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"content": "\u003cfigure id=\"attachment_13982802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg\" alt=\"sweaty man sings into mic, eyes closed\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13982802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the last Velvet Underground studio record (that featured any of the original members), Lou Reed sang about a girl — she was just five years old! — whose life was saved by \u003ca href=\"https://www.youtube.com/watch?v=1Dahqz-R49I\">rock ’n’ roll\u003c/a>. Maybe you could identify. You know who else was saved? Bruce Springsteen.\u003c/p>\n\u003cp>For Lou and his protagonist, AM radio announced an exciting and different world than the one they were raised in. For Bruce, the twang of a disembodied voice backed by an electric guitar suggested a way out of his shy silence, his overbearing father’s house and his hometown.\u003c/p>\n\u003cp>[aside postID='arts_13982740']When \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> — a compromised movie about an unwavering artist, scripted and directed by Scott Cooper (\u003cem>Crazy Heart\u003c/em>) from Warren Zanes’ nonfiction book — begins in 1981, Springsteen is 32 years old and a star of some magnitude. But he hasn’t left New Jersey. He tours with his band, of course, and the last one (in support of \u003cem>The River\u003c/em>) included a European leg, but he always comes home, although his parents have decamped to Southern California and he has no place to stay.\u003c/p>\n\u003cp>In honoring his roots and retaining his humility, Cooper suggests, Springsteen allows his integrity to mask unresolved childhood issues. Opening with a black-and-white sequence of his mother sending young Bruce into a bar to tell his dad to come home, the film is threaded with disturbing flashbacks of a misguided and abusive father. Bruce can banish those memories on the road (the real meaning of “born to run,” perhaps), but they invade his private hours.\u003c/p>\n\u003cfigure id=\"attachment_13982803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg\" alt=\"man in office with stacks of paper, on phone with head in hand\" width=\"1920\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Strong as Jon Landau in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager and advisor Jon Landau (Jeremy Strong) — who famously wrote in a 1974 concert review, “I saw rock and roll’s future and its name is Bruce Springsteen” — has rented a house in a woodsy corner of Joisey for the Boss (played by Jeremy Allen White) to brood, write songs and occasionally venture out to a club (The Stone Pony, naturally) to play Little Richard covers with the house band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Springsteen records his new stuff unaccompanied in his bedroom on a four-track, lo-fi Teac cassette deck. At one point, he asks the engineer pal who supplied the machine to run the tapes through an echo system so they sound, Bruce says, “like Elvis’ \u003ci>Sun Sessions\u003c/i>.”\u003c/p>\n\u003cp>\u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is one of those movies where every scene has one clear and explicit purpose. (It is the antithesis of last year’s stellar Dylan movie, \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">\u003cem>A Complete Unknown\u003c/em>\u003c/a>.) The artist’s impulse to be true to himself in the face of the pressures and expectations of success is joylessly stated and restated. More interesting, but more difficult to dramatize and potentially fraught with cliché, is the idea of going back — geographically and temporally — in order to go forward.\u003c/p>\n\u003cp>In this context I note that Springsteen meets a woman. Their relationship consumes a fair amount of screen time yet adds shockingly little to the movie. Faye (Odessa Young) has a blue-collar job while Springsteen is inevitably on another trajectory. Perhaps he’s attracted to the familiar — he grew up on the same streets as Faye — but his identity and his place in the world is shifting.\u003c/p>\n\u003cp>Unfortunately, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is constrained by a screenplay that barely nods at money and class, a character who communicates best with a pen and a guitar, and an actor who can’t convey Springsteen’s internal feelings. An aversion to melodrama is admirable, the absence of drama is not.\u003c/p>\n\u003cfigure id=\"attachment_13982804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg\" alt=\"man kneels next to bed in front of recording equipment\" width=\"1920\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-1536x642.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could have a long, interesting conversation about the degree to which Springsteen is derivative versus original. He’s always acknowledged his influences, certainly. In the months covered by the film, he is depicted as an artist still finding his voice. When he insists on releasing the demo tapes as his next album, \u003cem>Nebraska\u003c/em>, he declares to Landau, et al. that the songs resonate with him and don’t sound like anything else — forgetting how Elvis inspired him.\u003c/p>\n\u003cp>The larger contradiction that the movie glosses over has to do with Springsteen’s implied depression. We are given to understand that the alienation of the characters, and the bleakness of the songs, that comprise \u003cem>Nebraska\u003c/em> don’t necessarily illustrate an artist’s instinctive and perhaps self-destructive rejection of mainstream success. (Neil Young’s follow-up to \u003cem>Harvest\u003c/em>, \u003cem>Time Fades Away\u003c/em>, is the textbook example.) Instead they are a mirror of Springsteen’s guilt-ridden and tortured soul.\u003c/p>\n\u003cp>However, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> makes no secret of the fact that the musician also wrote “I’m On Fire,” “Glory Days” and “Born in the U.S.A.” at the house. On the contrary, much is made of various parties wanting Bruce to release this material (with a couple potential hit singles, presumably, like the execrable “Hungry Heart” from \u003cem>The River\u003c/em>) as his next record.\u003c/p>\n\u003cp>Some viewers, blinded by the light from the projector, will accept Scott Cooper’s depiction of an artist in breakdown confronting the demons of his childhood. It’s only rock ’n’ roll, but exorcisms should be more terrifying, and certainly more fun.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Springsteen: Deliver Me From Nowhere’ opens in theaters nationally on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> — a compromised movie about an unwavering artist, scripted and directed by Scott Cooper (\u003cem>Crazy Heart\u003c/em>) from Warren Zanes’ nonfiction book — begins in 1981, Springsteen is 32 years old and a star of some magnitude. But he hasn’t left New Jersey. He tours with his band, of course, and the last one (in support of \u003cem>The River\u003c/em>) included a European leg, but he always comes home, although his parents have decamped to Southern California and he has no place to stay.\u003c/p>\n\u003cp>In honoring his roots and retaining his humility, Cooper suggests, Springsteen allows his integrity to mask unresolved childhood issues. Opening with a black-and-white sequence of his mother sending young Bruce into a bar to tell his dad to come home, the film is threaded with disturbing flashbacks of a misguided and abusive father. Bruce can banish those memories on the road (the real meaning of “born to run,” perhaps), but they invade his private hours.\u003c/p>\n\u003cfigure id=\"attachment_13982803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg\" alt=\"man in office with stacks of paper, on phone with head in hand\" width=\"1920\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Strong as Jon Landau in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager and advisor Jon Landau (Jeremy Strong) — who famously wrote in a 1974 concert review, “I saw rock and roll’s future and its name is Bruce Springsteen” — has rented a house in a woodsy corner of Joisey for the Boss (played by Jeremy Allen White) to brood, write songs and occasionally venture out to a club (The Stone Pony, naturally) to play Little Richard covers with the house band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Springsteen records his new stuff unaccompanied in his bedroom on a four-track, lo-fi Teac cassette deck. At one point, he asks the engineer pal who supplied the machine to run the tapes through an echo system so they sound, Bruce says, “like Elvis’ \u003ci>Sun Sessions\u003c/i>.”\u003c/p>\n\u003cp>\u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is one of those movies where every scene has one clear and explicit purpose. (It is the antithesis of last year’s stellar Dylan movie, \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">\u003cem>A Complete Unknown\u003c/em>\u003c/a>.) The artist’s impulse to be true to himself in the face of the pressures and expectations of success is joylessly stated and restated. More interesting, but more difficult to dramatize and potentially fraught with cliché, is the idea of going back — geographically and temporally — in order to go forward.\u003c/p>\n\u003cp>In this context I note that Springsteen meets a woman. Their relationship consumes a fair amount of screen time yet adds shockingly little to the movie. Faye (Odessa Young) has a blue-collar job while Springsteen is inevitably on another trajectory. Perhaps he’s attracted to the familiar — he grew up on the same streets as Faye — but his identity and his place in the world is shifting.\u003c/p>\n\u003cp>Unfortunately, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is constrained by a screenplay that barely nods at money and class, a character who communicates best with a pen and a guitar, and an actor who can’t convey Springsteen’s internal feelings. An aversion to melodrama is admirable, the absence of drama is not.\u003c/p>\n\u003cfigure id=\"attachment_13982804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg\" alt=\"man kneels next to bed in front of recording equipment\" width=\"1920\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-1536x642.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could have a long, interesting conversation about the degree to which Springsteen is derivative versus original. He’s always acknowledged his influences, certainly. In the months covered by the film, he is depicted as an artist still finding his voice. When he insists on releasing the demo tapes as his next album, \u003cem>Nebraska\u003c/em>, he declares to Landau, et al. that the songs resonate with him and don’t sound like anything else — forgetting how Elvis inspired him.\u003c/p>\n\u003cp>The larger contradiction that the movie glosses over has to do with Springsteen’s implied depression. We are given to understand that the alienation of the characters, and the bleakness of the songs, that comprise \u003cem>Nebraska\u003c/em> don’t necessarily illustrate an artist’s instinctive and perhaps self-destructive rejection of mainstream success. (Neil Young’s follow-up to \u003cem>Harvest\u003c/em>, \u003cem>Time Fades Away\u003c/em>, is the textbook example.) Instead they are a mirror of Springsteen’s guilt-ridden and tortured soul.\u003c/p>\n\u003cp>However, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> makes no secret of the fact that the musician also wrote “I’m On Fire,” “Glory Days” and “Born in the U.S.A.” at the house. On the contrary, much is made of various parties wanting Bruce to release this material (with a couple potential hit singles, presumably, like the execrable “Hungry Heart” from \u003cem>The River\u003c/em>) as his next record.\u003c/p>\n\u003cp>Some viewers, blinded by the light from the projector, will accept Scott Cooper’s depiction of an artist in breakdown confronting the demons of his childhood. It’s only rock ’n’ roll, but exorcisms should be more terrifying, and certainly more fun.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Springsteen: Deliver Me From Nowhere’ opens in theaters nationally on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bat ladies. You probably didn’t know this was a thing. And while certainly less infamous than their cat counterparts, bat ladies’ passions are actually far more deserving of a spotlight. That’s because teams of women across the United States and Canada are currently working their butts off to save, protect and nurture the habitats of their nocturnal, flying friends.\u003c/p>\n\u003cp>[aside postid='arts_13981619']Fortunately, these women’s stories are now documented in a surprisingly moving new film by \u003ca href=\"https://www.kristintieche.com/\">Kristin Tièche\u003c/a> called \u003cem>The Invisible Mammal\u003c/em>. In it, Tièche follows the scientists, biologists and rescue volunteers who are dedicating their lives to increasingly endangered bat populations across the nation.\u003c/p>\n\u003cp>They include \u003ca href=\"https://frick.eeb.ucsc.edu/\">Dr. Winifred Frick\u003c/a>, the chief scientist of \u003ca href=\"https://www.batcon.org/\">Bat Conservation International\u003c/a> who works alongside her husband and (incredibly charming) 10-year-old son Darwin, to gather important bat data. We also meet Frick’s colleagues, \u003ca href=\"https://500queerscientists.com/kristin-jonasson/\">Dr. Kristin Jonasson\u003c/a> — who thinks nothing of crawling into terrifying, half-flooded caves to give health checks to adorable, sleepy bats — and \u003ca href=\"https://www.tiktok.com/@alyb_batgirl?lang=en\">Dr. Alyson Brokaw\u003c/a>, who shares her considerable bat knowledge on TikTok.\u003c/p>\n\u003cp>Most delightful of all the bat ladies featured is Corky Quirk, the founder of \u003ca href=\"https://norcalbats.org/\">NorCal Bats\u003c/a>. Quirk helps to shine a spotlight on the 250,000 Mexican free-tailed bats currently residing underneath the Yolo Causeway in Sacramento. Not only does she lead bat tours of the freeway bridge, she runs her own personal bat rehab and regularly educates local kids about bats and conservation. Watching Quirk scour Sacramento parking lots for bats in trouble is particularly inspiring — especially when the film documents her journey nursing one abandoned baby back to the wild.\u003c/p>\n\u003cp>“I have a soft spot for the underdog,” Quirk says, “and bats really fill that role.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vZCjgQYsCw0\u003c/p>\n\u003cp>There is a larger point to the film, however — one that is powerfully driven home in the course of its concise 85 minutes. Though most of us pay them little mind, bats are essential to the ecologies they live in. They are pollinators, seed dispersers and highly effective pest-destroyers.\u003c/p>\n\u003cp>When bat populations drop, the use of insecticides increases, creating hazards for humans and much bigger bills for farmers. As ecological economist Eyal Frank notes in the documentary, a mass bat die-off would be “catastrophic for humanity, for society.”\u003c/p>\n\u003cp>[aside postid='arts_13978366']Unfortunately, as \u003cem>The Invisible Mammal\u003c/em> explains, bat populations across the United States have been decimated by a new disease. Since 2006, a fungus known as Pd (full name: pseudogymnoascus destrucans) has attacked bat populations in 40 states and nine Canadian provinces, causing a disease called White Nose Syndrome. Pd grows on hibernating bats, prompting them to wake up too early. These bats then starve to death because of scarce winter food supplies.\u003c/p>\n\u003cp>The bat ladies are working on solutions to help the imperiled fuzzy mammals, in creative and fairly ingenious ways. They call this project “Operation Fat Bat,” with one scientist noting “We like our bats thick, not sick.” (Yes, the bat ladies are all this awesome.)\u003c/p>\n\u003cfigure id=\"attachment_13982688\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats.png\" alt=\"An photograph taken from within the mouth of a cave, showing trees on the horizon and thousands of bats flying through the air.\" width=\"2000\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats-1536x860.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of bats stream out of Bracken Cave in Texas, the largest bat colony in the world. \u003ccite>(Kristin Tièche/‘The Invisible Mammal’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Invisible Mammal\u003c/em> does an impressive job of driving home the urgent need to save as many bats as possible, while we still can. But for Bay Area viewers, the film also acts as a pertinent reminder of how close we live to one of California’s largest urban bat colonies. Less famous than their Austin, Texas counterparts, the Sacramento bug munchers are almost as unsung as the women who watch over them. By the end of \u003cem>The Invisible Mammal\u003c/em>, you will surely want to pay them a visit — and help them out in any way you can.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/the-invisible-mammal/\">The Invisible Mammal\u003c/a>’ premieres at the Roxie Theater (3117 16th St., San Francisco) on Oct. 26, 2025, as part of International Bat Week. Director Kristin Tièche and Dr. Winifred Frick will appear after the screening for a Q&A moderated by biodiversity expert \u003ca href=\"https://reimaginingsf.org/peter-brastow\">Peter Brastow\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fortunately, these women’s stories are now documented in a surprisingly moving new film by \u003ca href=\"https://www.kristintieche.com/\">Kristin Tièche\u003c/a> called \u003cem>The Invisible Mammal\u003c/em>. In it, Tièche follows the scientists, biologists and rescue volunteers who are dedicating their lives to increasingly endangered bat populations across the nation.\u003c/p>\n\u003cp>They include \u003ca href=\"https://frick.eeb.ucsc.edu/\">Dr. Winifred Frick\u003c/a>, the chief scientist of \u003ca href=\"https://www.batcon.org/\">Bat Conservation International\u003c/a> who works alongside her husband and (incredibly charming) 10-year-old son Darwin, to gather important bat data. We also meet Frick’s colleagues, \u003ca href=\"https://500queerscientists.com/kristin-jonasson/\">Dr. Kristin Jonasson\u003c/a> — who thinks nothing of crawling into terrifying, half-flooded caves to give health checks to adorable, sleepy bats — and \u003ca href=\"https://www.tiktok.com/@alyb_batgirl?lang=en\">Dr. Alyson Brokaw\u003c/a>, who shares her considerable bat knowledge on TikTok.\u003c/p>\n\u003cp>Most delightful of all the bat ladies featured is Corky Quirk, the founder of \u003ca href=\"https://norcalbats.org/\">NorCal Bats\u003c/a>. Quirk helps to shine a spotlight on the 250,000 Mexican free-tailed bats currently residing underneath the Yolo Causeway in Sacramento. Not only does she lead bat tours of the freeway bridge, she runs her own personal bat rehab and regularly educates local kids about bats and conservation. Watching Quirk scour Sacramento parking lots for bats in trouble is particularly inspiring — especially when the film documents her journey nursing one abandoned baby back to the wild.\u003c/p>\n\u003cp>“I have a soft spot for the underdog,” Quirk says, “and bats really fill that role.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vZCjgQYsCw0'\n title='//www.youtube.com/embed/vZCjgQYsCw0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is a larger point to the film, however — one that is powerfully driven home in the course of its concise 85 minutes. Though most of us pay them little mind, bats are essential to the ecologies they live in. They are pollinators, seed dispersers and highly effective pest-destroyers.\u003c/p>\n\u003cp>When bat populations drop, the use of insecticides increases, creating hazards for humans and much bigger bills for farmers. As ecological economist Eyal Frank notes in the documentary, a mass bat die-off would be “catastrophic for humanity, for society.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately, as \u003cem>The Invisible Mammal\u003c/em> explains, bat populations across the United States have been decimated by a new disease. Since 2006, a fungus known as Pd (full name: pseudogymnoascus destrucans) has attacked bat populations in 40 states and nine Canadian provinces, causing a disease called White Nose Syndrome. Pd grows on hibernating bats, prompting them to wake up too early. These bats then starve to death because of scarce winter food supplies.\u003c/p>\n\u003cp>The bat ladies are working on solutions to help the imperiled fuzzy mammals, in creative and fairly ingenious ways. They call this project “Operation Fat Bat,” with one scientist noting “We like our bats thick, not sick.” (Yes, the bat ladies are all this awesome.)\u003c/p>\n\u003cfigure id=\"attachment_13982688\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats.png\" alt=\"An photograph taken from within the mouth of a cave, showing trees on the horizon and thousands of bats flying through the air.\" width=\"2000\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Invisible-Mammal-bats-1536x860.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of bats stream out of Bracken Cave in Texas, the largest bat colony in the world. \u003ccite>(Kristin Tièche/‘The Invisible Mammal’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Invisible Mammal\u003c/em> does an impressive job of driving home the urgent need to save as many bats as possible, while we still can. But for Bay Area viewers, the film also acts as a pertinent reminder of how close we live to one of California’s largest urban bat colonies. Less famous than their Austin, Texas counterparts, the Sacramento bug munchers are almost as unsung as the women who watch over them. By the end of \u003cem>The Invisible Mammal\u003c/em>, you will surely want to pay them a visit — and help them out in any way you can.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/the-invisible-mammal/\">The Invisible Mammal\u003c/a>’ premieres at the Roxie Theater (3117 16th St., San Francisco) on Oct. 26, 2025, as part of International Bat Week. Director Kristin Tièche and Dr. Winifred Frick will appear after the screening for a Q&A moderated by biodiversity expert \u003ca href=\"https://reimaginingsf.org/peter-brastow\">Peter Brastow\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Chamber-Piece Gut Punch of a Movie, ‘Bugonia’ Is Hard to Shake",
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"content": "\u003cp>The twisted filmography of \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">Yorgos Lanthimos\u003c/a> has by now trained us to expect darkly comic visions of contemporary life, both savage and mundane. His movies have perhaps inspired the most “What?!” reactions of the last decade, partly because they’ve tried so hard to do so.\u003c/p>\n\u003cp>His movies — farces, fables, experiments — reside in surreal worlds of their own. But his latest, \u003cem>Bugonia\u003c/em>, is thrillingly, if tragically, tied to our reality. It might even be his best film. Though I’ve been apprehensive about the flamboyant severity of Lanthimos’ movies, I found \u003cem>Bugonia\u003c/em>, a chamber-piece gut punch, hard to shake. For starters, it’s difficult to resist any movie with a line in it like: “There’s Andromedan code all over your Instagram.”\u003c/p>\n\u003cp>[aside postid='arts_13982403']That’s one of the things that Teddy (Jesse Plemons), an incel eco-terrorist, says to Michelle (\u003ca href=\"https://www.kqed.org/pop/tag/emma-stone\">Emma Stone\u003c/a>) after kidnapping her with his neurodivergent cousin Donny (newcomer Aidan Delbis) and tying her up in their basement. Teddy and Donny live together in fairly remote, rundown old house. There, Teddy tends to both his bees and to unhinged conspiracy theories.\u003c/p>\n\u003cp>But as Plemons so deftly plays him, Teddy doesn’t seem like a lunatic. He might reach wildly insane conclusions, such as that Michelle, a pharmaceutical company chief executive, is an alien. But he’s thoughtful in nature and sweetly cares for his cousin. It’s a feat of Plemons’ innate good nature that we kind of like Teddy, even as he shaves Michelle’s head, to prevent “it,” as he calls her, from contacting the mothership.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bd_5HcTujfc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opening moments of the script by Will Tracy (\u003cem>The Menu\u003c/em>, episodes of \u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a>) cast these demented shenanigans in an apocalyptic light. The fate of bees is much on Teddy’s mind; colony collapse disorder, often caused by pesticides, is one of his talking points. It’s a phenomenon that, in \u003cem>Bugonia\u003c/em> — a movie reckoning with, or maybe just lamenting, humanity’s fate — isn’t just for the bees.\u003c/p>\n\u003cp>[aside postid='arts_13982592']While Stone’s abilities alone might legitimize extraterrestrial suspicions, there’s more to why Teddy has pinpointed Michelle. She’s a lauded corporate leader; her office includes a framed \u003cem>Time\u003c/em> magazine with her on the cover and a photograph with Michelle Obama. Her company, Auxolith, operates out of a sleek office building where Michelle presides over her workforce like a queen bee. She has the corporate lingo of “transparency” and “diversity” down pat, but whether she actually adheres to any of those ideals is dubious, at best. Before Teddy and Donny jump her, she announces a “new era” at Auxolith where employees leave at 5:30 p.m. But not if they haven’t met their quota, she adds. And not if they’re, you know, busy.\u003c/p>\n\u003cp>In that way, Michelle is a camera-ready cover for whatever Auxolith is up to, which, as the movie goes along, teases out a poisonous history, including opioid manufacturing that affected Teddy’s mother (Alicia Silverstone).\u003c/p>\n\u003cp>The bulk of \u003cem>Bugonia\u003c/em> is the ideological dialogue between her and Teddy back in the basement. It’s a conversation, laced with contemporary divides, that is comical for its impossibility. One is addled by paranoia and extremism, the other knows only heartless corporate speak. Understanding each other is futile. Watching Stone, as Michelle, attempt to reason with Teddy is part of the movie’s dark fun, just as is seeing Plemons’ Teddy resolutely stick to his certainty that Michelle is part of an alien infiltration of Earth that he wants gone by the next lunar eclipse.\u003c/p>\n\u003cp>The source of such a wild narrative can only come, of course, from South Korea. \u003cem>Bugonia\u003c/em> is loosely based on the 2003 Korean film \u003cem>Save the Green Planet!\u003c/em> All of Lanthimos’ most notable films before have been written with either Efthimis Filippou (\u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em>) or Tony McNamara (\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a>). But, otherwise, \u003cem>Bugonia\u003c/em> has the feel of a quick follow-up to last year’s \u003ca href=\"https://www.kqed.org/arts/13960151/kinds-of-kindness-yorgos-lanthimos-film-review\">\u003cem>Kinds of Kindness\u003c/em>\u003c/a>, a black-comedy triptych also led by Stone and Plemons.\u003c/p>\n\u003cp>[aside postid='arts_13982523']Yet what could easily be mistaken for a tossed-off, in-between movie — there are only a handful of characters and a few scene locations — ends up feeling like a culmination-slash-nadir for Lanthimos. Having made a dozen films darkly satirizing the sad, primal folly of humankind, it’s comeuppance time in \u003cem>Bugonia\u003c/em>.\u003c/p>\n\u003cp>The movie drags in the middle, when it’s locked in a prisoner drama that grows a little tiresome and predictable. But the payoff is immense. Teddy calls his torture chamber “the headquarters of the human resistance.” By the time \u003cem>Bugonia\u003c/em> reaches its unforgettable finale, it’s made chillingly clear just how feeble any such movement might be, and the movie’s apocalyptic air of resignation, of fait accompli, sounds a chastening death knell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bugonia’ begins screening in the Bay Area on Oct. 23, 2025. The movie is released nationwide on Oct. 31, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The twisted filmography of \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">Yorgos Lanthimos\u003c/a> has by now trained us to expect darkly comic visions of contemporary life, both savage and mundane. His movies have perhaps inspired the most “What?!” reactions of the last decade, partly because they’ve tried so hard to do so.\u003c/p>\n\u003cp>His movies — farces, fables, experiments — reside in surreal worlds of their own. But his latest, \u003cem>Bugonia\u003c/em>, is thrillingly, if tragically, tied to our reality. It might even be his best film. Though I’ve been apprehensive about the flamboyant severity of Lanthimos’ movies, I found \u003cem>Bugonia\u003c/em>, a chamber-piece gut punch, hard to shake. For starters, it’s difficult to resist any movie with a line in it like: “There’s Andromedan code all over your Instagram.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s one of the things that Teddy (Jesse Plemons), an incel eco-terrorist, says to Michelle (\u003ca href=\"https://www.kqed.org/pop/tag/emma-stone\">Emma Stone\u003c/a>) after kidnapping her with his neurodivergent cousin Donny (newcomer Aidan Delbis) and tying her up in their basement. Teddy and Donny live together in fairly remote, rundown old house. There, Teddy tends to both his bees and to unhinged conspiracy theories.\u003c/p>\n\u003cp>But as Plemons so deftly plays him, Teddy doesn’t seem like a lunatic. He might reach wildly insane conclusions, such as that Michelle, a pharmaceutical company chief executive, is an alien. But he’s thoughtful in nature and sweetly cares for his cousin. It’s a feat of Plemons’ innate good nature that we kind of like Teddy, even as he shaves Michelle’s head, to prevent “it,” as he calls her, from contacting the mothership.\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/bd_5HcTujfc'\n title='//www.youtube.com/embed/bd_5HcTujfc'\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>The opening moments of the script by Will Tracy (\u003cem>The Menu\u003c/em>, episodes of \u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a>) cast these demented shenanigans in an apocalyptic light. The fate of bees is much on Teddy’s mind; colony collapse disorder, often caused by pesticides, is one of his talking points. It’s a phenomenon that, in \u003cem>Bugonia\u003c/em> — a movie reckoning with, or maybe just lamenting, humanity’s fate — isn’t just for the bees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Stone’s abilities alone might legitimize extraterrestrial suspicions, there’s more to why Teddy has pinpointed Michelle. She’s a lauded corporate leader; her office includes a framed \u003cem>Time\u003c/em> magazine with her on the cover and a photograph with Michelle Obama. Her company, Auxolith, operates out of a sleek office building where Michelle presides over her workforce like a queen bee. She has the corporate lingo of “transparency” and “diversity” down pat, but whether she actually adheres to any of those ideals is dubious, at best. Before Teddy and Donny jump her, she announces a “new era” at Auxolith where employees leave at 5:30 p.m. But not if they haven’t met their quota, she adds. And not if they’re, you know, busy.\u003c/p>\n\u003cp>In that way, Michelle is a camera-ready cover for whatever Auxolith is up to, which, as the movie goes along, teases out a poisonous history, including opioid manufacturing that affected Teddy’s mother (Alicia Silverstone).\u003c/p>\n\u003cp>The bulk of \u003cem>Bugonia\u003c/em> is the ideological dialogue between her and Teddy back in the basement. It’s a conversation, laced with contemporary divides, that is comical for its impossibility. One is addled by paranoia and extremism, the other knows only heartless corporate speak. Understanding each other is futile. Watching Stone, as Michelle, attempt to reason with Teddy is part of the movie’s dark fun, just as is seeing Plemons’ Teddy resolutely stick to his certainty that Michelle is part of an alien infiltration of Earth that he wants gone by the next lunar eclipse.\u003c/p>\n\u003cp>The source of such a wild narrative can only come, of course, from South Korea. \u003cem>Bugonia\u003c/em> is loosely based on the 2003 Korean film \u003cem>Save the Green Planet!\u003c/em> All of Lanthimos’ most notable films before have been written with either Efthimis Filippou (\u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em>) or Tony McNamara (\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a>). But, otherwise, \u003cem>Bugonia\u003c/em> has the feel of a quick follow-up to last year’s \u003ca href=\"https://www.kqed.org/arts/13960151/kinds-of-kindness-yorgos-lanthimos-film-review\">\u003cem>Kinds of Kindness\u003c/em>\u003c/a>, a black-comedy triptych also led by Stone and Plemons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet what could easily be mistaken for a tossed-off, in-between movie — there are only a handful of characters and a few scene locations — ends up feeling like a culmination-slash-nadir for Lanthimos. Having made a dozen films darkly satirizing the sad, primal folly of humankind, it’s comeuppance time in \u003cem>Bugonia\u003c/em>.\u003c/p>\n\u003cp>The movie drags in the middle, when it’s locked in a prisoner drama that grows a little tiresome and predictable. But the payoff is immense. Teddy calls his torture chamber “the headquarters of the human resistance.” By the time \u003cem>Bugonia\u003c/em> reaches its unforgettable finale, it’s made chillingly clear just how feeble any such movement might be, and the movie’s apocalyptic air of resignation, of fait accompli, sounds a chastening death knell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bugonia’ begins screening in the Bay Area on Oct. 23, 2025. The movie is released nationwide on Oct. 31, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Small-Town Healdsburg, Residents Welcome a Brand New Movie Theater",
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"content": "\u003cp>Kathryn Philip stood outside the True West Film Center in Healdsburg last Friday, looking up at the brand new \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theater\u003c/a> that, for five years, had only existed in her head. As customers exited the very first film screening, one word came to mind.\u003c/p>\n\u003cp>“It’s all about hope. This, to me, is millions of dollars of hope,” Philip said. “This is the community saying, not only do we want it, we \u003cem>hope\u003c/em> that people are gonna relearn it. We \u003cem>hope\u003c/em> that people are gonna give this to themselves again.”\u003c/p>\n\u003cp>What the public has to relearn, obviously, is the act of going to the movies. Ever since the pandemic changed people’s viewing habits — only 16% of Americans go to the movie theater at least once a month, according to \u003ca href=\"https://apnorc.org/projects/more-people-are-enjoying-movies-from-the-comfort-of-home/\">a recent poll by the Associated Press\u003c/a> — dozens of theaters have closed permanently across the greater Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13982677\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg\" alt=\"\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The breezeway leading to the True West Film Center in Healdsburg, seen during a preview on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The True West Film Center is banking on those people coming back. With its central location in downtown Healdsburg, plus state-of-the-art projection, sound and seating, it just might work. The city is historically supportive of the arts, boasting a cluster of downtown art galleries and an annual jazz festival. As for donations and memberships, the median home value hovers around $1 million, and one-third of the population are retirees, with spare time to go to the movies.\u003c/p>\n\u003cp>When Philip was choosing a town for the theater, all the ingredients seemed to intersect in Healdsburg, known primarily these days for wine tourism. “You have more foot traffic, you have discretionary income, you have a world stage which is drawing people here out of interest and curiosity,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13974460'] Notably, True West is not a commercial enterprise, but a mission-based nonprofit. John Cooper, the former director of the Sundance Film Festival and now True West’s artistic director, said that in the current landscape for moviegoing, the nonprofit model for small theaters is imperative.\u003c/p>\n\u003cp>“Every town wants to have a library and a museum. Why not a cinema? It’s just as important,” Cooper said.\u003c/p>\n\u003cp>The tricky part is getting community buy-in, Cooper added. But with a capital campaign that’s raised $4.5 million of a $5.6 million goal, the people seem to have spoken.\u003c/p>\n\u003cfigure id=\"attachment_13982678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors try the seats at True West Film Center in Healdsburg during a preview event on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another thing going for True West is its size. Two of its auditoriums seat just 21 and 27 people, and a third, larger one seats 54.\u003c/p>\n\u003cp>Realistically, in-person movies are a niche activity in the year 2025; one reason the theater operators didn’t take over the 12,000 square-foot Raven Film Center, the town’s 24-year-old multiplex which closed in 2020, is that the auditoriums were too large. As True West board member and local resident Renn Rhodes explained, “We’d go there and there’d be six people in the whole theater.”\u003c/p>\n\u003cp>At True West’s soft opening Friday, a few kinks were still being worked out. One movie trailer played sound, but no picture. Extra salt still needed to be ordered for the popcorn. But excited customers, including 14 of them who arrived for the very first film, Luca Guadagnino’s \u003cem>After the Hunt\u003c/em>, weren’t quibbling.\u003c/p>\n\u003cp>[aside postID='arts_13968201']Laura Vallejo, who’s lived in Healdsburg for 35 years, said after the film let out that she’s had to drive to Santa Rosa or Sebastopol to see movies, and “it’s a bit of a trek out there for us.”\u003c/p>\n\u003cp>Vallejo praised True West for its community outreach and involvement in schools before opening, as well as its senior ticket prices.\u003c/p>\n\u003cp>“I happen to know a lot of people who are excited about it, and are saying ‘I want to come back,’” she added.\u003c/p>\n\u003cp>Local moviegoers like Vallejo who aren’t fans of Hollywood’s emphasis on action and superhero franchises have already pitched Cooper on the kinds of movies they’d like to see. At a preview event in September, supporters shouted out older films like \u003cem>2001: A Space Odyssey\u003c/em>, \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Sting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13973504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg\" alt=\"A man in glasses and a greyish puffed vest looks into the camera, smiling, against a backdrop of trees\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Cooper, pictured in Sebastopol, was previously the director of the Sundance Film Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, Cooper, who grew up in Sonoma County and now lives in Healdsburg after stepping down from Sundance, won’t be programming a \u003cem>Fast & Furious\u003c/em> marathon anytime soon.\u003c/p>\n\u003cp>On Mondays and Tuesdays, he plans “Icon Screenings” for repertory movies, such as \u003cem>To Kill a Mockingbird\u003c/em>, dedicated to famous actors. Regular “Film 101” series will focus on one director or genre. Sundays will be reserved for what he calls “Film Church,” a series of weekly documentaries (“and not about an issue that’s so bad, you leave really depressed,” Cooper quipped).\u003c/p>\n\u003cp>[aside postID='arts_13917362']Outdoor screenings and Spanish-language events are in the works, along with a film festival, which began life as the Alexander Valley Film Festival. Many of the same organizers of that long-running film festival, including executive director Philip, moved their energies to True West; next year’s festival will take on the theater’s name.\u003c/p>\n\u003cp>As more people arrived for the second-ever round of screenings at the theater, on opening day, Philip said she felt relieved and excited.\u003c/p>\n\u003cp>“Watching the people trickle in has been such a joy, and I feel ready to share it,” she said. “I’m ready to give it back now to the community, and let them make it their own.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The True West Film Center (371 Healdsburg Ave., Healdsburg) hosts a free \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">grand opening block party\u003c/a> on Saturday, Oct. 25, at 2 p.m. \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kathryn Philip stood outside the True West Film Center in Healdsburg last Friday, looking up at the brand new \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theater\u003c/a> that, for five years, had only existed in her head. As customers exited the very first film screening, one word came to mind.\u003c/p>\n\u003cp>“It’s all about hope. This, to me, is millions of dollars of hope,” Philip said. “This is the community saying, not only do we want it, we \u003cem>hope\u003c/em> that people are gonna relearn it. We \u003cem>hope\u003c/em> that people are gonna give this to themselves again.”\u003c/p>\n\u003cp>What the public has to relearn, obviously, is the act of going to the movies. Ever since the pandemic changed people’s viewing habits — only 16% of Americans go to the movie theater at least once a month, according to \u003ca href=\"https://apnorc.org/projects/more-people-are-enjoying-movies-from-the-comfort-of-home/\">a recent poll by the Associated Press\u003c/a> — dozens of theaters have closed permanently across the greater Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13982677\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg\" alt=\"\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The breezeway leading to the True West Film Center in Healdsburg, seen during a preview on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The True West Film Center is banking on those people coming back. With its central location in downtown Healdsburg, plus state-of-the-art projection, sound and seating, it just might work. The city is historically supportive of the arts, boasting a cluster of downtown art galleries and an annual jazz festival. As for donations and memberships, the median home value hovers around $1 million, and one-third of the population are retirees, with spare time to go to the movies.\u003c/p>\n\u003cp>When Philip was choosing a town for the theater, all the ingredients seemed to intersect in Healdsburg, known primarily these days for wine tourism. “You have more foot traffic, you have discretionary income, you have a world stage which is drawing people here out of interest and curiosity,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Notably, True West is not a commercial enterprise, but a mission-based nonprofit. John Cooper, the former director of the Sundance Film Festival and now True West’s artistic director, said that in the current landscape for moviegoing, the nonprofit model for small theaters is imperative.\u003c/p>\n\u003cp>“Every town wants to have a library and a museum. Why not a cinema? It’s just as important,” Cooper said.\u003c/p>\n\u003cp>The tricky part is getting community buy-in, Cooper added. But with a capital campaign that’s raised $4.5 million of a $5.6 million goal, the people seem to have spoken.\u003c/p>\n\u003cfigure id=\"attachment_13982678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors try the seats at True West Film Center in Healdsburg during a preview event on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another thing going for True West is its size. Two of its auditoriums seat just 21 and 27 people, and a third, larger one seats 54.\u003c/p>\n\u003cp>Realistically, in-person movies are a niche activity in the year 2025; one reason the theater operators didn’t take over the 12,000 square-foot Raven Film Center, the town’s 24-year-old multiplex which closed in 2020, is that the auditoriums were too large. As True West board member and local resident Renn Rhodes explained, “We’d go there and there’d be six people in the whole theater.”\u003c/p>\n\u003cp>At True West’s soft opening Friday, a few kinks were still being worked out. One movie trailer played sound, but no picture. Extra salt still needed to be ordered for the popcorn. But excited customers, including 14 of them who arrived for the very first film, Luca Guadagnino’s \u003cem>After the Hunt\u003c/em>, weren’t quibbling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Laura Vallejo, who’s lived in Healdsburg for 35 years, said after the film let out that she’s had to drive to Santa Rosa or Sebastopol to see movies, and “it’s a bit of a trek out there for us.”\u003c/p>\n\u003cp>Vallejo praised True West for its community outreach and involvement in schools before opening, as well as its senior ticket prices.\u003c/p>\n\u003cp>“I happen to know a lot of people who are excited about it, and are saying ‘I want to come back,’” she added.\u003c/p>\n\u003cp>Local moviegoers like Vallejo who aren’t fans of Hollywood’s emphasis on action and superhero franchises have already pitched Cooper on the kinds of movies they’d like to see. At a preview event in September, supporters shouted out older films like \u003cem>2001: A Space Odyssey\u003c/em>, \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Sting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13973504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg\" alt=\"A man in glasses and a greyish puffed vest looks into the camera, smiling, against a backdrop of trees\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Cooper, pictured in Sebastopol, was previously the director of the Sundance Film Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, Cooper, who grew up in Sonoma County and now lives in Healdsburg after stepping down from Sundance, won’t be programming a \u003cem>Fast & Furious\u003c/em> marathon anytime soon.\u003c/p>\n\u003cp>On Mondays and Tuesdays, he plans “Icon Screenings” for repertory movies, such as \u003cem>To Kill a Mockingbird\u003c/em>, dedicated to famous actors. Regular “Film 101” series will focus on one director or genre. Sundays will be reserved for what he calls “Film Church,” a series of weekly documentaries (“and not about an issue that’s so bad, you leave really depressed,” Cooper quipped).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Outdoor screenings and Spanish-language events are in the works, along with a film festival, which began life as the Alexander Valley Film Festival. Many of the same organizers of that long-running film festival, including executive director Philip, moved their energies to True West; next year’s festival will take on the theater’s name.\u003c/p>\n\u003cp>As more people arrived for the second-ever round of screenings at the theater, on opening day, Philip said she felt relieved and excited.\u003c/p>\n\u003cp>“Watching the people trickle in has been such a joy, and I feel ready to share it,” she said. “I’m ready to give it back now to the community, and let them make it their own.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The True West Film Center (371 Healdsburg Ave., Healdsburg) hosts a free \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">grand opening block party\u003c/a> on Saturday, Oct. 25, at 2 p.m. \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hedda Gabler, one of the theater’s great schemers, is transported to 1950s England in Nia DaCosta’s deliriously fun, intelligent and impassioned spin on the classic Henrik Ibsen drama. One needn’t know anything about Ibsen’s 1890 play to enjoy \u003cem>Hedda\u003c/em>. Like \u003cem>Clueless\u003c/em> and \u003cem>Bridget Jones’ Diary\u003c/em> before it, \u003cem>Hedda\u003c/em>, in theaters Friday, is a film that works entirely on its own terms. It might even inspire some curiosity about its source material.\u003c/p>\n\u003cp>Vibrant and lush with a fiery engine under its hood, \u003cem>Hedda\u003c/em> unfolds over the course of an increasingly debaucherous martini-fueled party hosted by Hedda (Tessa Thompson) and her prim academic husband, George Tesman (Tom Bateman), at their opulent country estate. Lives are destroyed, guns are pulled, promotions are promised, hearts are broken and behind it all is Hedda pulling the strings with deliberate, gleeful menace.\u003c/p>\n\u003cp>[aside postid='arts_13982487']Hedda is, after all, the most dangerous type of person: Brilliant and “catastrophically bored,” as observed by a pivotal character. On the surface, the gathering is a celebration of Hedda and George’s return after a six-month honeymoon, but Hedda has more than small talk on her mind. She needs to ensure her husband secures a promotion to get them out of debt — but her plan takes on a heightened maliciousness with the entrance of Eileen Lovborg, who is not only vying for the same spot as George, but happens to be Hedda’s former lover.\u003c/p>\n\u003cp>Eileen (a transcendent Nina Hoss) is a top academic mind who managed to break into an impenetrable boys’ club but had fallen out of esteem after one too many embarrassing drunken antics. Now, Hedda is devastated to learn that Eileen is sober, in a new relationship (with Imogen Poots ‘ Thea) and is putting the finishing touches on a manuscript that is sure to be culture changing. Simply put, Eileen deserves the post over George, which even he seems to understand, but for Hedda, that is simply not going to do.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m3lgD59KrTw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Working with cinematographer Sean Bobbitt, DaCosta’s film is meticulously designed — stately and elegant with a point of view that makes you feel like you too are in this party, whiplashing from the bar to the behind closed doors chats with Hedda as your guide.\u003c/p>\n\u003cp>Thompson’s Hedda, a whip-smart charmer with a wicked glint in her eye, is at best minimally empathetic, but you can understand why so many are under her spell. It’s not even that she’s the smartest person in the room — that title belongs to Eileen — but she’s bored and resentful that she is living a lie and lets her subtle sociopathic impulses guide her, perhaps learned from her general father. And it’s all quite fun and horrifying to watch transpire. She’s a perfect antihero.\u003c/p>\n\u003cp>On the other side of things is Eileen, a bit older and wise enough to have known long ago that Hedda is basically bad news. Unlike Hedda, she’s chosen to be her true self in public, and in doing so has broken down barriers (at least for herself). And Hoss, a great German actor who is underappreciated in America, was an utterly inspired choice to be the object of Hedda’s desire, and wrath.\u003c/p>\n\u003cp>[aside postid='arts_13982523']It is devastating to watch Eileen lose her grip simply because she’s naive enough to think that Hedda is worth listening to. But Hoss doesn’t resort to cliches to illustrate this descent — she’s far too intelligent for that. Instead, it’s a subtle, affecting portrait of relapse, punctured by a wildly cruel embarrassment that is brilliantly staged and executed. The film understandably loses much of its steam without Hoss holding the screen, but by then it’s nearly over anyway.\u003c/p>\n\u003cp>Don’t let \u003cem>Hedda’\u003c/em>s quick jump to streaming, or the very misguided comparisons to the far inferior \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> scare you off. For mysterious reasons it will be on \u003ca href=\"https://www.kqed.org/arts/tag/prime-video\">Prime Video\u003c/a> a mere week after its theatrical debut. Still, one imagines that it will be an enjoyable experience wherever you happen to catch it. At least at home, it’s probably easier to secure a decent martini for the show.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hedda’ is released in select theaters on Oct. 22, 2025. It begins streaming on Prime Video on Oct. 29.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hedda Gabler, one of the theater’s great schemers, is transported to 1950s England in Nia DaCosta’s deliriously fun, intelligent and impassioned spin on the classic Henrik Ibsen drama. One needn’t know anything about Ibsen’s 1890 play to enjoy \u003cem>Hedda\u003c/em>. Like \u003cem>Clueless\u003c/em> and \u003cem>Bridget Jones’ Diary\u003c/em> before it, \u003cem>Hedda\u003c/em>, in theaters Friday, is a film that works entirely on its own terms. It might even inspire some curiosity about its source material.\u003c/p>\n\u003cp>Vibrant and lush with a fiery engine under its hood, \u003cem>Hedda\u003c/em> unfolds over the course of an increasingly debaucherous martini-fueled party hosted by Hedda (Tessa Thompson) and her prim academic husband, George Tesman (Tom Bateman), at their opulent country estate. Lives are destroyed, guns are pulled, promotions are promised, hearts are broken and behind it all is Hedda pulling the strings with deliberate, gleeful menace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hedda is, after all, the most dangerous type of person: Brilliant and “catastrophically bored,” as observed by a pivotal character. On the surface, the gathering is a celebration of Hedda and George’s return after a six-month honeymoon, but Hedda has more than small talk on her mind. She needs to ensure her husband secures a promotion to get them out of debt — but her plan takes on a heightened maliciousness with the entrance of Eileen Lovborg, who is not only vying for the same spot as George, but happens to be Hedda’s former lover.\u003c/p>\n\u003cp>Eileen (a transcendent Nina Hoss) is a top academic mind who managed to break into an impenetrable boys’ club but had fallen out of esteem after one too many embarrassing drunken antics. Now, Hedda is devastated to learn that Eileen is sober, in a new relationship (with Imogen Poots ‘ Thea) and is putting the finishing touches on a manuscript that is sure to be culture changing. Simply put, Eileen deserves the post over George, which even he seems to understand, but for Hedda, that is simply not going to do.\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/m3lgD59KrTw'\n title='//www.youtube.com/embed/m3lgD59KrTw'\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>Working with cinematographer Sean Bobbitt, DaCosta’s film is meticulously designed — stately and elegant with a point of view that makes you feel like you too are in this party, whiplashing from the bar to the behind closed doors chats with Hedda as your guide.\u003c/p>\n\u003cp>Thompson’s Hedda, a whip-smart charmer with a wicked glint in her eye, is at best minimally empathetic, but you can understand why so many are under her spell. It’s not even that she’s the smartest person in the room — that title belongs to Eileen — but she’s bored and resentful that she is living a lie and lets her subtle sociopathic impulses guide her, perhaps learned from her general father. And it’s all quite fun and horrifying to watch transpire. She’s a perfect antihero.\u003c/p>\n\u003cp>On the other side of things is Eileen, a bit older and wise enough to have known long ago that Hedda is basically bad news. Unlike Hedda, she’s chosen to be her true self in public, and in doing so has broken down barriers (at least for herself). And Hoss, a great German actor who is underappreciated in America, was an utterly inspired choice to be the object of Hedda’s desire, and wrath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is devastating to watch Eileen lose her grip simply because she’s naive enough to think that Hedda is worth listening to. But Hoss doesn’t resort to cliches to illustrate this descent — she’s far too intelligent for that. Instead, it’s a subtle, affecting portrait of relapse, punctured by a wildly cruel embarrassment that is brilliantly staged and executed. The film understandably loses much of its steam without Hoss holding the screen, but by then it’s nearly over anyway.\u003c/p>\n\u003cp>Don’t let \u003cem>Hedda’\u003c/em>s quick jump to streaming, or the very misguided comparisons to the far inferior \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> scare you off. For mysterious reasons it will be on \u003ca href=\"https://www.kqed.org/arts/tag/prime-video\">Prime Video\u003c/a> a mere week after its theatrical debut. Still, one imagines that it will be an enjoyable experience wherever you happen to catch it. At least at home, it’s probably easier to secure a decent martini for the show.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hedda’ is released in select theaters on Oct. 22, 2025. It begins streaming on Prime Video on Oct. 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Richard Linklater and Ethan Hawke Reach the Heavens With ‘Blue Moon’",
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"content": "\u003cp>For a filmmaker once synonymous with slackerdom, \u003ca href=\"https://www.kqed.org/forum/201407171000/richard-linklater-elevates-the-ordinary-in-boyhood-2\">Richard Linklater\u003c/a> has proven to be one of the most prodigious and consistently excellent American filmmakers. A small but rich vein of the two dozen features he’s made have been portraits of artists, including \u003cem>Me and Orson Welles\u003c/em> and, if you like, \u003cem>School of Rock\u003c/em>.\u003c/p>\n\u003cp>This fall brings two more, one set at the dawn of a great career (\u003cem>Nouvelle Vague\u003c/em>, about \u003ca href=\"https://www.kqed.org/arts/13919055/jean-luc-godard-iconic-french-new-wave-director-dies-at-91\">Jean-Luc Godard\u003c/a> and the birth of the French New Wave) and another on the cusp of its tragic end: \u003cem>Blue Moon\u003c/em>, about lyricist \u003ca href=\"https://www.pbs.org/wnet/broadway/stars/lorenz-hart/\">Lorenz Hart\u003c/a>. Both are, in their way, joyous celebrations of brilliant, stubbornly uncompromising creative visionaries. And both are a grand time at the movies.\u003c/p>\n\u003cp>[aside postid='arts_13982072']\u003cem>Blue Moon\u003c/em>, the first to arrive of the two, is one of the more sheerly delightful movies of the year. It takes place at Sardi’s, in New York, on March 31, 1943. Down the street, \u003cem>Oklahoma!\u003c/em> is premiering, a debut that for Hart (Ethan Hawke) stings. His longtime collaborator, the composer Richard Rodgers, has made it not with Hart but with his new songwriting partner, Oscar Hammerstein II. Six months from this night, Hart will die from pneumonia after spending a cold night passed out outside an 8th Avenue bar. He was 48.\u003c/p>\n\u003cp>But while Broadway’s focus is on \u003cem>Oklahoma!\u003c/em> ours is on Larry, as everyone calls him. He’s holding court at Sardi’s before Rodgers (Andrew Scott) and the \u003cem>Oklahoma!\u003c/em> crowd rushes in. There, he is regaling Eddie the bartender (Bobby Cannavale) and a few others (including E.B. White, played by Patrick Kennedy) in a free-flowing monologue, as he tries to resist the glass of whiskey on the bar, laments the imminent sensation of \u003cem>Oklahoma!\u003c/em> and waxes poetic about some of his best lines.\u003c/p>\n\u003cp>“I’ve written a handful of words that are going to cheat death,” says Larry. Hart’s best work included American songbook standards like “My Funny Valentine,” “The Lady Is a Tramp,” “Bewitched, Bothered and Bewildered” and, of course, “Blue Moon.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his appreciation for language goes far beyond himself. As much as he does a warm sip of bourbon, Larry savors any good quip, turn of phrase or mot juste. His favorite quote from \u003cem>Casablanca\u003c/em>, for example, is a telling one: “Nobody ever loved me that much.” Larry adores the movie and, in particular, Bogart, whom, he notes, is both short and a leading man. “Which proves you can be both,” Hart says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qo7gRHip0lI\u003c/p>\n\u003cp>Larry is, himself, diminutive, with greasy strands of hair combed over his bald head. The physical transformation for Hawke is a little extreme and potentially distracting. There’s little superficial in the role — including that Hart was a closeted gay man — that screams Hawke. Yet the actor has simply never been better. Hawke’s Larry is a magnetic raconteur and an increasingly desperate has-been whose last-ditch attempts to reingratiate himself to Rodgers are limited as much by his excessive drinking as his refusal to hold his tongue. He is, to put it simply, extraordinarily good company.\u003c/p>\n\u003cp>\u003cem>Oklahoma!\u003c/em> Larry realizes, is going to be performed from that moment “until Doomsday.” Even that exclamation point irks him. But more than that, the success of \u003cem>Oklahoma!\u003c/em> — a musical Larry deems a “fraudulent” portrait of America — casts his sorry situation in a poignant light. This is the dawn of a mainstream Americana that doesn’t have room for an unconventional man like Larry or his blue songs.\u003c/p>\n\u003cp>[aside postid='arts_13982403']That makes this night at Sardi’s a bittersweet salvation and a tender eulogy. Larry has an audience of only a few, but they’re a fine crew (Cannavale is perfect) and their quiet, quip-filled toasts have an abiding warmth. On the outskirts of this group is Elizabeth Weiland (Margaret Qualley), a 20-year-old Yale student with whom Larry is infatuated. To others, Larry’s obsession seems incongruous with his sexuality, but he retorts that he “drinks beauty wherever he finds it.”\u003c/p>\n\u003cp>Robert Kaplow, whose novel \u003cem>Me and Orson Welles\u003c/em> was the basis of Linklater’s film, drew from the real-life correspondence between Hart and Weiland for his script to \u003cem>Blue Moon\u003c/em>. In the film, Elizabeth is ambitious and busy mingling with the \u003cem>Oklahoma!\u003c/em> party. That she’s destined to join them, not Larry, is obvious to us. But his oblivious, irrational hope is one of the reasons to love him.\u003c/p>\n\u003cp>Linklater’s \u003cem>Nouvelle Vague\u003c/em> is a wider story that, while the focus is on Godard, makes room for all the central characters of the New Wave. It’s a teeming movie, bursting at the seams with personalities. \u003cem>Blue Moon\u003c/em>, though, is a solo act. And a magnificent one, at that. In its finest moments, Linklater’s film pays homage not just to Hart but to all the forgotten writers who couldn’t cheat death, but could tell one heck of a yarn.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blue Moon’ is released nationwide on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a filmmaker once synonymous with slackerdom, \u003ca href=\"https://www.kqed.org/forum/201407171000/richard-linklater-elevates-the-ordinary-in-boyhood-2\">Richard Linklater\u003c/a> has proven to be one of the most prodigious and consistently excellent American filmmakers. A small but rich vein of the two dozen features he’s made have been portraits of artists, including \u003cem>Me and Orson Welles\u003c/em> and, if you like, \u003cem>School of Rock\u003c/em>.\u003c/p>\n\u003cp>This fall brings two more, one set at the dawn of a great career (\u003cem>Nouvelle Vague\u003c/em>, about \u003ca href=\"https://www.kqed.org/arts/13919055/jean-luc-godard-iconic-french-new-wave-director-dies-at-91\">Jean-Luc Godard\u003c/a> and the birth of the French New Wave) and another on the cusp of its tragic end: \u003cem>Blue Moon\u003c/em>, about lyricist \u003ca href=\"https://www.pbs.org/wnet/broadway/stars/lorenz-hart/\">Lorenz Hart\u003c/a>. Both are, in their way, joyous celebrations of brilliant, stubbornly uncompromising creative visionaries. And both are a grand time at the movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Blue Moon\u003c/em>, the first to arrive of the two, is one of the more sheerly delightful movies of the year. It takes place at Sardi’s, in New York, on March 31, 1943. Down the street, \u003cem>Oklahoma!\u003c/em> is premiering, a debut that for Hart (Ethan Hawke) stings. His longtime collaborator, the composer Richard Rodgers, has made it not with Hart but with his new songwriting partner, Oscar Hammerstein II. Six months from this night, Hart will die from pneumonia after spending a cold night passed out outside an 8th Avenue bar. He was 48.\u003c/p>\n\u003cp>But while Broadway’s focus is on \u003cem>Oklahoma!\u003c/em> ours is on Larry, as everyone calls him. He’s holding court at Sardi’s before Rodgers (Andrew Scott) and the \u003cem>Oklahoma!\u003c/em> crowd rushes in. There, he is regaling Eddie the bartender (Bobby Cannavale) and a few others (including E.B. White, played by Patrick Kennedy) in a free-flowing monologue, as he tries to resist the glass of whiskey on the bar, laments the imminent sensation of \u003cem>Oklahoma!\u003c/em> and waxes poetic about some of his best lines.\u003c/p>\n\u003cp>“I’ve written a handful of words that are going to cheat death,” says Larry. Hart’s best work included American songbook standards like “My Funny Valentine,” “The Lady Is a Tramp,” “Bewitched, Bothered and Bewildered” and, of course, “Blue Moon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his appreciation for language goes far beyond himself. As much as he does a warm sip of bourbon, Larry savors any good quip, turn of phrase or mot juste. His favorite quote from \u003cem>Casablanca\u003c/em>, for example, is a telling one: “Nobody ever loved me that much.” Larry adores the movie and, in particular, Bogart, whom, he notes, is both short and a leading man. “Which proves you can be both,” Hart says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qo7gRHip0lI'\n title='//www.youtube.com/embed/qo7gRHip0lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Larry is, himself, diminutive, with greasy strands of hair combed over his bald head. The physical transformation for Hawke is a little extreme and potentially distracting. There’s little superficial in the role — including that Hart was a closeted gay man — that screams Hawke. Yet the actor has simply never been better. Hawke’s Larry is a magnetic raconteur and an increasingly desperate has-been whose last-ditch attempts to reingratiate himself to Rodgers are limited as much by his excessive drinking as his refusal to hold his tongue. He is, to put it simply, extraordinarily good company.\u003c/p>\n\u003cp>\u003cem>Oklahoma!\u003c/em> Larry realizes, is going to be performed from that moment “until Doomsday.” Even that exclamation point irks him. But more than that, the success of \u003cem>Oklahoma!\u003c/em> — a musical Larry deems a “fraudulent” portrait of America — casts his sorry situation in a poignant light. This is the dawn of a mainstream Americana that doesn’t have room for an unconventional man like Larry or his blue songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That makes this night at Sardi’s a bittersweet salvation and a tender eulogy. Larry has an audience of only a few, but they’re a fine crew (Cannavale is perfect) and their quiet, quip-filled toasts have an abiding warmth. On the outskirts of this group is Elizabeth Weiland (Margaret Qualley), a 20-year-old Yale student with whom Larry is infatuated. To others, Larry’s obsession seems incongruous with his sexuality, but he retorts that he “drinks beauty wherever he finds it.”\u003c/p>\n\u003cp>Robert Kaplow, whose novel \u003cem>Me and Orson Welles\u003c/em> was the basis of Linklater’s film, drew from the real-life correspondence between Hart and Weiland for his script to \u003cem>Blue Moon\u003c/em>. In the film, Elizabeth is ambitious and busy mingling with the \u003cem>Oklahoma!\u003c/em> party. That she’s destined to join them, not Larry, is obvious to us. But his oblivious, irrational hope is one of the reasons to love him.\u003c/p>\n\u003cp>Linklater’s \u003cem>Nouvelle Vague\u003c/em> is a wider story that, while the focus is on Godard, makes room for all the central characters of the New Wave. It’s a teeming movie, bursting at the seams with personalities. \u003cem>Blue Moon\u003c/em>, though, is a solo act. And a magnificent one, at that. In its finest moments, Linklater’s film pays homage not just to Hart but to all the forgotten writers who couldn’t cheat death, but could tell one heck of a yarn.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blue Moon’ is released nationwide on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I have to figure out how I’m going to get a ghost to come down on a line … without getting stuck on something.”\u003c/p>\n\u003cp>On a dark, chilly October night, as the fog curls in from Ocean Beach around its luminous neon frontage, the Balboa Theater feels like the movie theater at the end of the earth — or a portal to another era.\u003c/p>\n\u003cp>And through its doors, Kai Wada Roath is looking up at the ceiling of its main auditorium, plotting how to give theatergoers a good fright this weekend.\u003c/p>\n\u003cp>Wada Roath is the curator of \u003ca href=\"https://www.balboamovies.com/calendar-of-events/ghost-fest-2025\">Ghost Fest, a two-day film festival\u003c/a> at the Balboa, running Oct. 18 and 19 with immersive screenings of ghostly classics spanning over 70 years.\u003c/p>\n\u003cp>“I really want to show the classics that the ghost hunters and investigators really enjoy,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13982475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1.jpg\" alt=\"a man in a hat wearing red poses with a fake skeleton in front of a movie theater marquee\" width=\"2000\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1-1536x1061.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kai Wada Roath, the curator of Ghost Fest, in front of the Balboa Theater. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday, that means screenings of \u003cem>House on Haunted Hill\u003c/em>, \u003cem>13 Ghosts\u003c/em>, \u003cem>The Haunting\u003c/em>, \u003cem>The Legend of Hell House\u003c/em>, \u003cem>Ghostbusters\u003c/em> and \u003cem>House\u003c/em>. On Sunday, attendees will see \u003cem>The Changeling\u003c/em>, \u003cem>Carnival of Souls\u003c/em>, \u003cem>The Innocents and The Amityville Horror\u003c/em> — as well as the decidedly non-scary \u003cem>The Ghost and Mrs. Muir\u003c/em>, “a classic romance with a ghost,” said Wada Roath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday, festivalgoers can also watch a short film documenting the San Francisco Ghost Society’s 2016 visit to the Balboa Theater. Because this historic building, which turns 100 years old in 2026, is itself rumored to be very, very haunted.\u003c/p>\n\u003cp>With his lifelong fascination in the supernatural, and several ghostly encounters of his own, Wada Roath has no doubt the Balboa harbors spectral visitors. He said he encountered one ghost, in a large empty room behind the movie screen, who “wanted us to get out of there,” he noted. “That was probably a manager ghost, or someone who had worked here.”\u003c/p>\n\u003cp>“All the other ghosts are just sitting in seats, watching the movies,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13982472\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982472\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1.jpg\" alt=\"a man in a red hat points to a screening room in a movie theater\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kai Wada Roath points to Theater 1, said to be haunted, at the Balboa Theater. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A legacy of scares\u003c/h3>\n\u003cp>It was over a decade ago that Wada Roath began his \u003ca href=\"https://www.instagram.com/supershangrilashow/?hl=en\">Super Shangri-La Show\u003c/a> residency at the Balboa — named to evoke a magical, hidden place and with the express purpose of showing the strangest movies he could find on a monthly basis — as well as yearly film festivals like Ghost Fest.\u003c/p>\n\u003cp>These screenings, he said, are a “getaway from life … I try to transport someone into a different world that they’ve never seen.”\u003c/p>\n\u003cp>And at Ghost Fest, Wada Roath plans to follow in a grand tradition of providing audiences with chills on and off the screen. “Obviously I’m going to put some ghosts up in this place, you know?” he laughed. “Gotta do it, right?”\u003c/p>\n\u003cfigure id=\"attachment_13982473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1.jpg\" alt=\"a movie theater program showing the month of October at the Balboa Theater in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The program for October at the Balboa Theater concession booth. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival program features two classics from director William Castle — \u003cem>House on Haunted Hill\u003c/em> and \u003cem>13 Ghosts\u003c/em> — who was himself a notorious purveyor of publicity stunts, gimmicks and in-theater tricks during screenings of his movies.\u003c/p>\n\u003cp>In straight-faced, Alfred Hitchcock-style appearances in his own movie trailers, Castle warned audiences of the frights they could expect. “For the first time in motion picture history, members of the audience — including you — will actually play a part in the picture,” he told viewers in the trailer for 1959’s \u003cem>The Tingler\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/5NvfUFHJk_M?si=54nMK1yJn42DBi1r\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Castle delivered on his promise: he’d bought powerful vibrating motors reportedly used by the military to de-ice airplane wings, and set them to go off during screenings of \u003cem>The Tingler\u003c/em> under certain seats.\u003c/p>\n\u003cp>For screenings of \u003cem>House on Haunted Hill\u003c/em>, Castle rigged up skeletons with glowing red eyes to float over the seats above the audience, to be released at the pivotal appearance of a walking skeleton onscreen.\u003c/p>\n\u003cp>Castle and his ilk were pure showmen, said Wada Roath. “They wanted to have an extra bonus for the viewer, whether it was something buzzing them from under their seat or someone running down the aisle dressed as a monster,” he said.\u003c/p>\n\u003cp>https://youtu.be/09w7isSx650?si=8-2ivxs2mnOy0pdR\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And while he might not go quite as far as Castle, Wada Roath warns Ghost Fest attendees to expect a few ghoulish extras in the theater this weekend. Something he will reveal: His plan to follow directly in Castle’s footsteps by handing out special “ghost viewers” for 13 Ghosts — constructed in his own home from “100 pairs of 3D glasses” with the help of his daughters.\u003c/p>\n\u003ch3>Is this seat taken?\u003c/h3>\n\u003cp>Ghost Fest will be Wada Roath’s eighth film festival, following his previous engagements of joyful weirdness that include Bigfoot Bonanza, the Sorceress Sabbath Witchcraft Film Festival and the Space Visitors Film Festival.\u003c/p>\n\u003cp>And when he’s not concocting Super Shangri-La show lineups for the Balboa, he acts as the official ambassador for \u003ca href=\"https://www.confusionhill.com/\">Confusion Hill\u003c/a> in Mendocino County, and writes books and pamphlets about haunted spots including Humboldt’s Benbow Historic Inn.\u003c/p>\n\u003cfigure id=\"attachment_13982474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1.jpg\" alt=\"the entrance to a movie theater\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the Balboa Theater. Wada Roath aims to give Ghost Fest attendees an experience they can’t get streaming spooky movies at home. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wada Roath’s goal with Ghost Fest is to create the kind of communal experience that audiences just can’t get by streaming spooky movies at home, he said. “The more people are stuck in their house, the more they’re ordering their groceries to get delivered, the less opportunities they’re having to have interactions with people they don’t know,” he said. “And that’s what the world’s about.”\u003c/p>\n\u003cp>Wada Roath is particularly drawn to the idea that the Balboa’s own ghosts can be found sitting in the theater’s seats, just like their living counterparts, watching the screen.\u003c/p>\n\u003cp>“I would imagine they go to places that are their favorites, right?” he asked.\u003c/p>\n\u003cp>“If we were ghosts, where would we go? We go to our favorite places.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ghost Fest takes place Saturday, Oct. 18 and Sunday, Oct. 19 at the Balboa Theater (3630 Balboa St., San Francisco). Full day passes are $25 but tickets for individual screenings also available. \u003ca href=\"https://www.balboamovies.com/calendar-of-events/ghost-fest-2025\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I have to figure out how I’m going to get a ghost to come down on a line … without getting stuck on something.”\u003c/p>\n\u003cp>On a dark, chilly October night, as the fog curls in from Ocean Beach around its luminous neon frontage, the Balboa Theater feels like the movie theater at the end of the earth — or a portal to another era.\u003c/p>\n\u003cp>And through its doors, Kai Wada Roath is looking up at the ceiling of its main auditorium, plotting how to give theatergoers a good fright this weekend.\u003c/p>\n\u003cp>Wada Roath is the curator of \u003ca href=\"https://www.balboamovies.com/calendar-of-events/ghost-fest-2025\">Ghost Fest, a two-day film festival\u003c/a> at the Balboa, running Oct. 18 and 19 with immersive screenings of ghostly classics spanning over 70 years.\u003c/p>\n\u003cp>“I really want to show the classics that the ghost hunters and investigators really enjoy,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13982475\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1.jpg\" alt=\"a man in a hat wearing red poses with a fake skeleton in front of a movie theater marquee\" width=\"2000\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-15-KQED-1-1536x1061.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kai Wada Roath, the curator of Ghost Fest, in front of the Balboa Theater. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday, that means screenings of \u003cem>House on Haunted Hill\u003c/em>, \u003cem>13 Ghosts\u003c/em>, \u003cem>The Haunting\u003c/em>, \u003cem>The Legend of Hell House\u003c/em>, \u003cem>Ghostbusters\u003c/em> and \u003cem>House\u003c/em>. On Sunday, attendees will see \u003cem>The Changeling\u003c/em>, \u003cem>Carnival of Souls\u003c/em>, \u003cem>The Innocents and The Amityville Horror\u003c/em> — as well as the decidedly non-scary \u003cem>The Ghost and Mrs. Muir\u003c/em>, “a classic romance with a ghost,” said Wada Roath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, festivalgoers can also watch a short film documenting the San Francisco Ghost Society’s 2016 visit to the Balboa Theater. Because this historic building, which turns 100 years old in 2026, is itself rumored to be very, very haunted.\u003c/p>\n\u003cp>With his lifelong fascination in the supernatural, and several ghostly encounters of his own, Wada Roath has no doubt the Balboa harbors spectral visitors. He said he encountered one ghost, in a large empty room behind the movie screen, who “wanted us to get out of there,” he noted. “That was probably a manager ghost, or someone who had worked here.”\u003c/p>\n\u003cp>“All the other ghosts are just sitting in seats, watching the movies,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13982472\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982472\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1.jpg\" alt=\"a man in a red hat points to a screening room in a movie theater\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-3-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kai Wada Roath points to Theater 1, said to be haunted, at the Balboa Theater. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A legacy of scares\u003c/h3>\n\u003cp>It was over a decade ago that Wada Roath began his \u003ca href=\"https://www.instagram.com/supershangrilashow/?hl=en\">Super Shangri-La Show\u003c/a> residency at the Balboa — named to evoke a magical, hidden place and with the express purpose of showing the strangest movies he could find on a monthly basis — as well as yearly film festivals like Ghost Fest.\u003c/p>\n\u003cp>These screenings, he said, are a “getaway from life … I try to transport someone into a different world that they’ve never seen.”\u003c/p>\n\u003cp>And at Ghost Fest, Wada Roath plans to follow in a grand tradition of providing audiences with chills on and off the screen. “Obviously I’m going to put some ghosts up in this place, you know?” he laughed. “Gotta do it, right?”\u003c/p>\n\u003cfigure id=\"attachment_13982473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1.jpg\" alt=\"a movie theater program showing the month of October at the Balboa Theater in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-6-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The program for October at the Balboa Theater concession booth. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival program features two classics from director William Castle — \u003cem>House on Haunted Hill\u003c/em> and \u003cem>13 Ghosts\u003c/em> — who was himself a notorious purveyor of publicity stunts, gimmicks and in-theater tricks during screenings of his movies.\u003c/p>\n\u003cp>In straight-faced, Alfred Hitchcock-style appearances in his own movie trailers, Castle warned audiences of the frights they could expect. “For the first time in motion picture history, members of the audience — including you — will actually play a part in the picture,” he told viewers in the trailer for 1959’s \u003cem>The Tingler\u003c/em>.\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/5NvfUFHJk_M'\n title='//www.youtube.com/embed/5NvfUFHJk_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Castle delivered on his promise: he’d bought powerful vibrating motors reportedly used by the military to de-ice airplane wings, and set them to go off during screenings of \u003cem>The Tingler\u003c/em> under certain seats.\u003c/p>\n\u003cp>For screenings of \u003cem>House on Haunted Hill\u003c/em>, Castle rigged up skeletons with glowing red eyes to float over the seats above the audience, to be released at the pivotal appearance of a walking skeleton onscreen.\u003c/p>\n\u003cp>Castle and his ilk were pure showmen, said Wada Roath. “They wanted to have an extra bonus for the viewer, whether it was something buzzing them from under their seat or someone running down the aisle dressed as a monster,” he said.\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/09w7isSx650'\n title='//www.youtube.com/embed/09w7isSx650'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>And while he might not go quite as far as Castle, Wada Roath warns Ghost Fest attendees to expect a few ghoulish extras in the theater this weekend. Something he will reveal: His plan to follow directly in Castle’s footsteps by handing out special “ghost viewers” for 13 Ghosts — constructed in his own home from “100 pairs of 3D glasses” with the help of his daughters.\u003c/p>\n\u003ch3>Is this seat taken?\u003c/h3>\n\u003cp>Ghost Fest will be Wada Roath’s eighth film festival, following his previous engagements of joyful weirdness that include Bigfoot Bonanza, the Sorceress Sabbath Witchcraft Film Festival and the Space Visitors Film Festival.\u003c/p>\n\u003cp>And when he’s not concocting Super Shangri-La show lineups for the Balboa, he acts as the official ambassador for \u003ca href=\"https://www.confusionhill.com/\">Confusion Hill\u003c/a> in Mendocino County, and writes books and pamphlets about haunted spots including Humboldt’s Benbow Historic Inn.\u003c/p>\n\u003cfigure id=\"attachment_13982474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1.jpg\" alt=\"the entrance to a movie theater\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20251008_BALBOAGHOSTFILMFEST_GC-11-KQED-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the Balboa Theater. Wada Roath aims to give Ghost Fest attendees an experience they can’t get streaming spooky movies at home. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wada Roath’s goal with Ghost Fest is to create the kind of communal experience that audiences just can’t get by streaming spooky movies at home, he said. “The more people are stuck in their house, the more they’re ordering their groceries to get delivered, the less opportunities they’re having to have interactions with people they don’t know,” he said. “And that’s what the world’s about.”\u003c/p>\n\u003cp>Wada Roath is particularly drawn to the idea that the Balboa’s own ghosts can be found sitting in the theater’s seats, just like their living counterparts, watching the screen.\u003c/p>\n\u003cp>“I would imagine they go to places that are their favorites, right?” he asked.\u003c/p>\n\u003cp>“If we were ghosts, where would we go? We go to our favorite places.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ghost Fest takes place Saturday, Oct. 18 and Sunday, Oct. 19 at the Balboa Theater (3630 Balboa St., San Francisco). Full day passes are $25 but tickets for individual screenings also available. \u003ca href=\"https://www.balboamovies.com/calendar-of-events/ghost-fest-2025\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘It Was Just an Accident’ Movingly Explores Violence and Forgiveness",
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"content": "\u003cp>The mundane act of a car breaking down one night on a road in Iran sets in motion one of the most moving movies of the year in \u003cem>It Was Just an Accident.\u003c/em>\u003c/p>\n\u003cp>The sputtering car comes to a stop outside a business. The driver comes out and asks those inside for help. He’s just trying to get his pregnant wife and precocious young daughter home.\u003c/p>\n\u003cp>[aside postid='arts_13982403']But inside there’s someone who thinks he recognizes this soon-to-be father of two from a past life. He’s convinced that the guy was the same intelligence officer who tortured him for years in prison. Now is the time for revenge.\u003c/p>\n\u003cp>Written and directed by Jafar Panahi, \u003cem>d\u003c/em> is obviously dark and yet wickedly funny, existential and very, very human as it explores the ripple effects from state violence and asks if forgiveness can ever be offered.\u003c/p>\n\u003cp>The movie, in Farsi with subtitles, is itself an act of defiance, since Panahi has been jailed for his work and is not legally allowed to make films in Iran, unwilling to have his scripts approved by the government.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our main hero is Vahid (played by Vahid Mobasseri), who we watch as recognizing in horror his old tormentor re-entering his life. Although he was blindfolded while imprisoned, Vahid recognizes the squeak of his interrogator’s prosthetic leg. The camera captures him as he impulsively but methodically abducts the man, takes him to the desert in a van and begins to bury him in the ground.\u003c/p>\n\u003cp>Wait, hold on. Is Vahid completely sure? The man in the shallow grave insists he’s not a torturer and argues a terrible mistake is being made. Vahid stuffs him in a large box in the van and goes back to the city to reconnect with a band of other former prisoners to ensure they’re making the proper identification. “I have a doubt,” he confesses to them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nF04v-ze2Yc\u003c/p>\n\u003cp>We learn there is a world of once-tortured inmates who have learned to lead otherwise ordinary lives after leaving prison, some who lost years just for asking for missing government paychecks. They were interrogated and beaten, told their loved ones had abandoned them, had nooses put around their neck for hours and threatened with rape. “I am a zombie, one of the living dead,” one admits.\u003c/p>\n\u003cp>[aside postid='arts_13982072']Vahid and three former blindfolded prisoners played by Mariam Afshari, Hadis Pakbaten and Mohamad Ali Elaysmehr try to use all their senses: One tries to smell the captive, another listens to his voice and a third feels his leg scars, which he had been forced to do behind bars. Can they be certain the ID is correct? What do they do if it is? Might he be a victim, too?\u003c/p>\n\u003cp>“We aren’t killers. We’re not like them,” one argues. “If we let him go, he will trap us again,” argues another. “This is a quagmire,” argues another, quite correctly. “We are at war,” is one comment that sums them up as they begin to argue amongst themselves, an old foe dividing them anew.\u003c/p>\n\u003cp>A fabulous \u003cem>Waiting for Godot\u003c/em> element descends on the movie as the former prisoners debate in a no-man’s land between life and death as the prisoner is ferried across the city during one long day. Panahi even references the Samuel Beckett play and mimics the setting.\u003c/p>\n\u003cp>Adding a surreal touch is Pakbaten, playing a bride-to-be wearing her wedding dress for a photo shoot and spending the day in it, driving around with her groom and pushing the van down the road when it breaks down, her fluffy white dress comical in such a grave situation.\u003c/p>\n\u003cp>Amid the debate over whether to kill their old tormentor or show him the humanity he never showed them, a complication emerges. There’s an emergency at their captor’s home and this ragtag band of broken, angry people come to help, an extraordinary kindness given the circumstances.\u003c/p>\n\u003cp>[aside postid='arts_11481809']Panahi grounds his story in the dusty, street-level realism of modern Iran, with cars honking, dogs barking and crows making a ruckus. At seemingly every turn, people demand tips, from security guards to nurses and gas station attendants and street musicians — hands forever out, a system broken.\u003c/p>\n\u003cp>The movie has won the Palme d’Or and has been picked by France as its submission to the Academy Awards. That is no accident: Watch it and it will linger in your mind. It’s a movie for Iranians, of course, but it’s valuable for any society hoping to one day mend a divided country.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The first Bay Area screening of ‘It Was Just an Accident’ will be at the AMC Kabuki 8 (1881 Post Street, San Francisco) on Oct. 23, 2025. More will follow elsewhere.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But inside there’s someone who thinks he recognizes this soon-to-be father of two from a past life. He’s convinced that the guy was the same intelligence officer who tortured him for years in prison. Now is the time for revenge.\u003c/p>\n\u003cp>Written and directed by Jafar Panahi, \u003cem>d\u003c/em> is obviously dark and yet wickedly funny, existential and very, very human as it explores the ripple effects from state violence and asks if forgiveness can ever be offered.\u003c/p>\n\u003cp>The movie, in Farsi with subtitles, is itself an act of defiance, since Panahi has been jailed for his work and is not legally allowed to make films in Iran, unwilling to have his scripts approved by the government.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our main hero is Vahid (played by Vahid Mobasseri), who we watch as recognizing in horror his old tormentor re-entering his life. Although he was blindfolded while imprisoned, Vahid recognizes the squeak of his interrogator’s prosthetic leg. The camera captures him as he impulsively but methodically abducts the man, takes him to the desert in a van and begins to bury him in the ground.\u003c/p>\n\u003cp>Wait, hold on. Is Vahid completely sure? The man in the shallow grave insists he’s not a torturer and argues a terrible mistake is being made. Vahid stuffs him in a large box in the van and goes back to the city to reconnect with a band of other former prisoners to ensure they’re making the proper identification. “I have a doubt,” he confesses to them.\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/nF04v-ze2Yc'\n title='//www.youtube.com/embed/nF04v-ze2Yc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learn there is a world of once-tortured inmates who have learned to lead otherwise ordinary lives after leaving prison, some who lost years just for asking for missing government paychecks. They were interrogated and beaten, told their loved ones had abandoned them, had nooses put around their neck for hours and threatened with rape. “I am a zombie, one of the living dead,” one admits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Vahid and three former blindfolded prisoners played by Mariam Afshari, Hadis Pakbaten and Mohamad Ali Elaysmehr try to use all their senses: One tries to smell the captive, another listens to his voice and a third feels his leg scars, which he had been forced to do behind bars. Can they be certain the ID is correct? What do they do if it is? Might he be a victim, too?\u003c/p>\n\u003cp>“We aren’t killers. We’re not like them,” one argues. “If we let him go, he will trap us again,” argues another. “This is a quagmire,” argues another, quite correctly. “We are at war,” is one comment that sums them up as they begin to argue amongst themselves, an old foe dividing them anew.\u003c/p>\n\u003cp>A fabulous \u003cem>Waiting for Godot\u003c/em> element descends on the movie as the former prisoners debate in a no-man’s land between life and death as the prisoner is ferried across the city during one long day. Panahi even references the Samuel Beckett play and mimics the setting.\u003c/p>\n\u003cp>Adding a surreal touch is Pakbaten, playing a bride-to-be wearing her wedding dress for a photo shoot and spending the day in it, driving around with her groom and pushing the van down the road when it breaks down, her fluffy white dress comical in such a grave situation.\u003c/p>\n\u003cp>Amid the debate over whether to kill their old tormentor or show him the humanity he never showed them, a complication emerges. There’s an emergency at their captor’s home and this ragtag band of broken, angry people come to help, an extraordinary kindness given the circumstances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Panahi grounds his story in the dusty, street-level realism of modern Iran, with cars honking, dogs barking and crows making a ruckus. At seemingly every turn, people demand tips, from security guards to nurses and gas station attendants and street musicians — hands forever out, a system broken.\u003c/p>\n\u003cp>The movie has won the Palme d’Or and has been picked by France as its submission to the Academy Awards. That is no accident: Watch it and it will linger in your mind. It’s a movie for Iranians, of course, but it’s valuable for any society hoping to one day mend a divided country.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The first Bay Area screening of ‘It Was Just an Accident’ will be at the AMC Kabuki 8 (1881 Post Street, San Francisco) on Oct. 23, 2025. More will follow elsewhere.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "silicon-valley-asian-pacific-film-festival-sunnyvale",
"title": "A Celebration of Asian Pacific Film in Sunnyvale",
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"content": "\u003cp>Equipped with a small camcorder and her Littlest Pet Shop figurines, Annika Magbanua began making stop-motion films when she was just six years old. 20 years later, what began as an innocent hobby has turned into a passion for animation and design.\u003c/p>\n\u003cp>“Looking back, it kind of makes sense that I ended up here,” Magbanua says. “When I was getting ready to go to college, I had an epiphany: There are people — artists — behind these animated films that I love so much.”\u003c/p>\n\u003cp>Magbanua’s short 2D-animation \u003ci>Lukso ng Dugo\u003c/i> is one of dozens included in the 11th annual \u003ca href=\"https://svapfilmfest.org/\">Silicon Valley Asian Pacific Film Fest\u003c/a>. Taking place in Sunnyvale from Oct. 17–19 and online from Oct. 20–26, the festival both depicts and celebrates the Asian American, Pacific Islander and Native Hawaiian experience.\u003c/p>\n\u003cfigure id=\"attachment_13982434\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-1536x763.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lukso ng Dugo,’ a short film by Annika Magbanua. \u003ccite>(Annika Magbanua)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lukso ng Dugo” is a Filipino idiom that directly translates to “jumping blood,” and describes the sensation of immediate kinship with a stranger. This concept is demonstrated through \u003ci>Lukso ng Dugo\u003c/i>’s storyline about Mae, a Filipino girl who finds the courage to break the cycle of abuse in her family. During a tense dinner, a creature appears, helping Mae and her mother confront their fears and take the first steps toward healing.\u003c/p>\n\u003cp>Inspired greatly by the Filipino aswang folklore that Magbanua heard growing up, in combination with her love for the horror genre, \u003ci>Lukso ng Dugo\u003c/i> came to fruition as her senior capstone project at San Jose State University. Magbanua graduated this past May with a degree in animation and illustration, having worked on the film alongside a team of dozens of people for about a year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We made this in an academic space,” Magbanua says. “To have it be screened and experienced in a space surrounded by professionals and people who are established, seasoned and esteemed, it’s really surreal, because we were just making this in a classroom a couple months ago.”\u003c/p>\n\u003cfigure id=\"attachment_13982433\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘BFF Diary,’ a short film by Keya Thota. \u003ccite>(Keya Thota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current SJSU animation and illustration student Keya Thota will also have work showcased at the festival. Like \u003ci>Lukso ng Dugo\u003c/i>, Thota’s film \u003ci>BFF Diary\u003c/i> began as a class assignment, inspired by her personal experiences and culture.\u003c/p>\n\u003cp>“I remembered my professors always talk about how the best stories are the ones that come from within you,” Thota says.\u003c/p>\n\u003cp>[aside postID='arts_13981726']At one point, while ruminating on this advice, a purple diary from Thota’s childhood caught her eye, becoming the muse for her film. Following two inseparable elementary school best friends who exchange a diary that documents their upbringing in the suburbs of Bangalore, India, \u003ci>BFF Diary\u003c/i> shows how their friendship adapts as one of them moves away.\u003c/p>\n\u003cp>“\u003ci>BFF Diary\u003c/i> ended up being an ode to childhood, friendship and big life changes,” Thota explains. “I really wanted to explore personal and iconic locations from my childhood spent in Bangalore, India, and I try to use a lot of warm lighting, saturated colors, and familiar imagery to really invite viewers to reflect on their own friendships and the bonds that last through their lives.”\u003c/p>\n\u003cfigure id=\"attachment_13982436\" class=\"wp-caption aligncenter\" style=\"max-width: 895px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png\" alt=\"\" width=\"895\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png 895w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-768x468.png 768w\" sizes=\"auto, (max-width: 895px) 100vw, 895px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the 2024 Silicon Valley Asian Pacific Film Festival. \u003ccite>(Courtesy SVAPFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both filmmakers began with stories close to home, as well as memories, myths and the small acts of imagination that first drew them to art. Now, as their work reaches wider audiences, their films echo something shared: that storytelling at its heart is both a return and a beginning.\u003c/p>\n\u003cp>And while production logistics and audience expectations can sometimes get in the way, both Magbanua and Thota know that filmmaking is at its core about having a vision.\u003c/p>\n\u003cp>“That little version of Annika, playing with my Littlest Pet Shop toys and my little camcorder,” Magbanua reflects, “I keep her with me all the time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>Silicon Valley Asian Pacific Film Festival\u003c/i>\u003c/a>\u003ci> takes place Oct. 17–19 at the AMC Dine-In Theater in Sunnyvale and online from Oct. 20–26. ‘Lukso ng Dugo’ and ‘BFF Diary’ screen at the festival on Sunday, Oct. 19, from 1 to 2:30 p.m. Tickets and more information can be found \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Equipped with a small camcorder and her Littlest Pet Shop figurines, Annika Magbanua began making stop-motion films when she was just six years old. 20 years later, what began as an innocent hobby has turned into a passion for animation and design.\u003c/p>\n\u003cp>“Looking back, it kind of makes sense that I ended up here,” Magbanua says. “When I was getting ready to go to college, I had an epiphany: There are people — artists — behind these animated films that I love so much.”\u003c/p>\n\u003cp>Magbanua’s short 2D-animation \u003ci>Lukso ng Dugo\u003c/i> is one of dozens included in the 11th annual \u003ca href=\"https://svapfilmfest.org/\">Silicon Valley Asian Pacific Film Fest\u003c/a>. Taking place in Sunnyvale from Oct. 17–19 and online from Oct. 20–26, the festival both depicts and celebrates the Asian American, Pacific Islander and Native Hawaiian experience.\u003c/p>\n\u003cfigure id=\"attachment_13982434\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.15.09 PM-1536x763.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lukso ng Dugo,’ a short film by Annika Magbanua. \u003ccite>(Annika Magbanua)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lukso ng Dugo” is a Filipino idiom that directly translates to “jumping blood,” and describes the sensation of immediate kinship with a stranger. This concept is demonstrated through \u003ci>Lukso ng Dugo\u003c/i>’s storyline about Mae, a Filipino girl who finds the courage to break the cycle of abuse in her family. During a tense dinner, a creature appears, helping Mae and her mother confront their fears and take the first steps toward healing.\u003c/p>\n\u003cp>Inspired greatly by the Filipino aswang folklore that Magbanua heard growing up, in combination with her love for the horror genre, \u003ci>Lukso ng Dugo\u003c/i> came to fruition as her senior capstone project at San Jose State University. Magbanua graduated this past May with a degree in animation and illustration, having worked on the film alongside a team of dozens of people for about a year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We made this in an academic space,” Magbanua says. “To have it be screened and experienced in a space surrounded by professionals and people who are established, seasoned and esteemed, it’s really surreal, because we were just making this in a classroom a couple months ago.”\u003c/p>\n\u003cfigure id=\"attachment_13982433\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14%E2%80%AFPM.jpg\" alt=\"\" width=\"2000\" height=\"834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Screenshot-2025-10-14-at-3.16.14 PM-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘BFF Diary,’ a short film by Keya Thota. \u003ccite>(Keya Thota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current SJSU animation and illustration student Keya Thota will also have work showcased at the festival. Like \u003ci>Lukso ng Dugo\u003c/i>, Thota’s film \u003ci>BFF Diary\u003c/i> began as a class assignment, inspired by her personal experiences and culture.\u003c/p>\n\u003cp>“I remembered my professors always talk about how the best stories are the ones that come from within you,” Thota says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At one point, while ruminating on this advice, a purple diary from Thota’s childhood caught her eye, becoming the muse for her film. Following two inseparable elementary school best friends who exchange a diary that documents their upbringing in the suburbs of Bangalore, India, \u003ci>BFF Diary\u003c/i> shows how their friendship adapts as one of them moves away.\u003c/p>\n\u003cp>“\u003ci>BFF Diary\u003c/i> ended up being an ode to childhood, friendship and big life changes,” Thota explains. “I really wanted to explore personal and iconic locations from my childhood spent in Bangalore, India, and I try to use a lot of warm lighting, saturated colors, and familiar imagery to really invite viewers to reflect on their own friendships and the bonds that last through their lives.”\u003c/p>\n\u003cfigure id=\"attachment_13982436\" class=\"wp-caption aligncenter\" style=\"max-width: 895px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png\" alt=\"\" width=\"895\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_.png 895w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/2024-SVAPFF.-Darren.Jlam_-768x468.png 768w\" sizes=\"auto, (max-width: 895px) 100vw, 895px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the 2024 Silicon Valley Asian Pacific Film Festival. \u003ccite>(Courtesy SVAPFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both filmmakers began with stories close to home, as well as memories, myths and the small acts of imagination that first drew them to art. Now, as their work reaches wider audiences, their films echo something shared: that storytelling at its heart is both a return and a beginning.\u003c/p>\n\u003cp>And while production logistics and audience expectations can sometimes get in the way, both Magbanua and Thota know that filmmaking is at its core about having a vision.\u003c/p>\n\u003cp>“That little version of Annika, playing with my Littlest Pet Shop toys and my little camcorder,” Magbanua reflects, “I keep her with me all the time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>Silicon Valley Asian Pacific Film Festival\u003c/i>\u003c/a>\u003ci> takes place Oct. 17–19 at the AMC Dine-In Theater in Sunnyvale and online from Oct. 20–26. ‘Lukso ng Dugo’ and ‘BFF Diary’ screen at the festival on Sunday, Oct. 19, from 1 to 2:30 p.m. Tickets and more information can be found \u003c/i>\u003ca href=\"https://svapfilmfest.org/\">\u003ci>here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "guillermo-del-toro-frankenstein-review-mary-shelley-isaac-elordi",
"title": "Guillermo del Toro’s ‘Frankenstein’ Centers a Macabre Adonis",
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"headTitle": "Guillermo del Toro’s ‘Frankenstein’ Centers a Macabre Adonis | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13826205/shape-of-water-creature-actor-understands-the-monsters\">Guillermo del Toro\u003c/a> has been telling monster stories for as long as he’s been making films. A romantic with keen appreciation for the macabre, his creations are things of strange beauty, haunting, poetic and unforgettable. It’s no wonder his earliest love was \u003cem>Frankenstein\u003c/em>, first the Boris Karloff film, then the novel, which set him on a path to becoming a filmmaker.\u003c/p>\n\u003cp>Don’t expect a by-the-letter adaptation of \u003ca href=\"https://www.kqed.org/forum/2010101865751/frankenstein-200-years-later-the-creature-and-its-creator\">Mary Shelley’s immortal story\u003c/a>, however. This\u003cem> Frankenstein\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 7, is an interpretation, a reading of that tale of the brilliant scientist and his creation, from one of our most visionary filmmakers who has made it very much his own. Is it his best? No, but it overcomes the handicap of the dreaded passion project that has befuddled more than a few greats before him.\u003c/p>\n\u003cp>[aside postid='pop_97638']It is a story about stories, about fathers and sons, innocents and monsters, and the madness of creation. And while del Toro lets both Victor Frankenstein (\u003ca href=\"https://www.kqed.org/arts/13911337/oscar-isaac-marvel-moon-knight-disney-ethan-hawke\">Oscar Isaac\u003c/a>) and the creation (\u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Jacob Elordi\u003c/a>) tell their sides of the tale, this is not exactly neutral. Del Toro has always loved the “monster” and, perhaps because of that love, has stripped him of the complexities that made Shelley’s character so fascinating. Here, the creation is an innocent, subject to the same impulses of rage as a toddler. But, thankfully for parents everywhere, toddlers can, generally, be contained. This creature’s strength is superhuman, which is unfortunate for anyone who happens to provoke him. He doesn’t just kill — he skins, he tears jaws off, he tosses grown men with a velocity that suggests they weigh little more than a baseball. It’s all quite grisly.\u003c/p>\n\u003cp>But neither he nor Victor is without reason — all men are products and victims of their own fathers, whose mothers and mother figures (in both cases, \u003ca href=\"https://www.kqed.org/arts/13854891/in-the-art-house-sci-fi-film-high-life-no-aliens-just-alienation\">Mia Goth\u003c/a>, a metaphor that is perhaps a little too on the nose) cannot protect them, del Toro tells us, and these two are particularly doomed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8aulMPhE12g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Isaac is delightful as Victor, brilliant, egotistical and with a flair for the theatrical, a defiant outsider consumed with the idea of making life from death. He’s obsessed with surpassing his father (a menacing Charles Dance), intellectually and scientifically, and the idea that he might have been able to save his late mother. He’s relegated himself to being a mad loner, a proud exile who has softness only for his brother William (Felix Kammerer) and William’s fiancee, Elizabeth (Goth), an excellent foil for Victor’s hubris.\u003c/p>\n\u003cp>While Elizabeth might embody something of a feminine cliché whose instinct is to nurture and protect the creation, rather than mold and control him, Goth imbues her with sharp wit and wisdom. She’s the kind who might even be able to save Victor from himself (or at least that’s what he thinks), if only she weren’t marrying his brother.\u003c/p>\n\u003cp>And then, of course, there is the creature. There are no bolts in this head: Victor’s design is that of an artist attempting to make a marble Adonis, but whose stitches never quite disappear and whose scraggly hair suggests the eerie undead. In Elordi’s hands, the creature is a sensitive soul tortured by his own existence. His default is gentleness, but his survival instincts are very real, and very violent. Victor quickly comes to hate his creation because he believes it dumb and he leaves it to fend for itself.\u003c/p>\n\u003cp>[aside postid='arts_13982172']If the first half of the film is a symphony of crazed creation, the second is one of discovery, a coming-of-age story for a monster who just wants a companion but who is only met with hatred, disgust and violence — save for an old, blind man (David Bradley) who, like Elizabeth, sees a gentle soul. The creature is also quick to learn under a kinder tutor, which proves to be a double-edged sword as he comes to understand the nature of his being and the curse of eternal life. It’s all very spelled out on our behalf.\u003c/p>\n\u003cp>The gothic grandeur on display is familiar territory for del Toro, though he’s often had to stay within certain confines. Working with many of his regular collaborators on \u003cem>Frankenstein\u003c/em>, it seems no expense was spared in this elaborate, maximalist world-building (production designer Tamara Deverell), from Victor’s lavish childhood estate to the abandoned irrigation plant that will become his laboratory. The romantic, beautiful, utterly impractical costumes, too (overseen by Kate Hawley), could fill a museum, not to mention all the severed limbs. It all comes to electrifying life with Alexandre Desplat’s appropriately epic score.\u003c/p>\n\u003cp>Everything about \u003cem>Frankenstein\u003c/em> is larger than life, from the runtime to the emotions on display: The empathy, the anguish, the rage, the regret. And it can be a bit exhausting, too, a lifetime of dreaming jam packed into 149 minutes. Hopefully del Toro is at peace with his creation: It might not be masterpiece material, but it has a soul and is an undeniably beautiful, worthwhile addition to the canon.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frankenstein’ is released in limited theaters (including the Rialto Cinemas in El Cerrito and Sebastopol, the Roxy Stadium 14 in Santa Rosa, and the Vine Cinema in Livermore) on Oct. 17, 2025. The movie begins streaming on Netflix on Nov. 7, 2025.\u003c/em>\u003c/p>\n\n",
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"excerpt": "This update on Mary Shelley’s horror classic is full of gothic grandeur and larger than life characters. ",
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"description": "This update on Mary Shelley’s horror classic is full of gothic grandeur and larger than life characters. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13826205/shape-of-water-creature-actor-understands-the-monsters\">Guillermo del Toro\u003c/a> has been telling monster stories for as long as he’s been making films. A romantic with keen appreciation for the macabre, his creations are things of strange beauty, haunting, poetic and unforgettable. It’s no wonder his earliest love was \u003cem>Frankenstein\u003c/em>, first the Boris Karloff film, then the novel, which set him on a path to becoming a filmmaker.\u003c/p>\n\u003cp>Don’t expect a by-the-letter adaptation of \u003ca href=\"https://www.kqed.org/forum/2010101865751/frankenstein-200-years-later-the-creature-and-its-creator\">Mary Shelley’s immortal story\u003c/a>, however. This\u003cem> Frankenstein\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 7, is an interpretation, a reading of that tale of the brilliant scientist and his creation, from one of our most visionary filmmakers who has made it very much his own. Is it his best? No, but it overcomes the handicap of the dreaded passion project that has befuddled more than a few greats before him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is a story about stories, about fathers and sons, innocents and monsters, and the madness of creation. And while del Toro lets both Victor Frankenstein (\u003ca href=\"https://www.kqed.org/arts/13911337/oscar-isaac-marvel-moon-knight-disney-ethan-hawke\">Oscar Isaac\u003c/a>) and the creation (\u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Jacob Elordi\u003c/a>) tell their sides of the tale, this is not exactly neutral. Del Toro has always loved the “monster” and, perhaps because of that love, has stripped him of the complexities that made Shelley’s character so fascinating. Here, the creation is an innocent, subject to the same impulses of rage as a toddler. But, thankfully for parents everywhere, toddlers can, generally, be contained. This creature’s strength is superhuman, which is unfortunate for anyone who happens to provoke him. He doesn’t just kill — he skins, he tears jaws off, he tosses grown men with a velocity that suggests they weigh little more than a baseball. It’s all quite grisly.\u003c/p>\n\u003cp>But neither he nor Victor is without reason — all men are products and victims of their own fathers, whose mothers and mother figures (in both cases, \u003ca href=\"https://www.kqed.org/arts/13854891/in-the-art-house-sci-fi-film-high-life-no-aliens-just-alienation\">Mia Goth\u003c/a>, a metaphor that is perhaps a little too on the nose) cannot protect them, del Toro tells us, and these two are particularly doomed.\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/8aulMPhE12g'\n title='//www.youtube.com/embed/8aulMPhE12g'\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>Isaac is delightful as Victor, brilliant, egotistical and with a flair for the theatrical, a defiant outsider consumed with the idea of making life from death. He’s obsessed with surpassing his father (a menacing Charles Dance), intellectually and scientifically, and the idea that he might have been able to save his late mother. He’s relegated himself to being a mad loner, a proud exile who has softness only for his brother William (Felix Kammerer) and William’s fiancee, Elizabeth (Goth), an excellent foil for Victor’s hubris.\u003c/p>\n\u003cp>While Elizabeth might embody something of a feminine cliché whose instinct is to nurture and protect the creation, rather than mold and control him, Goth imbues her with sharp wit and wisdom. She’s the kind who might even be able to save Victor from himself (or at least that’s what he thinks), if only she weren’t marrying his brother.\u003c/p>\n\u003cp>And then, of course, there is the creature. There are no bolts in this head: Victor’s design is that of an artist attempting to make a marble Adonis, but whose stitches never quite disappear and whose scraggly hair suggests the eerie undead. In Elordi’s hands, the creature is a sensitive soul tortured by his own existence. His default is gentleness, but his survival instincts are very real, and very violent. Victor quickly comes to hate his creation because he believes it dumb and he leaves it to fend for itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If the first half of the film is a symphony of crazed creation, the second is one of discovery, a coming-of-age story for a monster who just wants a companion but who is only met with hatred, disgust and violence — save for an old, blind man (David Bradley) who, like Elizabeth, sees a gentle soul. The creature is also quick to learn under a kinder tutor, which proves to be a double-edged sword as he comes to understand the nature of his being and the curse of eternal life. It’s all very spelled out on our behalf.\u003c/p>\n\u003cp>The gothic grandeur on display is familiar territory for del Toro, though he’s often had to stay within certain confines. Working with many of his regular collaborators on \u003cem>Frankenstein\u003c/em>, it seems no expense was spared in this elaborate, maximalist world-building (production designer Tamara Deverell), from Victor’s lavish childhood estate to the abandoned irrigation plant that will become his laboratory. The romantic, beautiful, utterly impractical costumes, too (overseen by Kate Hawley), could fill a museum, not to mention all the severed limbs. It all comes to electrifying life with Alexandre Desplat’s appropriately epic score.\u003c/p>\n\u003cp>Everything about \u003cem>Frankenstein\u003c/em> is larger than life, from the runtime to the emotions on display: The empathy, the anguish, the rage, the regret. And it can be a bit exhausting, too, a lifetime of dreaming jam packed into 149 minutes. Hopefully del Toro is at peace with his creation: It might not be masterpiece material, but it has a soul and is an undeniably beautiful, worthwhile addition to the canon.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frankenstein’ is released in limited theaters (including the Rialto Cinemas in El Cerrito and Sebastopol, the Roxy Stadium 14 in Santa Rosa, and the Vine Cinema in Livermore) on Oct. 17, 2025. The movie begins streaming on Netflix on Nov. 7, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alysia Abbott Says ‘Fairyland’ Hits Differently in the Current Political Moment",
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"content": "\u003cp>The sun-drenched, postcard-like shots in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982072/fairyland-movie-review-alysia-abbott-memoir-father-daughter-retro-lgbtq-san-francisco\">Fairyland\u003c/a>\u003c/em> evoke a bygone era of San Francisco.\u003c/p>\n\u003cp>Shot on location, the film depicts the city in the wake of the Summer of Love. A father, Steven Abbott, moves his young daughter, Alysia, to the city after the death of her mother. It’s a new beginning for both of them; he embraces an openly gay life while raising his daughter in a world full of artists, drag queens and former boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_13982300\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg\" alt=\"white woman with shoulder-length brown hair in gray shirt\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alysia Abbot. \u003ccite>(Amber Davis Toularentes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, their relationship ebbs and flows; Steven’s orange Volkswagen Beetle struggling up the hills of his new home is an apt visual metaphor. The story culminates during the AIDS crisis, when university-age Alysia returns home to care for her father.\u003c/p>\n\u003cp>Based on the \u003ca href=\"https://www.kqed.org/forum/201306211000/growing-up-in-70s-san-francisco-with-an-openly-gay-dad\">2013 memoir\u003c/a> of the same name by Alysia Abbott, \u003cem>Fairyland\u003c/em> premiered at Sundance in 2023. She says the film, which would have come across as just nostalgic to audiences two years ago, now has more to offer in a wide theatrical release, starting Oct. 10.\u003c/p>\n\u003cp>“Through the lens of 2023, it might have seemed more quaint. And I think now there’s more of an urgency to this story,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to its contemporary relevance, \u003cem>Fairyland\u003c/em> serves as a love letter to San Francisco, and an intimate examination of parenting, grief and coming of age. Abbott spoke about her book and the film adaptation with KQED’s Brian Watt.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> Your dad Steven Abbott was also a writer, and as you were growing up, he didn’t hide who he was. Tell us more about your early years.\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbot:\u003c/strong> Certainly, I think he approached parenting with a lot of naïveté and idealism. He had grown up in a repressed home in Lincoln, Nebraska in the 1950s and 60s. [It was] the kind of home where children were not to speak until they’re spoken to, and when he was left to be an only parent after my mother died, he saw this as an opportunity to raise me in a different way. He was very bohemian, and I really do think that he believed that he was teaching me independence by leaving me to fend for myself.\u003c/p>\n\u003cp>By the time I wrote my book, and certainly by the time I watched the movie, I came to see him with a lot of compassion. There are still things where I’m like, I can’t believe he did that, but also, I believe he made a lot of his choices out of love and because he didn’t have any models. Today there are a lot of queer parents who are married and have wonderful families. In that era, where we were living, anyway, most of his friends didn’t have children. I spent a lot of my time around adults.\u003c/p>\n\u003cfigure id=\"attachment_13982073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg\" alt=\"An average kitchen interior. A young white girl sits slumped at a round kitchen table, while her dad, wearing a flannel shirt and blue jeans, cigarette in mouth, pours her an orange juice.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scoot McNairy as Steve Abbott and Nessa Dougherty as a young Alysia in ‘Fairyland.’ \u003ccite>(Courtesy of Lionsgate/WILLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I am very taken in the beginning of the film with the gaze and lens of young Alysia. This very young person, surrounded by adults in a new place, trying to take it all in, trying to process it. Is that something that struck you or maybe it was important to you in how the beginning of the film is shot?\u003c/strong>\u003c/p>\n\u003cp>It was a conscious decision to shoot those early parts of the film looking from the perspective of a child, a child’s point of view looking up, to show that sense of disorientation. Over the course of the film, the perspective changes, where by the end, we can look down at Alysia and her father in this later stage of their relationship.\u003c/p>\n\u003cp>When I was writing the book, I had recently taken a class at Harvard on children’s literature. I re-read some classics, like Lewis Carroll’s \u003cem>Alice in Wonderland\u003c/em> and J.M. Barrie’s \u003cem>Peter and Wendy\u003c/em>, the story of Peter Pan. In both of those stories, there would be Wonderland or Neverland. So I thought of marrying this idea of San Francisco as a fairyland, where people were arriving to play, to maybe not grow up, to explore themselves, but also as a child that I might arrive as if on an adventure. The way that Alice follows the rabbit down the rabbit hole.\u003c/p>\n\u003cp>[aside postID='arts_13982072']\u003cstrong>Tell us more about being involved in the making of the film. In a memoir, you have more control. But how did you make sure they were getting it right on film?\u003c/strong>\u003c/p>\n\u003cp>I had a meeting with the director Andrew Durham and Sofia Coppola when they wanted to option the book. I learned that Sofia was going to serve as a producer, and Durham, a longtime collaborator but more of a photographer professionally, was going to be directing this film for the first time. I also learned in that conversation that he had a dad who died of AIDS the very same year that my father died, in 1992, and [Durham] had lived in the Bay Area and came of age approximately the same time I did.\u003c/p>\n\u003cfigure id=\"attachment_13982299\" class=\"wp-caption aligncenter\" style=\"max-width: 1991px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg\" alt=\"young woman lit green in front of neon Palladium sign\" width=\"1991\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg 1991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-1536x868.jpg 1536w\" sizes=\"auto, (max-width: 1991px) 100vw, 1991px\">\u003cfigcaption class=\"wp-caption-text\">Emilia Jones as an older Alysia Abbott in a scene from ‘Fairyland.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did a research trip together in San Francisco. My father’s papers are at the San Francisco Public Library. We dug out those boxes and went through them together. We rented bikes and bicycled through Golden Gate Park, where I could point out to him important sites where I used to play or where the cover of my book was photographed. Over just that short visit, I felt a camaraderie and an ease.\u003c/p>\n\u003cp>I was able to spend time on set, and I learned in the process just how personal this project was for much of the crew, meaning we had some high-level professionals who were possibly taking a pay cut to work on this project simply because it was very important to them. Other folks took me aside and said, “Listen, there’s someone I used to work with who died of AIDS and I just think this history is important.” There were a lot of people who had something at stake.\u003c/p>\n\u003cp>\u003cstrong>A lot has changed in the world since the film’s premiere in 2023, namely the political climate. The Trump administration cut federal funding for some \u003ca href=\"https://www.npr.org/2025/09/12/nx-s1-5539546/can-the-global-hiv-aids-fight-recover-from-trumps-cuts\">HIV/AIDS prevention programs\u003c/a>. Many people in the LGBTQ+ community fear for their rights. How do you see this film and its story landing now? \u003c/strong>\u003c/p>\n\u003cp>There’s a scene in the film where Steve is listening to the radio and hears about the Briggs Initiative that was being proposed and pushed by Anita Bryant and Sen. [John] Briggs that would have outlawed gay men and women from teaching in schools. Steve looks so shocked to hear that, and that doesn’t feel so far away now.\u003c/p>\n\u003cp>Certainly with HIV funding, this idea that the U.S. used to be an important leader in more recent years on supporting medications for people suffering from HIV and AIDS around the world and now with the U.S. withdrawing from that, there’s a shocking sense of apathy. There’s a sense of loss beyond the loss that was felt of all the people who died of AIDS that we might be mourning as we watch this film together. I also feel that there’s grief about what we have lost as a country. How have we changed in ways that are maybe irrevocable?\u003c/p>\n\u003cp>A couple of years ago, people might have said, “Oh, this is an emotional film. This is weepy.” I kind of feel that right now we need weepy. We collectively are grieving more than we’ve had space to acknowledge because we’re always having to react.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Fairyland’ opens nationwide on Friday, Oct. 10, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sun-drenched, postcard-like shots in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982072/fairyland-movie-review-alysia-abbott-memoir-father-daughter-retro-lgbtq-san-francisco\">Fairyland\u003c/a>\u003c/em> evoke a bygone era of San Francisco.\u003c/p>\n\u003cp>Shot on location, the film depicts the city in the wake of the Summer of Love. A father, Steven Abbott, moves his young daughter, Alysia, to the city after the death of her mother. It’s a new beginning for both of them; he embraces an openly gay life while raising his daughter in a world full of artists, drag queens and former boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_13982300\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg\" alt=\"white woman with shoulder-length brown hair in gray shirt\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alysia Abbot. \u003ccite>(Amber Davis Toularentes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, their relationship ebbs and flows; Steven’s orange Volkswagen Beetle struggling up the hills of his new home is an apt visual metaphor. The story culminates during the AIDS crisis, when university-age Alysia returns home to care for her father.\u003c/p>\n\u003cp>Based on the \u003ca href=\"https://www.kqed.org/forum/201306211000/growing-up-in-70s-san-francisco-with-an-openly-gay-dad\">2013 memoir\u003c/a> of the same name by Alysia Abbott, \u003cem>Fairyland\u003c/em> premiered at Sundance in 2023. She says the film, which would have come across as just nostalgic to audiences two years ago, now has more to offer in a wide theatrical release, starting Oct. 10.\u003c/p>\n\u003cp>“Through the lens of 2023, it might have seemed more quaint. And I think now there’s more of an urgency to this story,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to its contemporary relevance, \u003cem>Fairyland\u003c/em> serves as a love letter to San Francisco, and an intimate examination of parenting, grief and coming of age. Abbott spoke about her book and the film adaptation with KQED’s Brian Watt.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> Your dad Steven Abbott was also a writer, and as you were growing up, he didn’t hide who he was. Tell us more about your early years.\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbot:\u003c/strong> Certainly, I think he approached parenting with a lot of naïveté and idealism. He had grown up in a repressed home in Lincoln, Nebraska in the 1950s and 60s. [It was] the kind of home where children were not to speak until they’re spoken to, and when he was left to be an only parent after my mother died, he saw this as an opportunity to raise me in a different way. He was very bohemian, and I really do think that he believed that he was teaching me independence by leaving me to fend for myself.\u003c/p>\n\u003cp>By the time I wrote my book, and certainly by the time I watched the movie, I came to see him with a lot of compassion. There are still things where I’m like, I can’t believe he did that, but also, I believe he made a lot of his choices out of love and because he didn’t have any models. Today there are a lot of queer parents who are married and have wonderful families. In that era, where we were living, anyway, most of his friends didn’t have children. I spent a lot of my time around adults.\u003c/p>\n\u003cfigure id=\"attachment_13982073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg\" alt=\"An average kitchen interior. A young white girl sits slumped at a round kitchen table, while her dad, wearing a flannel shirt and blue jeans, cigarette in mouth, pours her an orange juice.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scoot McNairy as Steve Abbott and Nessa Dougherty as a young Alysia in ‘Fairyland.’ \u003ccite>(Courtesy of Lionsgate/WILLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I am very taken in the beginning of the film with the gaze and lens of young Alysia. This very young person, surrounded by adults in a new place, trying to take it all in, trying to process it. Is that something that struck you or maybe it was important to you in how the beginning of the film is shot?\u003c/strong>\u003c/p>\n\u003cp>It was a conscious decision to shoot those early parts of the film looking from the perspective of a child, a child’s point of view looking up, to show that sense of disorientation. Over the course of the film, the perspective changes, where by the end, we can look down at Alysia and her father in this later stage of their relationship.\u003c/p>\n\u003cp>When I was writing the book, I had recently taken a class at Harvard on children’s literature. I re-read some classics, like Lewis Carroll’s \u003cem>Alice in Wonderland\u003c/em> and J.M. Barrie’s \u003cem>Peter and Wendy\u003c/em>, the story of Peter Pan. In both of those stories, there would be Wonderland or Neverland. So I thought of marrying this idea of San Francisco as a fairyland, where people were arriving to play, to maybe not grow up, to explore themselves, but also as a child that I might arrive as if on an adventure. The way that Alice follows the rabbit down the rabbit hole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Tell us more about being involved in the making of the film. In a memoir, you have more control. But how did you make sure they were getting it right on film?\u003c/strong>\u003c/p>\n\u003cp>I had a meeting with the director Andrew Durham and Sofia Coppola when they wanted to option the book. I learned that Sofia was going to serve as a producer, and Durham, a longtime collaborator but more of a photographer professionally, was going to be directing this film for the first time. I also learned in that conversation that he had a dad who died of AIDS the very same year that my father died, in 1992, and [Durham] had lived in the Bay Area and came of age approximately the same time I did.\u003c/p>\n\u003cfigure id=\"attachment_13982299\" class=\"wp-caption aligncenter\" style=\"max-width: 1991px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg\" alt=\"young woman lit green in front of neon Palladium sign\" width=\"1991\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg 1991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-1536x868.jpg 1536w\" sizes=\"auto, (max-width: 1991px) 100vw, 1991px\">\u003cfigcaption class=\"wp-caption-text\">Emilia Jones as an older Alysia Abbott in a scene from ‘Fairyland.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did a research trip together in San Francisco. My father’s papers are at the San Francisco Public Library. We dug out those boxes and went through them together. We rented bikes and bicycled through Golden Gate Park, where I could point out to him important sites where I used to play or where the cover of my book was photographed. Over just that short visit, I felt a camaraderie and an ease.\u003c/p>\n\u003cp>I was able to spend time on set, and I learned in the process just how personal this project was for much of the crew, meaning we had some high-level professionals who were possibly taking a pay cut to work on this project simply because it was very important to them. Other folks took me aside and said, “Listen, there’s someone I used to work with who died of AIDS and I just think this history is important.” There were a lot of people who had something at stake.\u003c/p>\n\u003cp>\u003cstrong>A lot has changed in the world since the film’s premiere in 2023, namely the political climate. The Trump administration cut federal funding for some \u003ca href=\"https://www.npr.org/2025/09/12/nx-s1-5539546/can-the-global-hiv-aids-fight-recover-from-trumps-cuts\">HIV/AIDS prevention programs\u003c/a>. Many people in the LGBTQ+ community fear for their rights. How do you see this film and its story landing now? \u003c/strong>\u003c/p>\n\u003cp>There’s a scene in the film where Steve is listening to the radio and hears about the Briggs Initiative that was being proposed and pushed by Anita Bryant and Sen. [John] Briggs that would have outlawed gay men and women from teaching in schools. Steve looks so shocked to hear that, and that doesn’t feel so far away now.\u003c/p>\n\u003cp>Certainly with HIV funding, this idea that the U.S. used to be an important leader in more recent years on supporting medications for people suffering from HIV and AIDS around the world and now with the U.S. withdrawing from that, there’s a shocking sense of apathy. There’s a sense of loss beyond the loss that was felt of all the people who died of AIDS that we might be mourning as we watch this film together. I also feel that there’s grief about what we have lost as a country. How have we changed in ways that are maybe irrevocable?\u003c/p>\n\u003cp>A couple of years ago, people might have said, “Oh, this is an emotional film. This is weepy.” I kind of feel that right now we need weepy. We collectively are grieving more than we’ve had space to acknowledge because we’re always having to react.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fairyland’ opens nationwide on Friday, Oct. 10, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not so often that the font of a movie’s opening credits is, itself, a provocation.\u003c/p>\n\u003cp>But in Luca Guadagnino’s muddled but darkly absorbing \u003cem>After the Hunt\u003c/em>, the white Windsor Light Condensed lettering against a black background, with cast in alphabetical order and soft jazz playing, is immediately recognizable as the style of a Woody Allen movie opening.\u003c/p>\n\u003cp>[aside postid='arts_13982228']In the juggling act to follow in \u003cem>After the Hunt\u003c/em>, where Guadagnino will playfully twirl a twisting narrative of alleged sexual assault, cancel culture, privilege in academia and Gen Z victimization, the credits are not so much an opening salvo than they are an introductory wink.\u003c/p>\n\u003cp>Like many an Allen film, \u003cem>After the Hunt\u003c/em> is set among a well-educated, self-involved class. It takes place around Yale University. But unlike Allen’s anxious, existential, chattering characters, Guadagnino’s cocktail party collection of professors and students is a more scheming and unpleasant lot.\u003c/p>\n\u003cp>That includes a philosophy professor, Alma Imhoff (Julia Roberts), on the precipice of tenure, her friend and department colleague, Hank Gibson (Andrew Garfield), and Imhoff’s star pupil, a Ph.D. student named Maggie Resnick (Ayo Edebiri), who after a party at Alma’s house accuses Hank of sexual assault.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guadagnino’s film, shot by Malik Hassan Sayeed, is somberly and flatly lit and rife with reflections. Under these drab surfaces, the central characters of \u003cem>After the Hunt\u003c/em> — an ensemble of singularly charming actors who here have drained away much of their natural charisma — go at each other on everything from Foucault to feminism in a psychological battle set across a #MeToo minefield.\u003c/p>\n\u003cp>That, at least, is the promise of \u003cem>After the Hunt\u003c/em>. But Guadagnino’s dour and languid film, scripted by Nora Garrett, only fitfully coheres as the conversation piece it aspires to be. Its plot turns can be rash or implausible, and the movie increasingly feels like ideas and set pieces strung tenuously together.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A8R6DMlDtxk\u003c/p>\n\u003cp>Yet I also enjoyed the prickliness of \u003cem>After the Hunt\u003c/em>.”Though there’s a strong anti-woke vein to it, Guadagnino’s film is more about how seemingly quite different generations have much more in common than they might appear. The cultural debates depicted in the movie are often so colored by moralistic superiority, but that’s not the case here. Everyone is kind of rotten in \u003cem>After the Hunt\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13982072']That’s especially unusual for Roberts, whose Alma is far more complicated a character than she normally tackles. Alma is esteemed, fiercely intelligent, ambitious and hard to read. Her husband, a psychiatrist named Frederik (a fabulous Michael Stuhlbarg as combustible cocktail of cuckold and cook) worships her, but her affection is less evident.\u003c/p>\n\u003cp>But shorn of her natural ebullience, Roberts’ restraint of the role comes off more like weariness. That adds to some of the off-kilter tenor of \u003cem>After the Hunt\u003c/em>, but it’s hard not to imagine someone like Cate Blanchett in the part.\u003c/p>\n\u003cp>“When did offending someone become a cardinal sin?” Hank asks at the party that opens the movie.\u003c/p>\n\u003cp>A sign of what Guadagnino might be up to comes not long after, after Maggie has alleged the assault. Alma goes to meet a distraught Hank at a local restaurant. While they hash out what’s true and what’s fiction in Maggie’s account, it’s hard not to notice the mirrors that surround Hank.\u003c/p>\n\u003cp>The real mirror of \u003cem>After the Hunt\u003c/em> is Alma and Maggie. Edebiri is here a kind of stand-in for Gen Z, and her case expands to include a wider range of issues of inclusivity and othering. As things spiral and Maggie’s case leads to increasing intensity on campus and in Alma’s personal life, Alma shifts from Maggie’s mentor to something more like a foe. But Alma’s own past begins to play a role in the fallout, adding a new frame to \u003cem>After the Hunt\u003c/em> that casts Alma and Maggie’s plights in a different light.\u003c/p>\n\u003cp>[aside postid='arts_13982172']Is this a good time? Not especially, though Garfield is great in a rage. Glib insertions don’t help. In one scene, when Alma meets a fellow faculty member (Chloë Sevigny) in a bar, a Smiths song plays and she seems surprised a Morrissey tune isn’t outlawed.\u003c/p>\n\u003cp>I’m not sure \u003cem>After the Hunt\u003c/em> has too much more to say than that shrug-of-the-shoulders scene. But \u003cem>After the Hunt\u003c/em> deserves credit not so much more wading into these hot-button topics, but for trying to find its own way through them. It’s not a #MeToo procedural but more like a tragedy. When “optics over substance” governs all, as one character laments, no one lives happily ever after.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘After the Hunt’ is released nationwide on Oct. 10, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the juggling act to follow in \u003cem>After the Hunt\u003c/em>, where Guadagnino will playfully twirl a twisting narrative of alleged sexual assault, cancel culture, privilege in academia and Gen Z victimization, the credits are not so much an opening salvo than they are an introductory wink.\u003c/p>\n\u003cp>Like many an Allen film, \u003cem>After the Hunt\u003c/em> is set among a well-educated, self-involved class. It takes place around Yale University. But unlike Allen’s anxious, existential, chattering characters, Guadagnino’s cocktail party collection of professors and students is a more scheming and unpleasant lot.\u003c/p>\n\u003cp>That includes a philosophy professor, Alma Imhoff (Julia Roberts), on the precipice of tenure, her friend and department colleague, Hank Gibson (Andrew Garfield), and Imhoff’s star pupil, a Ph.D. student named Maggie Resnick (Ayo Edebiri), who after a party at Alma’s house accuses Hank of sexual assault.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guadagnino’s film, shot by Malik Hassan Sayeed, is somberly and flatly lit and rife with reflections. Under these drab surfaces, the central characters of \u003cem>After the Hunt\u003c/em> — an ensemble of singularly charming actors who here have drained away much of their natural charisma — go at each other on everything from Foucault to feminism in a psychological battle set across a #MeToo minefield.\u003c/p>\n\u003cp>That, at least, is the promise of \u003cem>After the Hunt\u003c/em>. But Guadagnino’s dour and languid film, scripted by Nora Garrett, only fitfully coheres as the conversation piece it aspires to be. Its plot turns can be rash or implausible, and the movie increasingly feels like ideas and set pieces strung tenuously together.\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/A8R6DMlDtxk'\n title='//www.youtube.com/embed/A8R6DMlDtxk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet I also enjoyed the prickliness of \u003cem>After the Hunt\u003c/em>.”Though there’s a strong anti-woke vein to it, Guadagnino’s film is more about how seemingly quite different generations have much more in common than they might appear. The cultural debates depicted in the movie are often so colored by moralistic superiority, but that’s not the case here. Everyone is kind of rotten in \u003cem>After the Hunt\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s especially unusual for Roberts, whose Alma is far more complicated a character than she normally tackles. Alma is esteemed, fiercely intelligent, ambitious and hard to read. Her husband, a psychiatrist named Frederik (a fabulous Michael Stuhlbarg as combustible cocktail of cuckold and cook) worships her, but her affection is less evident.\u003c/p>\n\u003cp>But shorn of her natural ebullience, Roberts’ restraint of the role comes off more like weariness. That adds to some of the off-kilter tenor of \u003cem>After the Hunt\u003c/em>, but it’s hard not to imagine someone like Cate Blanchett in the part.\u003c/p>\n\u003cp>“When did offending someone become a cardinal sin?” Hank asks at the party that opens the movie.\u003c/p>\n\u003cp>A sign of what Guadagnino might be up to comes not long after, after Maggie has alleged the assault. Alma goes to meet a distraught Hank at a local restaurant. While they hash out what’s true and what’s fiction in Maggie’s account, it’s hard not to notice the mirrors that surround Hank.\u003c/p>\n\u003cp>The real mirror of \u003cem>After the Hunt\u003c/em> is Alma and Maggie. Edebiri is here a kind of stand-in for Gen Z, and her case expands to include a wider range of issues of inclusivity and othering. As things spiral and Maggie’s case leads to increasing intensity on campus and in Alma’s personal life, Alma shifts from Maggie’s mentor to something more like a foe. But Alma’s own past begins to play a role in the fallout, adding a new frame to \u003cem>After the Hunt\u003c/em> that casts Alma and Maggie’s plights in a different light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Is this a good time? Not especially, though Garfield is great in a rage. Glib insertions don’t help. In one scene, when Alma meets a fellow faculty member (Chloë Sevigny) in a bar, a Smiths song plays and she seems surprised a Morrissey tune isn’t outlawed.\u003c/p>\n\u003cp>I’m not sure \u003cem>After the Hunt\u003c/em> has too much more to say than that shrug-of-the-shoulders scene. But \u003cem>After the Hunt\u003c/em> deserves credit not so much more wading into these hot-button topics, but for trying to find its own way through them. It’s not a #MeToo procedural but more like a tragedy. When “optics over substance” governs all, as one character laments, no one lives happily ever after.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘After the Hunt’ is released nationwide on Oct. 10, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
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"soldout": {
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