that’s my way of being an actress,” she says.\u003c/p>\n\u003cp>Bergman certainly recognized, and appreciated, that quality in Ullmann over the course of the dozen films that they made together. But she suggests that it was her ability to recognize Bergman in her characters, without their discussing it, that he appreciated the most.\u003c/p>\n\u003cp>“Like all great directors, he doesn’t tell you what you’re feeling and where you came from and your background and all those things,” Ullmann says, referring to the late director in the present tense. “But you are never allowed to change the words, and he gave you wonderful blocking without explaining too much why you get up from the chair and you walk a little here, and there, and [say] these lines, and then you end up sitting in another corner on another chair. I would always think, ‘It’s not about [my character]. This is something about Ingmar.’”\u003c/p>\n\u003cp>A related memory comes unbid to Ullmann, making her pages of notes superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13823283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg\" alt=\"Ingmar Bergman on the set of 'Saraband,' 2003.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman on the set of ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a suicide scene in \u003cem>Face to Face\u003c/em> (1976) and he never told me what to do, except to take a lot of pills and end up on the bed where I was sitting and more or less die. The only thing he did was I heard him say to somebody, ‘Did you take away the sleeping pills and put sugar pills?’ He knew I heard it. So he gave me that private fantasy: ‘Oh, maybe they didn’t.’ But I was thinking, this is a suicide that Ingmar really would like to do. And that he would do in his mother’s home.”\u003c/p>\n\u003cp>Ullmann adds, “He never said, ‘thank you, thank you,’ so I just had to invent new things. But it was all in the framework of Ingmar. It’s very hard to explain, but that’s how it was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bergman 100: A Tribute to Liv Ullmann runs Feb. 1—24, 2018 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The great actress and director discusses Ingmar Bergman's influence on her career — and his aversion to Barbara Streisand's pool parties.",
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"title": "Whose 'Muse?' Liv Ullmann Talks Bergman and Beyond | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As my phone interview with Liv Ullmann draws to a close, I hear papers rustling in her New York hotel room. “I had all these notes about Bergman,” she confides with a laugh, she never referred to them. So much the better, for the great actress (and accomplished director, in her own right) had been wondrously in the moment, drawing on a pinpoint memory to elucidate the essence of her alliance with the Swedish icon Ingmar Bergman.\u003c/p>\n\u003cp>“I had been an actress for seven years, [and] I felt that I had been an actress my whole life,” Ullmann says, recounting their meeting in the mid-1960s. “I had worked with one of his closest collaborators, Bibi Andersson, and I came to Stockholm to visit her. He was an incredible filmmaker in my mind already then. I met him on the street and he had heard about me and seen my films, and he said immediately, ‘I would like to work with you.’ Though that movie never happened, \u003cem>Persona\u003c/em> happened because of that meeting. I think he was very struck, standing there on the street with Bibi and with me, by our alikeness in the way we looked and in the way we talked.\u003c/p>\n\u003cfigure id=\"attachment_13823278\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg\" alt=\"Liv Ullmann and Max Von Sydow in 'Shame,' 1968.\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12-.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--1180x946.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--960x770.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--375x301.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Shame_002_12--520x417.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Max Von Sydow in ‘Shame,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the picture I was supposed to be in was cancelled, Bibi and I went on a cultural tour to Poland and Czechoslovakia. We were told that Ingmar was ill and was in the hospital. But he always became ill when he didn’t want to do something. [In] Czechoslovakia we were told by the embassy that we had to come back to Sweden because he was well again and he had made a new script in the hospital, and that was \u003cem>Persona\u003c/em>.”\u003c/p>\n\u003cp>A harrowing portrayal of the identity and power dynamics between an actress who’s stopped speaking (Ullmann) and her nurse (Andersson), \u003cem>Persona\u003c/em> (1966) made international stars out of both actresses. It’s the natural choice to open \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">Bergman 100: A Tribute to Liv Ullmann\u003c/a> on Thursday, Feb. 1, the first of five programs in BAMPFA’s year-long celebration of Bergman’s centennial.\u003c/p>\n\u003cp>Ullmann’s in-person appearances at BAMPFA, at this show and for \u003cem>Shame\u003c/em> (1968) on Feb. 3, are both sold out. Screenings have been added on Feb. 3 and 4, respectively, but she won’t be present. The \u003ca href=\"https://rafaelfilm.cafilm.org/liv-ullmann/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> in San Rafael hosts Ullmann for an evening of conversation and clips on Feb. 2, and a discussion following \u003cem>Autumn Sonata\u003c/em> (1978) on Feb. 4. Ullmann will then introduce \u003cem>Faithless\u003c/em>, the 2000 film she directed from Bergman’s screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13823284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg\" alt=\"Liv Ullmann and Ingrid Bergman in 'Autumn Sonata,' 1978.\" width=\"1200\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Autumn-Sonata_002_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann and Ingrid Bergman in ‘Autumn Sonata,’ 1978. \u003ccite>(Courtesy of BAMPFA )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was struck by something that he had seen with Bibi and me, and he built \u003cem>Persona\u003c/em> on that thing,” Ullmann says. “We never saw it as an incredible movie at the time. I was 25 years old, I didn’t really understand it and neither did Bibi, but we understood the feelings. I knew one thing very well, and that I was him. Not that I could verbalize what I knew or understood about him but I recognized him, and I think he recognized me. He was almost 50, he had come to a sad moment where he wanted to isolate and not talk and turn away from society and people and love and everything. And he put all of that into my part. Bibi was the other part — maybe she was him, too — that wanted to connect, to understand.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A small film but a penetrating character study, \u003cem>Persona\u003c/em> marked a change in Bergman’s moviemaking as well as Ullmann’s breakthrough. While the director advised his stock company of Max von Sydow, Erland Josephson and Bibi and Harriet Andersson not to travel or take roles in big films, he wasn’t opposed when Ullmann did it.\u003c/p>\n\u003cp>“Ingmar would sometimes be asked, ‘What about Liv, and all this world fame she got suddenly?’ ‘Well, it doesn’t matter for her because she’ll always be this girl from Norway. That’s who she is,’” Ullmann recalls. “I think what we recognized in each other was that I was doing things that he would have liked to do but he just couldn’t. That’s why very quickly after I met him he decided to live on [the island of] Gotland.”\u003c/p>\n\u003cfigure id=\"attachment_13823282\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg\" alt=\"Liv Ullmann, Max von Sydow and Gertrud Fridh in 'Hour of the Wolf,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1020x799.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Hour-of-the-Wolf_003_1200-520x407.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann, Max von Sydow and Gertrud Fridh in ‘Hour of the Wolf,’ 1968. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ullmann describes Bergman and his wife jetting to New York for one night in 1975 to see her play Nora onstage in Henrik Ibsen’s \u003cem>A Doll’s House\u003c/em>, which prompts a singularly incongruous anecdote.\u003c/p>\n\u003cp>“He came once to Los Angeles and thought maybe he would do a movie there, but he packed up immediately,” Ullmann says. “Barbra Streisand called him and said, ‘I’m having a swimming pool party tomorrow, just bring your bathing suit and come over.’ That’s when he decided he had to go home very, very, very quickly. Home, and to his island. That would have never happened to me, because I would have thought, ‘Oh, what fun. I’m going to do that.’”\u003c/p>\n\u003cp>The power of Ullmann’s acting derives from her bravery — her willingness to explore raw, painful situations — matched by an ability to express thoughts and emotions with extraordinary immediacy and transparency.\u003c/p>\n\u003cfigure id=\"attachment_13823288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg\" alt=\"Liv Ullmann in 'Saraband,' 2003.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13823288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_008_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullmann in ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not a character actor, because I can’t do this wonderful thing that [Gary Oldman], who played Churchill [in \u003cem>Darkest Hour\u003c/em>] did. But whoever I’m supposed to be, I can let the feelings of that person go through me but it all goes through Liv. It goes through the face. I don’t have to act. I can be, and that’s my way of being an actress,” she says.\u003c/p>\n\u003cp>Bergman certainly recognized, and appreciated, that quality in Ullmann over the course of the dozen films that they made together. But she suggests that it was her ability to recognize Bergman in her characters, without their discussing it, that he appreciated the most.\u003c/p>\n\u003cp>“Like all great directors, he doesn’t tell you what you’re feeling and where you came from and your background and all those things,” Ullmann says, referring to the late director in the present tense. “But you are never allowed to change the words, and he gave you wonderful blocking without explaining too much why you get up from the chair and you walk a little here, and there, and [say] these lines, and then you end up sitting in another corner on another chair. I would always think, ‘It’s not about [my character]. This is something about Ingmar.’”\u003c/p>\n\u003cp>A related memory comes unbid to Ullmann, making her pages of notes superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13823283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg\" alt=\"Ingmar Bergman on the set of 'Saraband,' 2003.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bergman_Saraband_007_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman on the set of ‘Saraband,’ 2003. \u003ccite>(Photo by Bengt Wanselius; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a suicide scene in \u003cem>Face to Face\u003c/em> (1976) and he never told me what to do, except to take a lot of pills and end up on the bed where I was sitting and more or less die. The only thing he did was I heard him say to somebody, ‘Did you take away the sleeping pills and put sugar pills?’ He knew I heard it. So he gave me that private fantasy: ‘Oh, maybe they didn’t.’ But I was thinking, this is a suicide that Ingmar really would like to do. And that he would do in his mother’s home.”\u003c/p>\n\u003cp>Ullmann adds, “He never said, ‘thank you, thank you,’ so I just had to invent new things. But it was all in the framework of Ingmar. It’s very hard to explain, but that’s how it was.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bergman 100: A Tribute to Liv Ullmann runs Feb. 1—24, 2018 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Won't You be his Neighbor? Tom Hanks to Play Mister Rogers",
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"content": "\u003cp>It’s a beautiful day in this neighborhood for Tom Hanks, who’ll star as Mister Rogers in the upcoming biopic \u003cem>You Are My Friend\u003c/em>.\u003c/p>\n\u003cp>TriStar Pictures announced Monday it has acquired worldwide rights to the film, to be directed by \u003cem>The Diary of a Teenage Girl\u003c/em> filmmaker Marielle Heller.\u003c/p>\n\u003cp>The film will focus on the friendship between the host of \u003cem>Mister Rogers’ Neighborhood\u003c/em> and journalist Tom Junod. Junod reluctantly agreed to profile Fred Rogers only to find “his perspective on life transformed.”\u003c/p>\n\u003cp>Production will begin in September, with a 2019 release expected.\u003c/p>\n\u003cp>The role will surely add to the America’s Dad image of Hanks, who gave a very Rogers-like opening monologue while hosting \u003cem>Saturday Night Live\u003c/em> before the 2016 presidential election, swapping his jacket for a sweater and giving America a pep talk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rogers died in 2003 at age 74.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a beautiful day in this neighborhood for Tom Hanks, who’ll star as Mister Rogers in the upcoming biopic \u003cem>You Are My Friend\u003c/em>.\u003c/p>\n\u003cp>TriStar Pictures announced Monday it has acquired worldwide rights to the film, to be directed by \u003cem>The Diary of a Teenage Girl\u003c/em> filmmaker Marielle Heller.\u003c/p>\n\u003cp>The film will focus on the friendship between the host of \u003cem>Mister Rogers’ Neighborhood\u003c/em> and journalist Tom Junod. Junod reluctantly agreed to profile Fred Rogers only to find “his perspective on life transformed.”\u003c/p>\n\u003cp>Production will begin in September, with a 2019 release expected.\u003c/p>\n\u003cp>The role will surely add to the America’s Dad image of Hanks, who gave a very Rogers-like opening monologue while hosting \u003cem>Saturday Night Live\u003c/em> before the 2016 presidential election, swapping his jacket for a sweater and giving America a pep talk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The free raffle is causing uproarious laughter in the back room of San Francisco’s Alley Cat Books. Irwin Swirnoff, organizer of the queer film series \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">my gaze///yr gaze\u003c/a>, dips his hand into a bag to select the next lucky audience member. The items up for grabs include Queen Latifah’s 2000 autobiography \u003ci>Ladies First\u003c/i>, a 45 of Gloria Gaynor singing “I Will Survive,” and a cassette of British R&B group Soul II Soul, featuring their 1989 single “Keep on Movin.’” \u003c/p>\n\u003cp>“And the winner is… ‘More desperate than Taylor Swift’!” he announces. A young woman sheepishly raises her hand and accepts the bundle of prizes to cheers and applause. \u003c/p>\n\u003cp>Over the course of the night, Swirnoff raffles away four more collections of odds and ends, setting a convivial tone for the night’s main event — a screening of director Tony Richardson’s 1961 film \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Taste_of_Honey_(film)\" rel=\"noopener\" target=\"_blank\">A Taste of Honey\u003c/a>\u003c/i>. On the first Sunday of every month (barring travel or sickness on the part of Swirnoff), a small crowd gathers in the back room of \u003ca href=\"http://www.alleycatbookshop.com/\" rel=\"noopener\" target=\"_blank\">Alley Cat Books\u003c/a> to watch and discuss a film chosen by a guest selector. \u003c/p>\n\u003cfigure id=\"attachment_13820343\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg\" alt=\"Irwin Swirnoff raffling off a Diana Ross LP in Oakland.\" width=\"675\" height=\"586\" class=\"size-full wp-image-13820343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-520x451.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Irwin Swirnoff raffling off a Diana Ross LP in Oakland. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>January’s film pick comes courtesy of \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" rel=\"noopener\" target=\"_blank\">Brontez Purnell\u003c/a>, choreographer, dancer, writer, filmmaker and performance artist with a deep and abiding love for \u003ci>A Taste of Honey\u003c/i>. “Next to \u003ci>The Color Purple\u003c/i>,” Purnell says, “this is is one of my favorite films.” \u003c/p>\n\u003cp>After the movie — a gritty depiction of a young woman in working-class Manchester — the conversation in the room is broad and energetic. Imagine returning to the best college film course you never took: discussions of queer theory punctuated by personal exclamations of “I loved it when—!” Swirnoff, a multidisciplinary artist and \u003ca href=\"http://kxsf.fm/shows\" rel=\"noopener\" target=\"_blank\">longtime DJ\u003c/a>, also teaches film courses at Cal State Monterey Bay and USF; he occupies the role of seminar leader with ease.\u003c/p>\n\u003cfigure id=\"attachment_13820347\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg\" alt=\"The event flyer for the my gaze///yr gaze screening of 'A Taste of Honey.'\" width=\"900\" height=\"684\" class=\"size-full wp-image-13820347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-520x395.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The event flyer for the my gaze///yr gaze screening of ‘A Taste of Honey.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This post-screening conversation is just as important to Swirnoff as the opportunity to watch interesting and often hard-to-find films. For him, it’s all about gathering a diverse group of people who wouldn’t normally bump into one another. “One of the most exciting parts of the series has been the intergenerational crowds,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For an entire decade plus, there was no bandwidth in the queer community beyond ‘How am I going to help my loved one stay alive another day,’” Swirnoff says. “We’re no longer in crisis, and that’s allowed us to be able to have these other conversations and think about progressive things like gender identity and fluidity.”\u003c/p>\n\u003cfigure id=\"attachment_13820344\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg\" alt=\"Film selector Jai Carillo holding his choice, James Bidgood's 1971 'Pink Narcissus.'\" width=\"750\" height=\"689\" class=\"size-full wp-image-13820344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Film selector Jai Carillo holding his choice, James Bidgood’s 1971 ‘Pink Narcissus.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swirnoff moved the series to Alley Cat in 2015 (it started in 2013 at the now-defunct Oakland gallery n/a), the same year the Lexington, San Francisco’s last lesbian bar, closed its doors. Against this backdrop of community erasure, Swirnoff says, “It felt doubly important to create this space.” And while bars and clubs are crucial hubs of queer culture, he saw the value in fostering different kinds of interactions — not just dancing and drinking — without the involvement of money or commerce. When there’s an admission price, he notes, an event immediately excludes certain members of the community. \u003c/p>\n\u003cp>Past screenings range from major motion pictures (John Carpenter’s 1988 horror flick \u003ci>They Live\u003c/i>) and art house favorites (Gregg Araki’s 2004 film \u003ci>Mysterious Skin\u003c/i>) to experimental films (Charles Atlas’ 1994 \u003ci>Superhoney\u003c/i>) and foreign LGBTQ cinema. Guest selectors include Bay Area luminaries like Michelle Tea, Sophia Wang and Davia Spain.\u003c/p>\n\u003cfigure id=\"attachment_13820348\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg\" alt=\"The flyer for the upcoming my gaze///yr gaze screening of 'La Ley Del Deseo (Law Of Desire).'\" width=\"600\" height=\"666\" class=\"size-full wp-image-13820348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for the upcoming my gaze///yr gaze screening of ‘La Ley Del Deseo (Law Of Desire).’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next my gaze///yr gaze screening takes place Sunday, Feb. 4, with \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a> founder Josh Cheon introducing Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire).’ According to the event announcement: “Using melodrama to perfection, the film is a sizzling exploration of passion and desire.”\u003c/p>\n\u003cp>“One month it might be super challenging avant garde, super campy and playful, serious, or a weird sci-fi,” Swirnoff says. “It takes us to different places each month and brings a different audience each time.”\u003c/p>\n\u003cfigure id=\"attachment_13820346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg\" alt=\"A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015.\" width=\"1200\" height=\"987\" class=\"size-full wp-image-13820346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-800x658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1020x839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1180x971.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-960x790.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-520x428.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if the post-screening conversation proves too lengthy and energetic for Alley Cat’s back room, there’s always Taqueria Vallarta. “Sometimes people carry on across the street — they’re really fun nights,” Tedesco says.\u003c/p>\n\u003cp>After \u003ci>A Taste of Honey\u003c/i> and a conversation about sexual politics in 1960s England, Swirnoff asks the room if anyone has any events coming up. It’s his way of broadening the connections created over the course of the night.\u003c/p>\n\u003cp>Talking about what’s been lost in the queer community — and in the Bay Area at large — isn’t enough, he says. “What are we doing to maintain what’s great about San Francisco?” Swirnoff asks. “It’s easy to mourn things when they’ve gone, but I try to emphasize that we have to support and champion the things that we still love here. Because if we don’t, they’ll be taken away.”\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 next my gaze///yr gaze screening, of Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire),’ takes place Sunday, Feb. 4, 6pm at San Francisco’s Alley Cat Books (3036 24th St). For more information, \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Each month, Irwin Swirnoff invites a guest to screen and discuss a film in the back room of San Francisco's Alley Cat Books as part of the free series my gaze///yr gaze.",
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"title": "Projecting the Fight Against Queer Erasure, Film by Film | KQED",
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"headline": "Projecting the Fight Against Queer Erasure, Film by Film",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The free raffle is causing uproarious laughter in the back room of San Francisco’s Alley Cat Books. Irwin Swirnoff, organizer of the queer film series \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">my gaze///yr gaze\u003c/a>, dips his hand into a bag to select the next lucky audience member. The items up for grabs include Queen Latifah’s 2000 autobiography \u003ci>Ladies First\u003c/i>, a 45 of Gloria Gaynor singing “I Will Survive,” and a cassette of British R&B group Soul II Soul, featuring their 1989 single “Keep on Movin.’” \u003c/p>\n\u003cp>“And the winner is… ‘More desperate than Taylor Swift’!” he announces. A young woman sheepishly raises her hand and accepts the bundle of prizes to cheers and applause. \u003c/p>\n\u003cp>Over the course of the night, Swirnoff raffles away four more collections of odds and ends, setting a convivial tone for the night’s main event — a screening of director Tony Richardson’s 1961 film \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Taste_of_Honey_(film)\" rel=\"noopener\" target=\"_blank\">A Taste of Honey\u003c/a>\u003c/i>. On the first Sunday of every month (barring travel or sickness on the part of Swirnoff), a small crowd gathers in the back room of \u003ca href=\"http://www.alleycatbookshop.com/\" rel=\"noopener\" target=\"_blank\">Alley Cat Books\u003c/a> to watch and discuss a film chosen by a guest selector. \u003c/p>\n\u003cfigure id=\"attachment_13820343\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg\" alt=\"Irwin Swirnoff raffling off a Diana Ross LP in Oakland.\" width=\"675\" height=\"586\" class=\"size-full wp-image-13820343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg5irwinross-520x451.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Irwin Swirnoff raffling off a Diana Ross LP in Oakland. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>January’s film pick comes courtesy of \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" rel=\"noopener\" target=\"_blank\">Brontez Purnell\u003c/a>, choreographer, dancer, writer, filmmaker and performance artist with a deep and abiding love for \u003ci>A Taste of Honey\u003c/i>. “Next to \u003ci>The Color Purple\u003c/i>,” Purnell says, “this is is one of my favorite films.” \u003c/p>\n\u003cp>After the movie — a gritty depiction of a young woman in working-class Manchester — the conversation in the room is broad and energetic. Imagine returning to the best college film course you never took: discussions of queer theory punctuated by personal exclamations of “I loved it when—!” Swirnoff, a multidisciplinary artist and \u003ca href=\"http://kxsf.fm/shows\" rel=\"noopener\" target=\"_blank\">longtime DJ\u003c/a>, also teaches film courses at Cal State Monterey Bay and USF; he occupies the role of seminar leader with ease.\u003c/p>\n\u003cfigure id=\"attachment_13820347\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg\" alt=\"The event flyer for the my gaze///yr gaze screening of 'A Taste of Honey.'\" width=\"900\" height=\"684\" class=\"size-full wp-image-13820347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgygtasteofbrontez-520x395.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The event flyer for the my gaze///yr gaze screening of ‘A Taste of Honey.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This post-screening conversation is just as important to Swirnoff as the opportunity to watch interesting and often hard-to-find films. For him, it’s all about gathering a diverse group of people who wouldn’t normally bump into one another. “One of the most exciting parts of the series has been the intergenerational crowds,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For an entire decade plus, there was no bandwidth in the queer community beyond ‘How am I going to help my loved one stay alive another day,’” Swirnoff says. “We’re no longer in crisis, and that’s allowed us to be able to have these other conversations and think about progressive things like gender identity and fluidity.”\u003c/p>\n\u003cfigure id=\"attachment_13820344\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg\" alt=\"Film selector Jai Carillo holding his choice, James Bidgood's 1971 'Pink Narcissus.'\" width=\"750\" height=\"689\" class=\"size-full wp-image-13820344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg2jaipink-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Film selector Jai Carillo holding his choice, James Bidgood’s 1971 ‘Pink Narcissus.’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swirnoff moved the series to Alley Cat in 2015 (it started in 2013 at the now-defunct Oakland gallery n/a), the same year the Lexington, San Francisco’s last lesbian bar, closed its doors. Against this backdrop of community erasure, Swirnoff says, “It felt doubly important to create this space.” And while bars and clubs are crucial hubs of queer culture, he saw the value in fostering different kinds of interactions — not just dancing and drinking — without the involvement of money or commerce. When there’s an admission price, he notes, an event immediately excludes certain members of the community. \u003c/p>\n\u003cp>Past screenings range from major motion pictures (John Carpenter’s 1988 horror flick \u003ci>They Live\u003c/i>) and art house favorites (Gregg Araki’s 2004 film \u003ci>Mysterious Skin\u003c/i>) to experimental films (Charles Atlas’ 1994 \u003ci>Superhoney\u003c/i>) and foreign LGBTQ cinema. Guest selectors include Bay Area luminaries like Michelle Tea, Sophia Wang and Davia Spain.\u003c/p>\n\u003cfigure id=\"attachment_13820348\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg\" alt=\"The flyer for the upcoming my gaze///yr gaze screening of 'La Ley Del Deseo (Law Of Desire).'\" width=\"600\" height=\"666\" class=\"size-full wp-image-13820348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-240x266.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-375x416.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyglawofdesire-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for the upcoming my gaze///yr gaze screening of ‘La Ley Del Deseo (Law Of Desire).’ \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next my gaze///yr gaze screening takes place Sunday, Feb. 4, with \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a> founder Josh Cheon introducing Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire).’ According to the event announcement: “Using melodrama to perfection, the film is a sizzling exploration of passion and desire.”\u003c/p>\n\u003cp>“One month it might be super challenging avant garde, super campy and playful, serious, or a weird sci-fi,” Swirnoff says. “It takes us to different places each month and brings a different audience each time.”\u003c/p>\n\u003cfigure id=\"attachment_13820346\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg\" alt=\"A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015.\" width=\"1200\" height=\"987\" class=\"size-full wp-image-13820346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-800x658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1020x839.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-1180x971.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-960x790.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-375x308.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/mgyg44rotimiwindow-520x428.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A my gaze///yr gaze flyer in the window of Alley Cat Books for the first San Francisco screening in 2015. \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if the post-screening conversation proves too lengthy and energetic for Alley Cat’s back room, there’s always Taqueria Vallarta. “Sometimes people carry on across the street — they’re really fun nights,” Tedesco says.\u003c/p>\n\u003cp>After \u003ci>A Taste of Honey\u003c/i> and a conversation about sexual politics in 1960s England, Swirnoff asks the room if anyone has any events coming up. It’s his way of broadening the connections created over the course of the night.\u003c/p>\n\u003cp>Talking about what’s been lost in the queer community — and in the Bay Area at large — isn’t enough, he says. “What are we doing to maintain what’s great about San Francisco?” Swirnoff asks. “It’s easy to mourn things when they’ve gone, but I try to emphasize that we have to support and champion the things that we still love here. Because if we don’t, they’ll be taken away.”\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 next my gaze///yr gaze screening, of Pedro Almodóvar’s 1987 film ‘La Ley Del Deseo (Law of Desire),’ takes place Sunday, Feb. 4, 6pm at San Francisco’s Alley Cat Books (3036 24th St). For more information, \u003ca href=\"https://www.facebook.com/events/2002696679948371/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Modern Cinema Crosses Borders with Claire Denis",
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"content": "\u003cp>The French director Claire Denis grew up in colonial West Africa, where she learned what it’s like being privileged, resented and an outsider. She sensuously evoked that hothouse of emotions in her semi-autobiographical 1988 debut, \u003cem>Chocolat\u003c/em>, one of several Africa-set films she’s made over the course of her career. But even in the heart of Paris, where the protagonist of \u003cem>Friday Night\u003c/em> (2002) is locked in a symphonic traffic jam at a pivotal juncture in her relationship, Denis can convey passion along with the sense of being utterly alone.\u003c/p>\n\u003cp>\u003cem>Friday Night\u003c/em> (Feb. 1) and \u003cem>Chocolat\u003c/em> (Feb. 2) are the perfect openers for \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-claire-denis/#more-upcoming-events-89117\" rel=\"noopener\" target=\"_blank\">Claire Denis: Seeing Is Believing\u003c/a> (Feb. 1–18 at SFMOMA), the latest and most profound of the Modern Cinema programs curated by the museum and SFFILM. Each series explores one contemporary director across three weekends through several works as well as those of influential predecessors (Ozu, Godard, Fassbinder, Cassavetes and Djibril Diop Mambety, among others, in this case).\u003c/p>\n\u003cfigure id=\"attachment_13820331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg\" alt=\"Still from Claire Denis' 'Chocolat.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13820331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Claire Denis’ ‘Chocolat.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup is brilliantly chosen from beginning to end, though I am surprised at the omission of the late Maurice Pialat, the unflinching, unsentimental French director whom Denis seems most akin to. Her films are about people trying to cross over, to find a home of their own, to connect with another human being, in a world devised around baser motivations. The opening weekend includes Denis’ entry in last year’s Cannes Film Festival, \u003cem>Let the Sunshine In\u003c/em> (Feb. 3), an intimate study of a new divorcee (Juliette Binoche) assiduously embracing her freedom. Like so many of Denis’ characters, she’s willing to take exceptional risks to get what she needs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French director Claire Denis grew up in colonial West Africa, where she learned what it’s like being privileged, resented and an outsider. She sensuously evoked that hothouse of emotions in her semi-autobiographical 1988 debut, \u003cem>Chocolat\u003c/em>, one of several Africa-set films she’s made over the course of her career. But even in the heart of Paris, where the protagonist of \u003cem>Friday Night\u003c/em> (2002) is locked in a symphonic traffic jam at a pivotal juncture in her relationship, Denis can convey passion along with the sense of being utterly alone.\u003c/p>\n\u003cp>\u003cem>Friday Night\u003c/em> (Feb. 1) and \u003cem>Chocolat\u003c/em> (Feb. 2) are the perfect openers for \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-claire-denis/#more-upcoming-events-89117\" rel=\"noopener\" target=\"_blank\">Claire Denis: Seeing Is Believing\u003c/a> (Feb. 1–18 at SFMOMA), the latest and most profound of the Modern Cinema programs curated by the museum and SFFILM. Each series explores one contemporary director across three weekends through several works as well as those of influential predecessors (Ozu, Godard, Fassbinder, Cassavetes and Djibril Diop Mambety, among others, in this case).\u003c/p>\n\u003cfigure id=\"attachment_13820331\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg\" alt=\"Still from Claire Denis' 'Chocolat.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13820331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Chocolat-1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Claire Denis’ ‘Chocolat.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup is brilliantly chosen from beginning to end, though I am surprised at the omission of the late Maurice Pialat, the unflinching, unsentimental French director whom Denis seems most akin to. Her films are about people trying to cross over, to find a home of their own, to connect with another human being, in a world devised around baser motivations. The opening weekend includes Denis’ entry in last year’s Cannes Film Festival, \u003cem>Let the Sunshine In\u003c/em> (Feb. 3), an intimate study of a new divorcee (Juliette Binoche) assiduously embracing her freedom. Like so many of Denis’ characters, she’s willing to take exceptional risks to get what she needs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'The Insult,' All Politics Is A Local Neighborhood Squabble",
"headTitle": "In ‘The Insult,’ All Politics Is A Local Neighborhood Squabble | KQED",
"content": "\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. I mean Lebanon does take you by surprise from time to time.”\u003c/p>\n\u003cp>Ziad Doueiri says his cinema takes him by surprise too.\u003c/p>\n\u003cp>His default setting is angry and cynical. He’s been known to throw insults. But he says it’s through his films that he calms down.\u003c/p>\n\u003cp>“In my film, I try to tap into the moderate part of me,” Doueiri says. “Otherwise you lose your mind. But if you let me out there, I can be a lot angrier. If you hear what I really think, I would be the subject of a different interview.”\u003c/p>\n\u003cp>Ziad Doueiri says his films are his way of healing the scars that still divide Beirut — and his way of pouring water over the insults that inflame so easily.\u003c/p>\n\u003cp>https://youtu.be/QEQDZL6bAXo\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Ziad Doueiri's new Oscar-nominated film is about the religious and tribal divisions in contemporary Lebanon -- and how a small altercation in Beirut can spiral out of control.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. 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"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Documentary filmmaker Peter Nicks doesn’t hold any illusions that his work will save the world. For him, filmmaking is just one element of culture that slowly propels humanity forward, together.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when Nicks directed \u003cem>The Force\u003c/em> — the story of two turbulent years in the Oakland Police Department, filmed while embedded in its ranks — he did so with a stridently objective eye. The film premiered in 2017 at Sundance, where Nicks was awarded the Directing Award for U.S. Documentary, and broadcasts nationally this week on \u003ca href=\"http://www.pbs.org/independentlens/films/the-force/.\" target=\"_blank\" rel=\"noopener noreferrer\">PBS’ \u003c/a>\u003cem>Independent Lens.\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The documentary is the second in a trilogy of films examining the city of Oakland through its public institutions, produced by Nick’s nonprofit\u003ca href=\"http://www.openhood.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> Open’hood\u003c/a> and inspired in part by the HBO series \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Wire. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Nicks’ critically acclaimed \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Waiting Room,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> told from inside Oakland’s Highland Hospital, was the first in the trilogy; he plans to embed in the city’s schools for the third.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As filmmakers, Nicks and his team had unprecedented access to the OPD during filming, which began in 2014 as the Black Lives Matter movement emerged. “The department was trying to confront this problem of implicit bias,” Nicks says, “and at the same time trying to keep a city safe.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of the things I noticed right away was the feeling of being in a police car,” Nicks says. People automatically look at the police with antagonism and mistrust, he noted, and the officers internalized that. But just as easily understood, Nicks says, is the perspective of community members who feel profiled and harassed by the police.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bridging rather than widening that divide is one Nicks’ primary goals. “As a filmmaker I want to try to bring people into another point of view,” he says. His own personal story, including encounters with the criminal justice system, he says, helped him approach complex matters with sensitivity and authenticity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch our latest \u003cem>Behind the Lens\u003c/em> spotlight on local filmmakers, as Nicks and his team capture Black Lives Matter protests, OPD trainees, community vigils, and police missteps, all the way up to the documentary’s explosive coda: a sex scandal involving over a dozen members of the department. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Force is \u003ca href=\"http://www.pbs.org/independentlens/films/the-force/\" target=\"_blank\" rel=\"noopener noreferrer\">available for free streaming\u003c/a> on PBS until Feb. 4, 2018, and then available on Netflix. \u003c/em>\u003c/p>\n\n",
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"title": "After #OscarsSoWhite and #MeToo, the Academy Finally Listens",
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"content": "\u003cp>Each year’s \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">Oscar nominations\u003c/a> provoke both cheers and eye rolls, and 2018 is no exception. Directing and Original Screenplay nods to Jordan Peele for \u003cem>Get Out\u003c/em>, \u003cem>and\u003c/em> Best Picture plus Best Actor nominations for Daniel Kaluuya? Cool. A Best Picture slot for \u003cem>The Post\u003c/em> despite zero recognition in the technical categories, or anywhere other than Meryl Streep’s expected nomination? Weird. Best Director nods for two first-timers (Peele and Greta Gerwig)? A terrific boost for their careers. A Best Actor nomination for Denzel Washington? Clearly, given \u003cem>Roman J. Israel, Esq.’s\u003c/em> low box office numbers, more Academy members saw his performance than did paying customers.\u003c/p>\n\u003cp>[contextly_sidebar id=”q6YX94zNcMmSuj84pLo2IFtDSguMtsRz”]\u003c/p>\n\u003cp>The most encouraging news to be gleaned from this year’s nominations is that the industry appears to have turned a corner after the \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> debacle. With Mary J. Blige (\u003cem>Mudbound\u003c/em>) and Octavia Spencer (\u003cem>The Shape of Water\u003c/em>) in the Supporting Actress category (along with Kaluuya and Washington in Best Actor), a fifth of the 20 nominated actors are black. Nominations don’t tell the whole story, of course, but you can’t get nominated if you don’t get cast. If the visibility and heat brought to bear by #OscarsSoWhite is resulting in more roles for actors of color, well, keep the pressure on.\u003c/p>\n\u003cp>From a gender-equality perspective, the nomination of Rachel Morrison (\u003cem>Mudbound\u003c/em>) in the Cinematography category — the first woman to be so recognized — is a huge development. Director Dee Rees (along with co-writer and producer Virgil Williams) was recognized for the adapted screenplay for \u003cem>Mudbound\u003c/em>, while Greta Gerwig (\u003cem>Lady Bird\u003c/em>) and Emily V. Gordon (\u003cem>The Big Sick\u003c/em>, co-written with Kumail Najiani) were, as expected, nominated for Original Screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13819821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg\" alt=\"Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles. \u003ccite>(Christopher Polk/Getty Images for Turner Image)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s movies were made in 2016 and don’t address the Trump effect, but the voting took place amid the ongoing #MeToo revelations. It’s conceivable that some Academy members didn’t watch perennial fave Kate Winslet’s performance in \u003cem>Wonder Wheel\u003c/em> because there was no way they were going to endorse a Woody Allen movie. (To be clear, the charges leveled against him remain allegations.) But the nominations include an implicit acknowledgement of Hollywood’s sexual abuse scandals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Plummer, who received a surprise nomination in the Supporting Actor category, was hired to replace the disgraced Kevin Spacey after \u003cem>All the Money in the World\u003c/em> was finished, and to reshoot numerous scenes. Even if not a single presenter or winner mentions sexual harassment on Oscar Night — an unlikely scenario — we’ll be reminded of Spacey’s (and Weinstein’s) transgressions every time the camera focuses on Plummer.\u003c/p>\n\u003cp>Several other Academy Award-nominated films feature explorations of sexuality that would upset Mike Pence: the coming-of-age romance \u003cem>Call Me by Your Name\u003c/em> (Best Picture, Actor: Timothee Chalemet; Adapted Screenplay: James Ivory, and Original Song) and the Chilean drama about a grieving transgender woman, \u003cem>A Fantastic Woman\u003c/em> (Foreign Language).\u003c/p>\n\u003cfigure id=\"attachment_13819820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg\" alt=\"Timothée Chalamet and Armie Hammer in 'Call Me By Your Name,' nominated for four Academy Awards.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet and Armie Hammer in ‘Call Me By Your Name,’ nominated for four Academy Awards. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the aforementioned \u003cem>Mudbound\u003c/em> (Netflix) and \u003cem>The Big Sick\u003c/em> (Amazon) represent the Oscars’ highest-profile feature films from the major streaming services, who increasingly fancy themselves as mini-studios (with mammoth budgets). Netflix also scored with \u003cem>Icarus\u003c/em> and \u003cem>Strong Island\u003c/em> (both Documentary Feature) and \u003cem>Heroin(e)\u003c/em> (Documentary Short), three prestigious nominations that should bolster the company’s longstanding embrace of quality nonfiction. (While offsetting Netflix’s bottomless inventory of lackluster true-crime series and docs.)\u003c/p>\n\u003cp>Speaking of docs, Bay Area filmmakers were shut out in categories where they frequently contend. Indeed, the only locals who will need to rent tuxedos are the sound artists and visual effects experts who worked on \u003cem>Star Wars: The Last Jedi\u003c/em>.\u003c/p>\n\u003cp>It is customary, at this point, to expertly and decisively handicap the nominees and predict the winners. Actually, that’s sport for every moviegoer. I will just say that this year feels a lot like the last few, with several films attracting devoted constituencies — with each film’s fans lukewarm toward the others. We can only count on two things for certain: a few new faces stepping into the spotlight and seizing their moment, and every star of any stature denouncing the current administration’s policies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each year’s \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">Oscar nominations\u003c/a> provoke both cheers and eye rolls, and 2018 is no exception. Directing and Original Screenplay nods to Jordan Peele for \u003cem>Get Out\u003c/em>, \u003cem>and\u003c/em> Best Picture plus Best Actor nominations for Daniel Kaluuya? Cool. A Best Picture slot for \u003cem>The Post\u003c/em> despite zero recognition in the technical categories, or anywhere other than Meryl Streep’s expected nomination? Weird. Best Director nods for two first-timers (Peele and Greta Gerwig)? A terrific boost for their careers. A Best Actor nomination for Denzel Washington? Clearly, given \u003cem>Roman J. Israel, Esq.’s\u003c/em> low box office numbers, more Academy members saw his performance than did paying customers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The most encouraging news to be gleaned from this year’s nominations is that the industry appears to have turned a corner after the \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> debacle. With Mary J. Blige (\u003cem>Mudbound\u003c/em>) and Octavia Spencer (\u003cem>The Shape of Water\u003c/em>) in the Supporting Actress category (along with Kaluuya and Washington in Best Actor), a fifth of the 20 nominated actors are black. Nominations don’t tell the whole story, of course, but you can’t get nominated if you don’t get cast. If the visibility and heat brought to bear by #OscarsSoWhite is resulting in more roles for actors of color, well, keep the pressure on.\u003c/p>\n\u003cp>From a gender-equality perspective, the nomination of Rachel Morrison (\u003cem>Mudbound\u003c/em>) in the Cinematography category — the first woman to be so recognized — is a huge development. Director Dee Rees (along with co-writer and producer Virgil Williams) was recognized for the adapted screenplay for \u003cem>Mudbound\u003c/em>, while Greta Gerwig (\u003cem>Lady Bird\u003c/em>) and Emily V. Gordon (\u003cem>The Big Sick\u003c/em>, co-written with Kumail Najiani) were, as expected, nominated for Original Screenplay.\u003c/p>\n\u003cfigure id=\"attachment_13819821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg\" alt=\"Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GretaGerwig-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Greta Gerwig attends the 24th Annual Screen Actors Guild Awards at The Shrine Auditorium on Jan. 21, 2018 in Los Angeles. \u003ccite>(Christopher Polk/Getty Images for Turner Image)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year’s movies were made in 2016 and don’t address the Trump effect, but the voting took place amid the ongoing #MeToo revelations. It’s conceivable that some Academy members didn’t watch perennial fave Kate Winslet’s performance in \u003cem>Wonder Wheel\u003c/em> because there was no way they were going to endorse a Woody Allen movie. (To be clear, the charges leveled against him remain allegations.) But the nominations include an implicit acknowledgement of Hollywood’s sexual abuse scandals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Plummer, who received a surprise nomination in the Supporting Actor category, was hired to replace the disgraced Kevin Spacey after \u003cem>All the Money in the World\u003c/em> was finished, and to reshoot numerous scenes. Even if not a single presenter or winner mentions sexual harassment on Oscar Night — an unlikely scenario — we’ll be reminded of Spacey’s (and Weinstein’s) transgressions every time the camera focuses on Plummer.\u003c/p>\n\u003cp>Several other Academy Award-nominated films feature explorations of sexuality that would upset Mike Pence: the coming-of-age romance \u003cem>Call Me by Your Name\u003c/em> (Best Picture, Actor: Timothee Chalemet; Adapted Screenplay: James Ivory, and Original Song) and the Chilean drama about a grieving transgender woman, \u003cem>A Fantastic Woman\u003c/em> (Foreign Language).\u003c/p>\n\u003cfigure id=\"attachment_13819820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg\" alt=\"Timothée Chalamet and Armie Hammer in 'Call Me By Your Name,' nominated for four Academy Awards.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/CallMeByYourName-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet and Armie Hammer in ‘Call Me By Your Name,’ nominated for four Academy Awards. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the aforementioned \u003cem>Mudbound\u003c/em> (Netflix) and \u003cem>The Big Sick\u003c/em> (Amazon) represent the Oscars’ highest-profile feature films from the major streaming services, who increasingly fancy themselves as mini-studios (with mammoth budgets). Netflix also scored with \u003cem>Icarus\u003c/em> and \u003cem>Strong Island\u003c/em> (both Documentary Feature) and \u003cem>Heroin(e)\u003c/em> (Documentary Short), three prestigious nominations that should bolster the company’s longstanding embrace of quality nonfiction. (While offsetting Netflix’s bottomless inventory of lackluster true-crime series and docs.)\u003c/p>\n\u003cp>Speaking of docs, Bay Area filmmakers were shut out in categories where they frequently contend. Indeed, the only locals who will need to rent tuxedos are the sound artists and visual effects experts who worked on \u003cem>Star Wars: The Last Jedi\u003c/em>.\u003c/p>\n\u003cp>It is customary, at this point, to expertly and decisively handicap the nominees and predict the winners. Actually, that’s sport for every moviegoer. I will just say that this year feels a lot like the last few, with several films attracting devoted constituencies — with each film’s fans lukewarm toward the others. We can only count on two things for certain: a few new faces stepping into the spotlight and seizing their moment, and every star of any stature denouncing the current administration’s policies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Noir City Keeps Things Dark and Twisty at the Castro",
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"content": "\u003cp>Michael Curtiz, the Hungarian-born director of \u003cem>Casablanca\u003c/em>, \u003cem>Mildred Pierce\u003c/em> and dozens and dozens of other Warner Brothers films from the 1920s to the ’50s, remains the most perplexing major figure of the studio era. A volatile tyrant who helmed numerous great films, he made an even larger number of duds. Was he a great artist or just an expert technician who triumphed with grade-A scripts and actors but couldn’t transcend the subpar material he was assigned before and after his prime? If that question holds any meaning for you, seek out Alan K. Rode’s massive new biography, \u003cem>\u003ca href=\"https://www.amazon.com/Michael-Curtiz-Life-Screen-Classics/dp/0813173914\" rel=\"noopener\" target=\"_blank\">Michael Curtiz: A Life in Film\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13819713\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg\" alt=\"Scene from 'The Unsuspected' with Joan Caulfield and Claude Rains, 1947.\" width=\"1600\" height=\"1139\" class=\"size-full wp-image-13819713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-520x370.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘The Unsuspected’ with Joan Caulfield and Claude Rains, 1947. \u003ccite>(Courtesy of Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or arrange to be at the Castro the night of Jan. 31, when Rode signs his admirably researched tome on the mezzanine after introducing Curtiz’s lesser-known murder mystery, \u003cem>The Unsuspected\u003c/em> (with Claude Rains, best known as Capt. Louis Renault), at the 16th annual edition of \u003ca href=\"http://www.noircity.com/index.html\" rel=\"noopener\" target=\"_blank\">Noir City\u003c/a> (Jan. 26—Feb. 4). The other half of the 1947 double bill, the Film Noir Foundation-funded restoration of \u003cem>High Tide\u003c/em>, is a nifty, twisty tale recounted in flashback from the low-budget studio Monogram Pictures. Only hardcore noirists will recognize the actors’ names, quite unlike the cast of the Warners’ movie.\u003c/p>\n\u003cp>Up and down the lineup, Noir City barkeep Eddie Muller has rounded up some of the usual suspects — \u003cem>I Wake Up Screaming\u003c/em>, \u003cem>This Gun For Hire\u003c/em>, \u003cem>Shadow of a Doubt\u003c/em>, \u003cem>The Black Dahlia\u003c/em>, \u003cem>The Big Heat\u003c/em> — and paired them with gritty, offbeat B movies. From his little fiefdom in heaven, Michael Curtiz claps his hands, calls for rain and directs you to pack a flask.\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>Michael Curtiz, the Hungarian-born director of \u003cem>Casablanca\u003c/em>, \u003cem>Mildred Pierce\u003c/em> and dozens and dozens of other Warner Brothers films from the 1920s to the ’50s, remains the most perplexing major figure of the studio era. A volatile tyrant who helmed numerous great films, he made an even larger number of duds. Was he a great artist or just an expert technician who triumphed with grade-A scripts and actors but couldn’t transcend the subpar material he was assigned before and after his prime? If that question holds any meaning for you, seek out Alan K. Rode’s massive new biography, \u003cem>\u003ca href=\"https://www.amazon.com/Michael-Curtiz-Life-Screen-Classics/dp/0813173914\" rel=\"noopener\" target=\"_blank\">Michael Curtiz: A Life in Film\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13819713\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg\" alt=\"Scene from 'The Unsuspected' with Joan Caulfield and Claude Rains, 1947.\" width=\"1600\" height=\"1139\" class=\"size-full wp-image-13819713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Unsuspected-ClaudeRains-JoanCaulfield-520x370.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘The Unsuspected’ with Joan Caulfield and Claude Rains, 1947. \u003ccite>(Courtesy of Film Noir Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or arrange to be at the Castro the night of Jan. 31, when Rode signs his admirably researched tome on the mezzanine after introducing Curtiz’s lesser-known murder mystery, \u003cem>The Unsuspected\u003c/em> (with Claude Rains, best known as Capt. Louis Renault), at the 16th annual edition of \u003ca href=\"http://www.noircity.com/index.html\" rel=\"noopener\" target=\"_blank\">Noir City\u003c/a> (Jan. 26—Feb. 4). The other half of the 1947 double bill, the Film Noir Foundation-funded restoration of \u003cem>High Tide\u003c/em>, is a nifty, twisty tale recounted in flashback from the low-budget studio Monogram Pictures. Only hardcore noirists will recognize the actors’ names, quite unlike the cast of the Warners’ movie.\u003c/p>\n\u003cp>Up and down the lineup, Noir City barkeep Eddie Muller has rounded up some of the usual suspects — \u003cem>I Wake Up Screaming\u003c/em>, \u003cem>This Gun For Hire\u003c/em>, \u003cem>Shadow of a Doubt\u003c/em>, \u003cem>The Black Dahlia\u003c/em>, \u003cem>The Big Heat\u003c/em> — and paired them with gritty, offbeat B movies. From his little fiefdom in heaven, Michael Curtiz claps his hands, calls for rain and directs you to pack a flask.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>American power’s potential to injure innocents is encapsulated by off-screen mishaps on a much smaller scale than the Iraq War: A young boy is hit by a car in Power’s motorcade, and a U.N. convoy carrying humanitarian aid in Syria is accidentally shelled by U.S. bombs. The staffers’ reactions to these incidents give a sense of the burden of making geopolitical strategy. \u003c/p>\n\u003cp>https://youtu.be/4UUpnqvIwF4 \u003c/p>\n\u003cp>Less telling are the movie’s occasional flashbacks, which include a section on Kerry’s opposition to the Vietnam War and a montage of Obama’s visits to ancient monuments in Britain, Greece, Egypt, and Jordan. The arc of history is long, but in these sequences it doesn’t bend toward anything in particular. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s most sobering element is not the Obama administration’s obligation to great bygone civilizations, but the historical fluke named Donald Trump. While the narrative doesn’t end until inauguration day, it climaxes with election-night TV-watching parties during which the Obama camp’s hope ebbs and finally crumbles. Barack Obama may have aspired to Olympian detachment, but \u003cem>The Final Year\u003c/em>‘s most compelling moments reveal chagrin, regret, and shock.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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