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"bio": "Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>",
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"title": "'In The Fade': A Fine Central Performance, An Uncertain Ending",
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"content": "\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Well, this is the best 16-second video you’ll watch today: the Star Wars “Cantina Theme” performed by a girl writing a math equation with a pencil.\u003c/p>\n\u003cp>I would explain, but… just watch:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jcghl0lbDSk\u003c/p>\n\u003cp>Says Dani Ochoa, creator of this genius mathematical cross-discipline remix: “I spent way too much time figuring this out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, this is the best 16-second video you’ll watch today: the Star Wars “Cantina Theme” performed by a girl writing a math equation with a pencil.\u003c/p>\n\u003cp>I would explain, but… just watch:\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/Jcghl0lbDSk'\n title='//www.youtube.com/embed/Jcghl0lbDSk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Says Dani Ochoa, creator of this genius mathematical cross-discipline remix: “I spent way too much time figuring this out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At BAMPFA, Ida Lupino Gets Her Due as Actor and Auteur",
"headTitle": "At BAMPFA, Ida Lupino Gets Her Due as Actor and Auteur | KQED",
"content": "\u003cp>Smart money says Ida Lupino never fell for a Hollywood ending. Acting was her family’s trade, and she was pushed into movies early, cast as an adolescent minx in a few British productions before getting gobbled up by Paramount and Warner Brothers as the “poor man’s Bette Davis” — her words, and the kind of ostensibly self-deprecating remark that threatens to give the whole game away. \u003c/p>\n\u003cp>Of Hollywood’s factory line, she reported: “Boredom sets in, which is a bad thing.” Remarkably, she did something about it: first turning down a long-term acting contract and then striking out with husband Collier Young to form the independent production venture for which she would direct a handful of fine-tuned variations on the social-problem formula. \u003c/p>\n\u003cp>A \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">BAMPFA retrospective\u003c/a> on this month and next illuminates both sides of Lupino’s extraordinary life in movies. “Bored” certainly isn’t the word for her glowering onscreen presence, though something of her confessed impatience is evident in her knack for turning a film inside out. The whole center of gravity of Raoul Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/high-sierra-2\" rel=\"noopener\" target=\"_blank\">High Sierra\u003c/a>\u003c/em> (1941) seems to shift the moment her character imposes herself on Bogart’s seasoned stickup man in a dingy motel room. A gritty striver on the run from her ordinary, awful life as a dancer, she sizes up the heist group’s dynamics faster than any of the men, grabbing at her best chance for escape and making it stick. \u003c/p>\n\u003cfigure id=\"attachment_13818805\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg\" alt=\"Still from Raoul Walsh's 'They Drive by Night,' 1940.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13818805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Walsh’s ‘They Drive by Night,’ 1940. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lupino’s role as a blind recluse who redeems Robert Ryan’s raging cop in Nicholas Ray’s imperishable \u003cem>\u003ca href=\"https://bampfa.org/event/dangerous-ground-2\" rel=\"noopener\" target=\"_blank\">On Dangerous Ground\u003c/a>\u003c/em> (1951) looks hopeless on paper, but she finds a dozen clever ways to shade the character’s self-reliance with stubborn pride, thereby mirroring the Ryan character’s alienation rather than offsetting it. And then there is her star-making performance in Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/they-drive-night-3\" rel=\"noopener\" target=\"_blank\">They Drive By Night\u003c/a>\u003c/em> (1940), where Lupino singlehandedly — and joyously — throws a wrench into a rollicking proletarian drama. Her low-rent Lady Macbeth first appears draped across her husband’s desk, playing different registers for the two men present and plainly relishing her character’s self-regard. In all Hollywood villainy, there is little to compare with the devious look her character shoots the camera after getting away with murder. Walsh sensibly cedes the entire screen to this magnificent touch of evil. \u003c/p>\n\u003cp>The critic Manny Farber, always attuned to the pleasure of a scene-stealing actor, applauded Lupino’s penchant for working from “the basic realization that life is hard, severe and bitter,” and this same cutting intelligence is evident in her work as a director. Lupino found freedom in constraint, working fast and cheap off the bounce of a hot-button issue or ripped-from-the-headlines yarn. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/outrage-1\" rel=\"noopener\" target=\"_blank\">Outrage\u003c/a>\u003c/em> (1950), the first of Lupino’s own films showing in the BAMPFA series — and in a rare print from the British Film Archive at that — is a fine place to start. Tiptoeing around the Hays Code, this 75-minute programmer patiently details a rape victim’s psychological unraveling. The assault itself is done in heavy shades of German expressionism, as if the film’s all-American gal had suddenly been dropped in Fritz Lang’s \u003cem>M\u003c/em> (1931). The geometric rendering is classic noir and cues the audience’s expectation for an investigation, but Lupino steers away from the thrill of the chase. To the contrary, \u003cem>Outrage\u003c/em> works against the whole premise that such an attack can ever be set right. A key sequence deploys a slow camera movement to register every passing glance tracking the girl’s initial reentry back into her anodyne middle class milieu. Whether pitied or scorned, she is every bit the outcast, a precursor to the drifter figures found in Barbara Loden’s \u003cem>Wanda\u003c/em> (1970), Agnès Varda’s \u003cem>Vagabond\u003c/em> (1985), and Kelly Reichardt’s \u003cem>Wendy and Lucy\u003c/em> (2008). \u003c/p>\n\u003cfigure id=\"attachment_13818802\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg\" alt=\"Still from Ida Lupino's 'The Bigamist,' 1953.\" width=\"1200\" height=\"864\" class=\"size-full wp-image-13818802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-520x374.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ida Lupino’s ‘The Bigamist,’ 1953. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight in the BAMPFA series is \u003ca href=\"https://bampfa.org/event/bigamist-4\" rel=\"noopener\" target=\"_blank\">The Bigamist\u003c/a> (1953), a film that shows off Lupino’s adroitness in simultaneously capitalizing on and undercutting a salacious premise. Edmond O’Brien is the titular two-timer, an everyman so accustomed to being passed over that he looks as if he might not recognize himself in the mirror. The character splits his life between an entrepreneurial marriage and a working-class romance, with the big reveal coming when an investigator espies O’Brien shushing a baby to sleep because his second wife (played by Lupino) is sick in bed — hardly the stuff of a torrid potboiler. \u003c/p>\n\u003cp>Among other things, \u003cem>The Bigamist\u003c/em> suggests that classical Hollywood would have produced more tough-minded, unsentimental melodramas if only more women had been asked to direct.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ida Lupino: Hard, Fast, and Beautiful’ plays at the Berkeley Art Museum and Pacific Film Archive Jan. 13 – Feb. 24, 2018. For tickets and more information, \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Smart money says Ida Lupino never fell for a Hollywood ending. Acting was her family’s trade, and she was pushed into movies early, cast as an adolescent minx in a few British productions before getting gobbled up by Paramount and Warner Brothers as the “poor man’s Bette Davis” — her words, and the kind of ostensibly self-deprecating remark that threatens to give the whole game away. \u003c/p>\n\u003cp>Of Hollywood’s factory line, she reported: “Boredom sets in, which is a bad thing.” Remarkably, she did something about it: first turning down a long-term acting contract and then striking out with husband Collier Young to form the independent production venture for which she would direct a handful of fine-tuned variations on the social-problem formula. \u003c/p>\n\u003cp>A \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">BAMPFA retrospective\u003c/a> on this month and next illuminates both sides of Lupino’s extraordinary life in movies. “Bored” certainly isn’t the word for her glowering onscreen presence, though something of her confessed impatience is evident in her knack for turning a film inside out. The whole center of gravity of Raoul Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/high-sierra-2\" rel=\"noopener\" target=\"_blank\">High Sierra\u003c/a>\u003c/em> (1941) seems to shift the moment her character imposes herself on Bogart’s seasoned stickup man in a dingy motel room. A gritty striver on the run from her ordinary, awful life as a dancer, she sizes up the heist group’s dynamics faster than any of the men, grabbing at her best chance for escape and making it stick. \u003c/p>\n\u003cfigure id=\"attachment_13818805\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg\" alt=\"Still from Raoul Walsh's 'They Drive by Night,' 1940.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13818805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Walsh’s ‘They Drive by Night,’ 1940. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lupino’s role as a blind recluse who redeems Robert Ryan’s raging cop in Nicholas Ray’s imperishable \u003cem>\u003ca href=\"https://bampfa.org/event/dangerous-ground-2\" rel=\"noopener\" target=\"_blank\">On Dangerous Ground\u003c/a>\u003c/em> (1951) looks hopeless on paper, but she finds a dozen clever ways to shade the character’s self-reliance with stubborn pride, thereby mirroring the Ryan character’s alienation rather than offsetting it. And then there is her star-making performance in Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/they-drive-night-3\" rel=\"noopener\" target=\"_blank\">They Drive By Night\u003c/a>\u003c/em> (1940), where Lupino singlehandedly — and joyously — throws a wrench into a rollicking proletarian drama. Her low-rent Lady Macbeth first appears draped across her husband’s desk, playing different registers for the two men present and plainly relishing her character’s self-regard. In all Hollywood villainy, there is little to compare with the devious look her character shoots the camera after getting away with murder. Walsh sensibly cedes the entire screen to this magnificent touch of evil. \u003c/p>\n\u003cp>The critic Manny Farber, always attuned to the pleasure of a scene-stealing actor, applauded Lupino’s penchant for working from “the basic realization that life is hard, severe and bitter,” and this same cutting intelligence is evident in her work as a director. Lupino found freedom in constraint, working fast and cheap off the bounce of a hot-button issue or ripped-from-the-headlines yarn. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/outrage-1\" rel=\"noopener\" target=\"_blank\">Outrage\u003c/a>\u003c/em> (1950), the first of Lupino’s own films showing in the BAMPFA series — and in a rare print from the British Film Archive at that — is a fine place to start. Tiptoeing around the Hays Code, this 75-minute programmer patiently details a rape victim’s psychological unraveling. The assault itself is done in heavy shades of German expressionism, as if the film’s all-American gal had suddenly been dropped in Fritz Lang’s \u003cem>M\u003c/em> (1931). The geometric rendering is classic noir and cues the audience’s expectation for an investigation, but Lupino steers away from the thrill of the chase. To the contrary, \u003cem>Outrage\u003c/em> works against the whole premise that such an attack can ever be set right. A key sequence deploys a slow camera movement to register every passing glance tracking the girl’s initial reentry back into her anodyne middle class milieu. Whether pitied or scorned, she is every bit the outcast, a precursor to the drifter figures found in Barbara Loden’s \u003cem>Wanda\u003c/em> (1970), Agnès Varda’s \u003cem>Vagabond\u003c/em> (1985), and Kelly Reichardt’s \u003cem>Wendy and Lucy\u003c/em> (2008). \u003c/p>\n\u003cfigure id=\"attachment_13818802\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg\" alt=\"Still from Ida Lupino's 'The Bigamist,' 1953.\" width=\"1200\" height=\"864\" class=\"size-full wp-image-13818802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-520x374.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ida Lupino’s ‘The Bigamist,’ 1953. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight in the BAMPFA series is \u003ca href=\"https://bampfa.org/event/bigamist-4\" rel=\"noopener\" target=\"_blank\">The Bigamist\u003c/a> (1953), a film that shows off Lupino’s adroitness in simultaneously capitalizing on and undercutting a salacious premise. Edmond O’Brien is the titular two-timer, an everyman so accustomed to being passed over that he looks as if he might not recognize himself in the mirror. The character splits his life between an entrepreneurial marriage and a working-class romance, with the big reveal coming when an investigator espies O’Brien shushing a baby to sleep because his second wife (played by Lupino) is sick in bed — hardly the stuff of a torrid potboiler. \u003c/p>\n\u003cp>Among other things, \u003cem>The Bigamist\u003c/em> suggests that classical Hollywood would have produced more tough-minded, unsentimental melodramas if only more women had been asked to direct.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ida Lupino: Hard, Fast, and Beautiful’ plays at the Berkeley Art Museum and Pacific Film Archive Jan. 13 – Feb. 24, 2018. For tickets and more information, \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Filipino Film ‘Ang Larawan’ Sets the Bar High for Movie Musicals",
"headTitle": "Filipino Film ‘Ang Larawan’ Sets the Bar High for Movie Musicals | KQED",
"content": "\u003cp>So far, Hollywood hasn’t figured out how to bring the movie musical into the 21st century. From the razzmatazz of \u003ci>Moulin Rouge\u003c/i> to the retro aspirations of \u003ci>La La Land\u003c/i>, filmmakers have shoehorned bankable stars into productions whose glitz cannot elevate formulaic story lines and uninspired scores.\u003c/p>\n\u003cp>Maybe they should take a leaf from the distinguished team that has brought the classic Filipino play \u003ci>\u003ca href=\"http://anglarawan.com/\" rel=\"noopener\" target=\"_blank\">Ang Larawan\u003c/a> (The Portrait)\u003c/i> to the screen. Having just romped off with six major awards at the \u003ca href=\"http://mmff.com.ph/\" rel=\"noopener\" target=\"_blank\">Metro Manila Film Festival\u003c/a> (MMFF), including Best Picture and Best Musical Score, this lustrous gem of a film \u003ca href=\"https://www.eventbrite.com/e/ang-larawan-the-portrait-the-movie-tickets-41347136398\" rel=\"noopener\" target=\"_blank\">screens at the San Francisco Film Society Cinema\u003c/a> on Jan. 11 and in \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/\" rel=\"noopener\" target=\"_blank\">other Bay Area theaters Jan. 12-18\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Ang Larawan\u003c/i> follows a pair of genteel spinsters who go to shocking lengths to prevent the exhibition or sale of a self-portrait by their reclusive father, renowned society painter Don Lorenzo Marasigan. The Marasigan family’s grand but decaying home — recreated in exquisite detail — lies in Intramuros, the ancient walled city at the heart of Manila, that will shortly be decimated in the second World War.\u003c/p>\n\u003cp>https://youtu.be/Pqk0qmf8LoE\u003c/p>\n\u003cp>The movie can be appreciated as a period piece rife with nostalgia for a high-minded, Spanish-influenced culture that was rapidly eroding under the crass, freewheeling mercantilism of the American regime. But the play, written in English around 1951 by playwright and social commentator Nick Joaquin and originally titled \u003ci>A Portrait of the Artist as Filipino\u003c/i>, also asks what it means to be Filipino — not just in the American Commonwealth era, but through generations scarred by one oppressive regime after another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Translated into Tagalog, with a vibrant score that weaves opera, jazz and Broadway influences into the Filipino musical traditions of sarswela (\u003ca href=\"https://en.wikipedia.org/wiki/Zarzuela\" rel=\"noopener\" target=\"_blank\">zarzuela\u003c/a>) and \u003ca href=\"https://en.wikipedia.org/wiki/Kundiman\" rel=\"noopener\" target=\"_blank\">kundiman\u003c/a>, the energy feels modern, even as the characters waft about in finely embroidered, Spanish Empire-cut gowns and clothes inspired by the flapper era. Both the Tagalog libretto, by poet and dramatist Rolando Tinio, and English subtitles powerfully and vividly distill the original English dialogue, particularly in scenes of highly charged confrontation.\u003c/p>\n\u003cfigure id=\"attachment_13818747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg\" alt=\"Tertulya scene in 'Ang Larawan.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tertulya scene in ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanna Ampil, a star of London’s West End, took home the MMFF’s Best Actress award for her portrayal of the gutsy but deeply conflicted Candida Marasigan, who drives her timorous sister Paula into bed with charming con man Tony Javier. Rachel Alejandro as Paula gives a superbly nuanced performance, while the rakish Paulo Avelino in the role of Tony chillingly self-destructs once Paula thwarts his scheme to make off with the prized portrait and sell it to a rich American. Major and minor roles alike are unforgettably played by dramatic and comedic headliners of Philippine stage and cinema.\u003c/p>\n\u003cp>In the eccentric cast of characters that includes \u003ca href=\"https://en.wikipedia.org/wiki/Vaudeville_in_the_Philippines\" rel=\"noopener\" target=\"_blank\">bodabil\u003c/a> (vaudeville) entertainers, social-climbers and patricians, today’s audiences will recognize a social stratification that has remained essentially intact. As the locus of power shifted from the Spanish friars to American technocrats, to the Japanese army, then to dictator Ferdinand Marcos, those who chose to collaborate with the authorities were usually able to consolidate wealth and establish local fiefdoms, many of which survive today. If it feels like the country is at some new breaking point, under the iron-fisted Rodrigo Duterte, \u003ci>Ang Larawan\u003c/i> serves as a reminder that we’ve been there before. And a reminder not to abandon art, for it can be our most powerful source of illumination in times of crisis.\u003c/p>\n\u003cfigure id=\"attachment_13818749\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg\" alt=\"Still from 'Ang Larawan.'\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13818749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie closes with heart-stopping footage of the shelling of occupied Manila by American planes, then cuts to the Marasigan family and their friends as they watch a religious procession from their windows. We know the Marasigans will perish. The juxtaposition of carnage and holy cavalcade underscores both the futility and the eternal hope embedded in shared ritual. The hazy, dreamlike filming of the procession, almost unbearable in its beauty, points to the fragility of time and place. San Francisco audiences, many of whom belong to a diaspora, may be profoundly moved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Ang Larawan’ screens at San Francisco Film Society Cinema (1746 Post Street) at 6:30pm and 8:30pm on Thursday, Jan. 11 and at theaters throughout the Bay Area Jan. 12-18. For tickets and more information, \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/8\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: This review originally stated that the film ends with footage of the Japanese bombing of Manila. The footage is of American planes.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Following six major awards at the Metro Manila Film Festival, this lustrous gem of a film comes to San Francisco.",
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"title": "Filipino Film ‘Ang Larawan’ Sets the Bar High for Movie Musicals | KQED",
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"headline": "Filipino Film ‘Ang Larawan’ Sets the Bar High for Movie Musicals",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So far, Hollywood hasn’t figured out how to bring the movie musical into the 21st century. From the razzmatazz of \u003ci>Moulin Rouge\u003c/i> to the retro aspirations of \u003ci>La La Land\u003c/i>, filmmakers have shoehorned bankable stars into productions whose glitz cannot elevate formulaic story lines and uninspired scores.\u003c/p>\n\u003cp>Maybe they should take a leaf from the distinguished team that has brought the classic Filipino play \u003ci>\u003ca href=\"http://anglarawan.com/\" rel=\"noopener\" target=\"_blank\">Ang Larawan\u003c/a> (The Portrait)\u003c/i> to the screen. Having just romped off with six major awards at the \u003ca href=\"http://mmff.com.ph/\" rel=\"noopener\" target=\"_blank\">Metro Manila Film Festival\u003c/a> (MMFF), including Best Picture and Best Musical Score, this lustrous gem of a film \u003ca href=\"https://www.eventbrite.com/e/ang-larawan-the-portrait-the-movie-tickets-41347136398\" rel=\"noopener\" target=\"_blank\">screens at the San Francisco Film Society Cinema\u003c/a> on Jan. 11 and in \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/\" rel=\"noopener\" target=\"_blank\">other Bay Area theaters Jan. 12-18\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Ang Larawan\u003c/i> follows a pair of genteel spinsters who go to shocking lengths to prevent the exhibition or sale of a self-portrait by their reclusive father, renowned society painter Don Lorenzo Marasigan. The Marasigan family’s grand but decaying home — recreated in exquisite detail — lies in Intramuros, the ancient walled city at the heart of Manila, that will shortly be decimated in the second World War.\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/Pqk0qmf8LoE'\n title='//www.youtube.com/embed/Pqk0qmf8LoE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie can be appreciated as a period piece rife with nostalgia for a high-minded, Spanish-influenced culture that was rapidly eroding under the crass, freewheeling mercantilism of the American regime. But the play, written in English around 1951 by playwright and social commentator Nick Joaquin and originally titled \u003ci>A Portrait of the Artist as Filipino\u003c/i>, also asks what it means to be Filipino — not just in the American Commonwealth era, but through generations scarred by one oppressive regime after another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Translated into Tagalog, with a vibrant score that weaves opera, jazz and Broadway influences into the Filipino musical traditions of sarswela (\u003ca href=\"https://en.wikipedia.org/wiki/Zarzuela\" rel=\"noopener\" target=\"_blank\">zarzuela\u003c/a>) and \u003ca href=\"https://en.wikipedia.org/wiki/Kundiman\" rel=\"noopener\" target=\"_blank\">kundiman\u003c/a>, the energy feels modern, even as the characters waft about in finely embroidered, Spanish Empire-cut gowns and clothes inspired by the flapper era. Both the Tagalog libretto, by poet and dramatist Rolando Tinio, and English subtitles powerfully and vividly distill the original English dialogue, particularly in scenes of highly charged confrontation.\u003c/p>\n\u003cfigure id=\"attachment_13818747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg\" alt=\"Tertulya scene in 'Ang Larawan.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tertulya scene in ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanna Ampil, a star of London’s West End, took home the MMFF’s Best Actress award for her portrayal of the gutsy but deeply conflicted Candida Marasigan, who drives her timorous sister Paula into bed with charming con man Tony Javier. Rachel Alejandro as Paula gives a superbly nuanced performance, while the rakish Paulo Avelino in the role of Tony chillingly self-destructs once Paula thwarts his scheme to make off with the prized portrait and sell it to a rich American. Major and minor roles alike are unforgettably played by dramatic and comedic headliners of Philippine stage and cinema.\u003c/p>\n\u003cp>In the eccentric cast of characters that includes \u003ca href=\"https://en.wikipedia.org/wiki/Vaudeville_in_the_Philippines\" rel=\"noopener\" target=\"_blank\">bodabil\u003c/a> (vaudeville) entertainers, social-climbers and patricians, today’s audiences will recognize a social stratification that has remained essentially intact. As the locus of power shifted from the Spanish friars to American technocrats, to the Japanese army, then to dictator Ferdinand Marcos, those who chose to collaborate with the authorities were usually able to consolidate wealth and establish local fiefdoms, many of which survive today. If it feels like the country is at some new breaking point, under the iron-fisted Rodrigo Duterte, \u003ci>Ang Larawan\u003c/i> serves as a reminder that we’ve been there before. And a reminder not to abandon art, for it can be our most powerful source of illumination in times of crisis.\u003c/p>\n\u003cfigure id=\"attachment_13818749\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg\" alt=\"Still from 'Ang Larawan.'\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13818749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie closes with heart-stopping footage of the shelling of occupied Manila by American planes, then cuts to the Marasigan family and their friends as they watch a religious procession from their windows. We know the Marasigans will perish. The juxtaposition of carnage and holy cavalcade underscores both the futility and the eternal hope embedded in shared ritual. The hazy, dreamlike filming of the procession, almost unbearable in its beauty, points to the fragility of time and place. San Francisco audiences, many of whom belong to a diaspora, may be profoundly moved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Ang Larawan’ screens at San Francisco Film Society Cinema (1746 Post Street) at 6:30pm and 8:30pm on Thursday, Jan. 11 and at theaters throughout the Bay Area Jan. 12-18. For tickets and more information, \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/8\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: This review originally stated that the film ends with footage of the Japanese bombing of Manila. The footage is of American planes.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! A Trio of Revivals Guides Us Through Rocky Days",
"headTitle": "Now Playing! A Trio of Revivals Guides Us Through Rocky Days | KQED",
"content": "\u003cp>Here’s hoping one of your New Year’s resolutions is to get out to the movies more often in 2018. Sure, streaming is convenient, but it’s not the same as watching a film with a theater full of people. (Oh? How big \u003cem>is\u003c/em> your living room?) So while the rest of the country is digging out and thawing out, bask in our temperate cultural clime by partaking of this week’s bevy of 20th-century masterpieces. Not one, not two, but \u003cem>three\u003c/em> outstanding revivals brighten local screens and set a tone for the rocky days ahead.\u003c/p>\n\u003cp>\u003ca href=\"https://bampfa.org/program/limited-engagements-special-screenings\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a> reaches back to the 1930s for two of the beloved Jean Renoir’s humanist classics. The scintillating digital restoration of \u003cem>The Crime of Monsieur Lange\u003c/em> (Jan. 13, repeats Jan. 21), a left-of-center study of a publishing house’s employees after their heinous boss leaves the scene of \u003cem>his\u003c/em> crimes, allows for a clearer-than-ever appreciation of the director’s seamless technique. If you’ve never seen \u003cem>The Rules of the Game\u003c/em> (Jan. 14 and 19), Renoir’s empathetic, amusing and ultimately devastating takedown of class privilege and hollow social etiquette, now’s the time to treat yourself to a peak cinema experience.\u003c/p>\n\u003cfigure id=\"attachment_13818683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg\" alt=\"Still from Jean Renoir's 'The Crime of Monsieur Lange,' 1936.\" width=\"1200\" height=\"804\" class=\"size-full wp-image-13818683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jean Renoir’s ‘The Crime of Monsieur Lange,’ 1936. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two most brilliant — and savagely satiric — movies ever made about Hollywood, Billy Wilder’s \u003cem>Sunset Boulevard\u003c/em> (1950) and Robert Altman’s \u003cem>The Player\u003c/em> (1992), grace the \u003ca href=\"http://www.castrotheatre.com/p-list.html#jan10\" rel=\"noopener\" target=\"_blank\">Castro\u003c/a> screen on Jan. 10. The former depicts, among other things, how thoroughly the stars of the past (the silent era, in this case) are forgotten in their own lifetimes. The contemporary irony is that \u003cem>Sunset Boulevard\u003c/em> was shot in black-and-white, a format that many younger moviegoers find as anachronistic and artificial as silent movies were to their grandparents.\u003c/p>\n\u003cp>\u003cem>The Player\u003c/em>, adapted from Michael Tolkin’s ruthlessly funny novel, is a beautifully conceived and wittily staged portrait of a studio executive’s ambition, ego, libido and power. The movie smacks Hollywood with both hands, to be sure, but its richest enmity is reserved for the kind of people who are attracted to the visual entertainment business, and who have no interest in or respect for art or artists. \u003c/p>\n\u003cp>The filmmaker of the moment, though, is Andrei Tarkovsky. The late Soviet director’s existential fascination with our species’ impulse toward self-destruction and apocalypse is always timely, though never more than when nuclear-button ravings and offshore-drilling announcements are emanating from the White House. Tarkovsky wasn’t a nihilist, however, and his films are philosophical battlegrounds where the protagonist labors to identify and act in accord with his innate humanity. The director’s haunting 1986 fade-out, \u003cem>The Sacrifice\u003c/em> (Jan. 11, 13 and 14 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/the-sacrifice/?instance_id=25085\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and Jan. 12 at \u003ca href=\"https://bampfa.org/event/sacrifice-1\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a>), is some combination of terrifying and cathartic, and just may propel you back onto your couch. Or under it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Inaugurate the filmgoing year with a bevy of 20th-century masterpieces.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s hoping one of your New Year’s resolutions is to get out to the movies more often in 2018. Sure, streaming is convenient, but it’s not the same as watching a film with a theater full of people. (Oh? How big \u003cem>is\u003c/em> your living room?) So while the rest of the country is digging out and thawing out, bask in our temperate cultural clime by partaking of this week’s bevy of 20th-century masterpieces. Not one, not two, but \u003cem>three\u003c/em> outstanding revivals brighten local screens and set a tone for the rocky days ahead.\u003c/p>\n\u003cp>\u003ca href=\"https://bampfa.org/program/limited-engagements-special-screenings\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a> reaches back to the 1930s for two of the beloved Jean Renoir’s humanist classics. The scintillating digital restoration of \u003cem>The Crime of Monsieur Lange\u003c/em> (Jan. 13, repeats Jan. 21), a left-of-center study of a publishing house’s employees after their heinous boss leaves the scene of \u003cem>his\u003c/em> crimes, allows for a clearer-than-ever appreciation of the director’s seamless technique. If you’ve never seen \u003cem>The Rules of the Game\u003c/em> (Jan. 14 and 19), Renoir’s empathetic, amusing and ultimately devastating takedown of class privilege and hollow social etiquette, now’s the time to treat yourself to a peak cinema experience.\u003c/p>\n\u003cfigure id=\"attachment_13818683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg\" alt=\"Still from Jean Renoir's 'The Crime of Monsieur Lange,' 1936.\" width=\"1200\" height=\"804\" class=\"size-full wp-image-13818683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jean Renoir’s ‘The Crime of Monsieur Lange,’ 1936. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two most brilliant — and savagely satiric — movies ever made about Hollywood, Billy Wilder’s \u003cem>Sunset Boulevard\u003c/em> (1950) and Robert Altman’s \u003cem>The Player\u003c/em> (1992), grace the \u003ca href=\"http://www.castrotheatre.com/p-list.html#jan10\" rel=\"noopener\" target=\"_blank\">Castro\u003c/a> screen on Jan. 10. The former depicts, among other things, how thoroughly the stars of the past (the silent era, in this case) are forgotten in their own lifetimes. The contemporary irony is that \u003cem>Sunset Boulevard\u003c/em> was shot in black-and-white, a format that many younger moviegoers find as anachronistic and artificial as silent movies were to their grandparents.\u003c/p>\n\u003cp>\u003cem>The Player\u003c/em>, adapted from Michael Tolkin’s ruthlessly funny novel, is a beautifully conceived and wittily staged portrait of a studio executive’s ambition, ego, libido and power. The movie smacks Hollywood with both hands, to be sure, but its richest enmity is reserved for the kind of people who are attracted to the visual entertainment business, and who have no interest in or respect for art or artists. \u003c/p>\n\u003cp>The filmmaker of the moment, though, is Andrei Tarkovsky. The late Soviet director’s existential fascination with our species’ impulse toward self-destruction and apocalypse is always timely, though never more than when nuclear-button ravings and offshore-drilling announcements are emanating from the White House. Tarkovsky wasn’t a nihilist, however, and his films are philosophical battlegrounds where the protagonist labors to identify and act in accord with his innate humanity. The director’s haunting 1986 fade-out, \u003cem>The Sacrifice\u003c/em> (Jan. 11, 13 and 14 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/the-sacrifice/?instance_id=25085\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and Jan. 12 at \u003ca href=\"https://bampfa.org/event/sacrifice-1\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a>), is some combination of terrifying and cathartic, and just may propel you back onto your couch. Or under it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Post': Pentagon Papers Put The Press Under Pressure",
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"content": "\u003cp>Steven Spielberg’s \u003cem>The Post\u003c/em> is a story of journalists, government leaks, and a president who hates the press. It’s about the publication of the Pentagon Papers in 1971, but there’s a reason Spielberg rushed to tell the story now. \u003c/p>\n\u003cp>And he really \u003cem>did\u003c/em> rush: The filmmaker has long talked about making a Pentagon Papers movie, but the 2016 election made him feel it had become urgent. He got the working script just weeks after the inauguration, rounded up his high-powered cast, and leapt into production as if he were making a little indie flick on the fly. \u003c/p>\n\u003cp>https://youtu.be/nrXlY6gzTTM\u003c/p>\n\u003cp>But this story is big. We begin with defense secretary Robert McNamara (Bruce Greenwood) talking with staffers on a plane about how badly things are going in Vietnam — but then, when talking to reporters the moment they touch down, praising the progress the U.S. is making. \u003c/p>\n\u003cp>Staffer Daniel Ellsberg (Matthew Rhys) registers this disconnect, and leaks a top-secret government report on the war to the \u003cem>New York Times\u003c/em>. And whenever the \u003cem>Times\u003c/em> gets a scoop, \u003cem>Washington Post\u003c/em> editor Ben Bradlee (Tom Hanks) gets riled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, of course, the \u003cem>Washington Post\u003c/em> is a brand name. In 1971, it was an underfunded, family-owned paper, making its first stock offering with a perceived disadvantage. The recent death of publisher Phil Graham had left his wife Katharine (played here by Meryl Streep) at the helm.\u003c/p>\n\u003cp>Bradlee’s ambitions were not modest, however. He just needed time. And now, suddenly, when the \u003ci>Post\u003c/i> also got their own copy of the report, he had it.\u003c/p>\n\u003cp>Though \u003cem>The Post\u003c/em> seems to fit squarely with Spielbergian histories like \u003cem>Lincoln\u003c/em> and \u003cem>Schindler’s List\u003c/em>, there’s a definite Ark-of-the-Covenant vibe to the film when the box of Pentagon Papers arrives, and an \u003cem>Indiana Jones\u003c/em> urgency to the frenzy that follows, because the \u003cem>Post\u003c/em> had hours to sift through thousands of pages and do what had taken the \u003cem>Times\u003c/em> months. \u003c/p>\n\u003cp>The film isn’t Spielberg’s subtlest, but it has some nicely subtle touches, like when his long-lens camera peers through White House windows to catch glimpses of a president and his henchmen; we hear their actual voices from tapes Nixon was forced to give up, years later. \u003c/p>\n\u003cp>It’s a film where the clatter of typewriters competes with the whoosh of pages sent by pneumatic tube to a pressroom where molten lead turns them into lines of type. \u003c/p>\n\u003cp>Tom Hanks makes for a blustery Ben Bradlee, and Meryl Streep plays Kay Graham as hesitant but steely, seemingly the only woman in the corridors of power — and ironically, the one with the power to defend the First Amendment. Bradlee can talk principle all he wants — and he does here, often — but only Graham can publish.\u003c/p>\n\u003cp>It’s melodrama, but effective, about an age where the First Amendment means something, where a power-mad president gets called to account by a crusading press, and where a woman can not just find her voice but … well, as Spielberg does in \u003cem>The Post\u003c/em>, I should let you fill in the blanks. Trust me, you will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steven Spielberg’s \u003cem>The Post\u003c/em> is a story of journalists, government leaks, and a president who hates the press. It’s about the publication of the Pentagon Papers in 1971, but there’s a reason Spielberg rushed to tell the story now. \u003c/p>\n\u003cp>And he really \u003cem>did\u003c/em> rush: The filmmaker has long talked about making a Pentagon Papers movie, but the 2016 election made him feel it had become urgent. He got the working script just weeks after the inauguration, rounded up his high-powered cast, and leapt into production as if he were making a little indie flick on the fly. \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/nrXlY6gzTTM'\n title='//www.youtube.com/embed/nrXlY6gzTTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But this story is big. We begin with defense secretary Robert McNamara (Bruce Greenwood) talking with staffers on a plane about how badly things are going in Vietnam — but then, when talking to reporters the moment they touch down, praising the progress the U.S. is making. \u003c/p>\n\u003cp>Staffer Daniel Ellsberg (Matthew Rhys) registers this disconnect, and leaks a top-secret government report on the war to the \u003cem>New York Times\u003c/em>. And whenever the \u003cem>Times\u003c/em> gets a scoop, \u003cem>Washington Post\u003c/em> editor Ben Bradlee (Tom Hanks) gets riled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, of course, the \u003cem>Washington Post\u003c/em> is a brand name. In 1971, it was an underfunded, family-owned paper, making its first stock offering with a perceived disadvantage. The recent death of publisher Phil Graham had left his wife Katharine (played here by Meryl Streep) at the helm.\u003c/p>\n\u003cp>Bradlee’s ambitions were not modest, however. He just needed time. And now, suddenly, when the \u003ci>Post\u003c/i> also got their own copy of the report, he had it.\u003c/p>\n\u003cp>Though \u003cem>The Post\u003c/em> seems to fit squarely with Spielbergian histories like \u003cem>Lincoln\u003c/em> and \u003cem>Schindler’s List\u003c/em>, there’s a definite Ark-of-the-Covenant vibe to the film when the box of Pentagon Papers arrives, and an \u003cem>Indiana Jones\u003c/em> urgency to the frenzy that follows, because the \u003cem>Post\u003c/em> had hours to sift through thousands of pages and do what had taken the \u003cem>Times\u003c/em> months. \u003c/p>\n\u003cp>The film isn’t Spielberg’s subtlest, but it has some nicely subtle touches, like when his long-lens camera peers through White House windows to catch glimpses of a president and his henchmen; we hear their actual voices from tapes Nixon was forced to give up, years later. \u003c/p>\n\u003cp>It’s a film where the clatter of typewriters competes with the whoosh of pages sent by pneumatic tube to a pressroom where molten lead turns them into lines of type. \u003c/p>\n\u003cp>Tom Hanks makes for a blustery Ben Bradlee, and Meryl Streep plays Kay Graham as hesitant but steely, seemingly the only woman in the corridors of power — and ironically, the one with the power to defend the First Amendment. Bradlee can talk principle all he wants — and he does here, often — but only Graham can publish.\u003c/p>\n\u003cp>It’s melodrama, but effective, about an age where the First Amendment means something, where a power-mad president gets called to account by a crusading press, and where a woman can not just find her voice but … well, as Spielberg does in \u003cem>The Post\u003c/em>, I should let you fill in the blanks. Trust me, you will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "MoviePass a Mixed Blessing for Bay Area Theaters",
"headTitle": "MoviePass a Mixed Blessing for Bay Area Theaters | KQED",
"content": "\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'I, Tonya,' You, Implicated",
"headTitle": "‘I, Tonya,’ You, Implicated | KQED",
"content": "\u003cp>Tonya Harding was never supposed to be a pro figure skater. Like so many young American dreamers before her, she had it all wrong for success: born into the wrong class, raised by the wrong role model, drawn to the wrong men. And she had the wrong kind of femininity for the sport she loved, too, because those judges didn’t want to see a ZZ Top routine from someone who sewed her own costume, even if it did include a flawlessly executed triple axel.\u003c/p>\n\u003cp>So when Harding did find a bit of glory, there were corrective measures in place, and her self-made undoing — by playing some part in the “hit” on U.S. rival Nancy Kerrigan’s leg, the scandal that would unravel her career and the entire 1990s along with it — was the fitting, flaming end to her membership in the elite club that never wanted her anyway.\u003c/p>\n\u003cp>That is the argument put forth by \u003cem>I, Tonya\u003c/em>, the cheeky and skate-sharp new biopic from director Craig Gillespie coming only a few short years after the \u003ca href=\"https://www.npr.org/sections/monkeysee/2014/01/16/263073794/complicating-the-tonya-and-nancy-narratives-20-years-later\">ESPN documentary\u003c/a>. The title tips us off that Harding’s story — drawn from interviews with all the key players — has been rehabilitated into the stuff of tabloid Greek tragedy. This is a bold film, especially in its leveraging of all that real-life contradiction to create something that shocks and delights us with its own stylistic wrongness. \u003cem>I, Tonya \u003c/em>takes greater risks with the biopic genre than any other in recent memory, and it’s remarkable how much of it lands upright. It’s the triple axel of based-on-a-true-story movies.\u003c/p>\n\u003cp>https://youtu.be/d2iy5y0YjGM\u003c/p>\n\u003cp>As played magnificently by Margot Robbie, Tonya is a powerhouse athlete, a fragile abuse victim, an impoverished country girl and a snarky media critic. Robbie embodies all these roles with a childlike sincerity, a lost-soul cluelessness, as her Tonya never ceases to wonder why it can’t just be about the skating. She and the film whip among these personas with wild abandon, mixing styles and tones in a chaotic fashion that borders on overkill. (Must we indulge “present-day” interviews, voice-over AND talking directly to the camera?) But it all builds to a satisfying and illuminating portrait of a poor American girl who maybe never stood a chance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s account of Harding’s upbringing is so heartbreaking that it would be unbearable if it weren’t presented in such a bouncy, off-kilter way. As a child in Oregon, she was practically shoved onto the ice by her waitress mother LaVona (a superb Allison Janney), partially because her mom sees talent but mostly because she is grooming Tonya for a future as the butt of her endless verbal and physical abuse. LaVona will hold the cost of Tonya’s skating lessons over her head for the rest of her life, long after she compelled her daughter to drop out of school so she can focus on the sport.\u003c/p>\n\u003cp>Most of the film is devoted to Tonya’s marriage to, and subsequent divorce from, Jeff Gillooly (Sebastian Stan). Although the Jeff in the “present day” sequences is muted and introspective, offering deep insights into how his decisions would go on to shape the culture, in the rest of the film, he is an abusive leech, incapable of offering anything to Tonya except psychological obsession as she climbs the ranks of U.S. Figure Skating. Their tumultuous relationship is marked by the cycle of Jeff’s abuse (he hits her at home and later threatens her at gunpoint) followed by his blubbering, shameless apologies and Tonya’s continued gravitation to him even after leaving him and filing a restraining order. Even these scenes, which are brutal enough to watch without the pop songs that punctuate them like thunderclaps, don’t come close to reaching the real-life Harding’s accounts of what Gillooly did to her. But abuse is complex, particularly if you live a sheltered, scrutinized existence, and one of the big strengths of \u003cem>I, Tonya \u003c/em>is how it refuses to make its hero into a sap or her abusers into mere monsters. If they were, we wouldn’t feel as affected by a moving (if a bit showoffy) long take of a post-divorce Jeff in various mopey positions around the house, inhabiting Tonya’s negative space.\u003c/p>\n\u003cp>The film abruptly shifts gears into full-blown farce as we approach what everyone on screen refers to as “the incident”: the attack that created the inescapable digital-video image of the innocent, white-dressed Kerrigan clutching her knee and wailing, “Why? Why?” Gillespie and screenwriter Steven Rogers know an inept hit job when they see one, and they milk this conspiracy of dunces for all it’s worth. It’s all orchestrated by Jeff’s buddy and self-proclaimed Tonya bodyguard Shawn Eckhardt (Paul Hauser, champion goober), who mimes criminal-mastermind behavior from inside his mom’s basement; his “guys” get hyped for their job by blasting “Gloria”; and when it’s all over and Shawn has blown his own cover, he insists to a TV reporter that he has training in “counterespionage and counterterrorism,” despite all evidence to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I, Tonya\u003c/em> gets mushy on the question of exactly how much knowledge Tonya had of the incident, which is consistent with the intrigue that has surrounded this sordid saga ever since. But it takes the extra step of insisting the \u003cem>real\u003c/em> culprits are us, the basic-cable mouth-droolers who hoovered up her every mistake because we love to watch train wrecks on ice. In fact, Tonya shames us right to our faces, an accusation we might take more seriously if the movie didn’t seem to be trying so hard to reconnect with whatever electric qualities first hooked America on her story. Still, for as jolting an experience as watching the film can be, it does help Tonya live her truth, while revealing, from within all its wrongs, the basic truth of figure skating: It has never just been about the skating.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tonya Harding was never supposed to be a pro figure skater. Like so many young American dreamers before her, she had it all wrong for success: born into the wrong class, raised by the wrong role model, drawn to the wrong men. And she had the wrong kind of femininity for the sport she loved, too, because those judges didn’t want to see a ZZ Top routine from someone who sewed her own costume, even if it did include a flawlessly executed triple axel.\u003c/p>\n\u003cp>So when Harding did find a bit of glory, there were corrective measures in place, and her self-made undoing — by playing some part in the “hit” on U.S. rival Nancy Kerrigan’s leg, the scandal that would unravel her career and the entire 1990s along with it — was the fitting, flaming end to her membership in the elite club that never wanted her anyway.\u003c/p>\n\u003cp>That is the argument put forth by \u003cem>I, Tonya\u003c/em>, the cheeky and skate-sharp new biopic from director Craig Gillespie coming only a few short years after the \u003ca href=\"https://www.npr.org/sections/monkeysee/2014/01/16/263073794/complicating-the-tonya-and-nancy-narratives-20-years-later\">ESPN documentary\u003c/a>. The title tips us off that Harding’s story — drawn from interviews with all the key players — has been rehabilitated into the stuff of tabloid Greek tragedy. This is a bold film, especially in its leveraging of all that real-life contradiction to create something that shocks and delights us with its own stylistic wrongness. \u003cem>I, Tonya \u003c/em>takes greater risks with the biopic genre than any other in recent memory, and it’s remarkable how much of it lands upright. It’s the triple axel of based-on-a-true-story movies.\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/d2iy5y0YjGM'\n title='//www.youtube.com/embed/d2iy5y0YjGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As played magnificently by Margot Robbie, Tonya is a powerhouse athlete, a fragile abuse victim, an impoverished country girl and a snarky media critic. Robbie embodies all these roles with a childlike sincerity, a lost-soul cluelessness, as her Tonya never ceases to wonder why it can’t just be about the skating. She and the film whip among these personas with wild abandon, mixing styles and tones in a chaotic fashion that borders on overkill. (Must we indulge “present-day” interviews, voice-over AND talking directly to the camera?) But it all builds to a satisfying and illuminating portrait of a poor American girl who maybe never stood a chance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s account of Harding’s upbringing is so heartbreaking that it would be unbearable if it weren’t presented in such a bouncy, off-kilter way. As a child in Oregon, she was practically shoved onto the ice by her waitress mother LaVona (a superb Allison Janney), partially because her mom sees talent but mostly because she is grooming Tonya for a future as the butt of her endless verbal and physical abuse. LaVona will hold the cost of Tonya’s skating lessons over her head for the rest of her life, long after she compelled her daughter to drop out of school so she can focus on the sport.\u003c/p>\n\u003cp>Most of the film is devoted to Tonya’s marriage to, and subsequent divorce from, Jeff Gillooly (Sebastian Stan). Although the Jeff in the “present day” sequences is muted and introspective, offering deep insights into how his decisions would go on to shape the culture, in the rest of the film, he is an abusive leech, incapable of offering anything to Tonya except psychological obsession as she climbs the ranks of U.S. Figure Skating. Their tumultuous relationship is marked by the cycle of Jeff’s abuse (he hits her at home and later threatens her at gunpoint) followed by his blubbering, shameless apologies and Tonya’s continued gravitation to him even after leaving him and filing a restraining order. Even these scenes, which are brutal enough to watch without the pop songs that punctuate them like thunderclaps, don’t come close to reaching the real-life Harding’s accounts of what Gillooly did to her. But abuse is complex, particularly if you live a sheltered, scrutinized existence, and one of the big strengths of \u003cem>I, Tonya \u003c/em>is how it refuses to make its hero into a sap or her abusers into mere monsters. If they were, we wouldn’t feel as affected by a moving (if a bit showoffy) long take of a post-divorce Jeff in various mopey positions around the house, inhabiting Tonya’s negative space.\u003c/p>\n\u003cp>The film abruptly shifts gears into full-blown farce as we approach what everyone on screen refers to as “the incident”: the attack that created the inescapable digital-video image of the innocent, white-dressed Kerrigan clutching her knee and wailing, “Why? Why?” Gillespie and screenwriter Steven Rogers know an inept hit job when they see one, and they milk this conspiracy of dunces for all it’s worth. It’s all orchestrated by Jeff’s buddy and self-proclaimed Tonya bodyguard Shawn Eckhardt (Paul Hauser, champion goober), who mimes criminal-mastermind behavior from inside his mom’s basement; his “guys” get hyped for their job by blasting “Gloria”; and when it’s all over and Shawn has blown his own cover, he insists to a TV reporter that he has training in “counterespionage and counterterrorism,” despite all evidence to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I, Tonya\u003c/em> gets mushy on the question of exactly how much knowledge Tonya had of the incident, which is consistent with the intrigue that has surrounded this sordid saga ever since. But it takes the extra step of insisting the \u003cem>real\u003c/em> culprits are us, the basic-cable mouth-droolers who hoovered up her every mistake because we love to watch train wrecks on ice. In fact, Tonya shames us right to our faces, an accusation we might take more seriously if the movie didn’t seem to be trying so hard to reconnect with whatever electric qualities first hooked America on her story. Still, for as jolting an experience as watching the film can be, it does help Tonya live her truth, while revealing, from within all its wrongs, the basic truth of figure skating: It has never just been about the skating.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ingmar Bergman’s films are often compelling and disturbing in equal measure, psychological puzzles about the tragedy of the human condition. In some ways his movies mirror his childhood, when he played with marionettes he’d made himself.\u003c/p>\n\u003cp>“Life around me,” Bergman recalled in an interview with Dick Cavett from 1971, “the darkness, the emptiness of the house, the sunshine, everything could have some magic inside, that could be suddenly very unsecure, and suddenly I didn’t know if I had dreamt things or if they existed. Life could be very strange, and very hard, and very cruel.”\u003c/p>\n\u003cfigure id=\"attachment_13817730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817730 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg\" alt=\"Liv Ullman in Ingmar Bergman's Saraband\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1920x1230.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-960x615.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullman in Ingmar Bergman’s ‘Saraband.’ \u003ccite>(Photo: Courtesy of PFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Bergman’s centennial year, the Pacific Film Archive is programming screenings of his films throughout 2018, starting with a tribute honoring his favorite actress, titled ‘Bergman 100: A Tribute to Liv Ullman,’ including \u003cem>Cries and Whispers\u003c/em>, \u003cem>Persona\u003c/em> and \u003cem>Hour of the Wolf\u003c/em>. It runs Feb. 1–24; \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXk6VXs6jh4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ingmar Bergman’s films are often compelling and disturbing in equal measure, psychological puzzles about the tragedy of the human condition. In some ways his movies mirror his childhood, when he played with marionettes he’d made himself.\u003c/p>\n\u003cp>“Life around me,” Bergman recalled in an interview with Dick Cavett from 1971, “the darkness, the emptiness of the house, the sunshine, everything could have some magic inside, that could be suddenly very unsecure, and suddenly I didn’t know if I had dreamt things or if they existed. Life could be very strange, and very hard, and very cruel.”\u003c/p>\n\u003cfigure id=\"attachment_13817730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817730 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg\" alt=\"Liv Ullman in Ingmar Bergman's Saraband\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1920x1230.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-960x615.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951-520x333.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Bergman_Saraband_008-e1513787974951.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liv Ullman in Ingmar Bergman’s ‘Saraband.’ \u003ccite>(Photo: Courtesy of PFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Bergman’s centennial year, the Pacific Film Archive is programming screenings of his films throughout 2018, starting with a tribute honoring his favorite actress, titled ‘Bergman 100: A Tribute to Liv Ullman,’ including \u003cem>Cries and Whispers\u003c/em>, \u003cem>Persona\u003c/em> and \u003cem>Hour of the Wolf\u003c/em>. It runs Feb. 1–24; \u003ca href=\"https://bampfa.org/program/bergman-100-tribute-liv-ullmann\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\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/DXk6VXs6jh4'\n title='//www.youtube.com/embed/DXk6VXs6jh4'\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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"slug": "the-top-seven-movie-moments-of-2017",
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"content": "\u003cp>The last thing the world needs is yet another critic’s list of the 10 Best Movies of 2017. If you need a guide to the worthwhile films you missed (or want to check your taste against the so-called experts), peruse any film publication’s website. (I recommend \u003ca href=\"http://www.bfi.org.uk/features/best-films-2017/\" rel=\"noopener\" target=\"_blank\">\u003cem>Sight & Sound\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>My inclination is to instead catalog the moments, the scenes, the bits that stayed with me weeks and months later. Sometimes they stick like annoying songs you hate but can’t get out of your head, so be advised that at least one of my Top 7 is from a movie I disliked. \u003c/p>\n\u003cfigure id=\"attachment_13817816\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg\" alt=\"Timothée Chalamet as Elio in 'Call Me By Your Name.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet as Elio in ‘Call Me By Your Name.’\u003cbr> \u003ccite>(Photo by Sayombhu Mukdeeprom; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Call Me by Your Name\u003c/em>\u003c/h3>\n\u003cp>The passage of the year involved a breathtakingly spoiled yet awkwardly self-conscious teenager, a fresh peach, and, eventually, the lad’s charismatic, self-confident and older male lover. The sequence is photographed and paced to focus and amplify the teenager’s desire, ungainliness, neediness, vulnerability and sensual awakening. If it makes you uncomfortable, the film has succeeded in making you share his experience (or cast you back to your own). Either way, the scene encapsulates the movie. \u003c/p>\n\u003cp>https://youtu.be/SAp4gJwhNI0\u003c/p>\n\u003ch3>\u003cem>Get Out\u003c/em>\u003c/h3>\n\u003cp>A portrait of a society that adopts a bizarro-world veneer of normalcy to conceal its loathing and covetousness of black people, Jordan Peele’s horror-comedy gives us white privilege in its ultimate demented distillation. The moment that nails the surreal, disturbing nature of the setting — a large country house where a black man is meeting his white girlfriend’s family — is the zombie-like black groundskeeper running full tilt at the erstwhile hero before veering off into the dusky distance. \u003c/p>\n\u003cfigure id=\"attachment_13817819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg\" alt=\"Allison Janney as LaVona Golden, with her pet bird in 'I, Tonya.'\" width=\"1200\" height=\"502\" class=\"size-full wp-image-13817819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as LaVona Golden, with her pet bird in ‘I, Tonya.’ \u003ccite>(Courtesy of NEON and 30WEST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I, Tonya\u003c/em>\u003c/h3>\n\u003cp>Take any of the numerous instances when Margot Robbie’s Tonya Harding sits in her kitchen, looks straight at the camera and explicitly or implicitly dares us to disbelieve her version of the events that made her famous. Let’s be blunt: She’s challenging us to dismiss her as white trash and to withhold our empathy. Alison Janney’s direct addresses to the audience, as Tonya’s heinous mother LaVona, are also embedded in my cerebral cortex.\u003c/p>\n\u003cfigure id=\"attachment_13817822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg\" alt=\"Christopher Rivera, Brooklynn Prince, and Valeria Cotto in 'The Florida Project.'\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13817822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Rivera, Brooklynn Prince, and Valeria Cotto in ‘The Florida Project.’ \u003ccite>(Photo courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Florida Project\u003c/em>\u003c/h3>\n\u003cp>Similarly, the images I keep from Sean Baker’s candy-colored, neo-neorealist mother-daughter saga are of faces: Brooklynn Prince conveys childish enthusiasm and candor along with calculated manipulation as the irrepressible, undisciplined Moonee. Hailey (Bria Vinaite), her desperately amoral mom, is scarcely more mature or capable of hiding her emotions. Like Tonya Harding’s mother, Hailey bulldozes through every drop of audience goodwill by the last reel. Moonee, however, transcends our judgments. She’s a child; she is blameless.\u003c/p>\n\u003cfigure id=\"attachment_13817823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg\" alt=\"Kyle Mooney and Jorge Lendeborg Jr. in 'Brigsby Bear.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13817823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney and Jorge Lendeborg Jr. in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Brigsby Bear\u003c/em>\u003c/h3>\n\u003cp>Kyle Mooney and Dave McCary’s gently touching fable imagines a sheltered young man forced to acclimate to the real world. Resisting the pressure to forget the fictional characters and sci-fi world that his parents created for his benefit, James writes and films a new chapter in the Hallmarkish but never mawkish fantasy — with the help of new friends. Unfamiliar with digital effects, James devises an explosion the old-fashioned (analog?) way, to the shock of his collaborators and (inevitably) the cops. \u003cem>Brigsby Bear\u003c/em> can be interpreted at varying points as a savage dig at the masses who worship the mythology of \u003cem>Star Wars\u003c/em> (Mark Hamill has a small role) or as an affectionate hug to people who bond over alternate universes populated by trustworthy heroes.\u003c/p>\n\u003cfigure id=\"attachment_13817825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg\" alt=\"A disrupted dinner scene from 'The Square.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A disrupted dinner scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Square\u003c/em>\u003c/h3>\n\u003cp>An art installation provides a framework to consider morality as a social experiment, but it is the questionable behavior toward one another outside of the square that concerns Swedish writer-director Ruben Östlund. The centerpiece of his quietly confrontational film is a black-tie fundraising dinner for the museum at which a bare-chested performer, in the guise of an aggressive primate, puts his artistic integrity above the conventional norms of polite society. Östlund’s integrity is such that he extends the scene, and several others, beyond the point of audience discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13817826\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/1945_1200.jpg\" alt=\"Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in '1945.'\" width=\"1200\" height=\"788\" class=\"size-full wp-image-13817826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in ‘1945.’ \u003ccite>(Lenke Szilagyi / Menemsha Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>1945\u003c/em>\u003c/h3>\n\u003cp>Two unsmiling men, dressed in black, purposefully step off a train somewhere in the Hungarian countryside shortly after World War II. What is their business? Their beards and long coats suggest they are Jewish; they look like emissaries from the 19th century. To the station master and other bystanders, the father-and-son duo could be exemplars of justice or, worse, avenging angels. With barely a line or two of dialogue, writer-director Ferenc Török introduces a mystery and stimulates acres of tension — grounded in a black, white and gray epoch of history we are aware of. And if we aren’t, we soon will be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "From a child's beaming face to a teenager's awkward vulnerability to a performance artist's reckless provocations, movies left their mark in these moments.",
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"title": "The Top 7 Movie Moments of 2017 | KQED",
"description": "From a child's beaming face to a teenager's awkward vulnerability to a performance artist's reckless provocations, movies left their mark in these moments.",
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"headline": "The Top 7 Movie Moments of 2017",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last thing the world needs is yet another critic’s list of the 10 Best Movies of 2017. If you need a guide to the worthwhile films you missed (or want to check your taste against the so-called experts), peruse any film publication’s website. (I recommend \u003ca href=\"http://www.bfi.org.uk/features/best-films-2017/\" rel=\"noopener\" target=\"_blank\">\u003cem>Sight & Sound\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>My inclination is to instead catalog the moments, the scenes, the bits that stayed with me weeks and months later. Sometimes they stick like annoying songs you hate but can’t get out of your head, so be advised that at least one of my Top 7 is from a movie I disliked. \u003c/p>\n\u003cfigure id=\"attachment_13817816\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg\" alt=\"Timothée Chalamet as Elio in 'Call Me By Your Name.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet as Elio in ‘Call Me By Your Name.’\u003cbr> \u003ccite>(Photo by Sayombhu Mukdeeprom; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Call Me by Your Name\u003c/em>\u003c/h3>\n\u003cp>The passage of the year involved a breathtakingly spoiled yet awkwardly self-conscious teenager, a fresh peach, and, eventually, the lad’s charismatic, self-confident and older male lover. The sequence is photographed and paced to focus and amplify the teenager’s desire, ungainliness, neediness, vulnerability and sensual awakening. If it makes you uncomfortable, the film has succeeded in making you share his experience (or cast you back to your own). Either way, the scene encapsulates the movie. \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/SAp4gJwhNI0'\n title='//www.youtube.com/embed/SAp4gJwhNI0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cem>Get Out\u003c/em>\u003c/h3>\n\u003cp>A portrait of a society that adopts a bizarro-world veneer of normalcy to conceal its loathing and covetousness of black people, Jordan Peele’s horror-comedy gives us white privilege in its ultimate demented distillation. The moment that nails the surreal, disturbing nature of the setting — a large country house where a black man is meeting his white girlfriend’s family — is the zombie-like black groundskeeper running full tilt at the erstwhile hero before veering off into the dusky distance. \u003c/p>\n\u003cfigure id=\"attachment_13817819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg\" alt=\"Allison Janney as LaVona Golden, with her pet bird in 'I, Tonya.'\" width=\"1200\" height=\"502\" class=\"size-full wp-image-13817819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as LaVona Golden, with her pet bird in ‘I, Tonya.’ \u003ccite>(Courtesy of NEON and 30WEST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I, Tonya\u003c/em>\u003c/h3>\n\u003cp>Take any of the numerous instances when Margot Robbie’s Tonya Harding sits in her kitchen, looks straight at the camera and explicitly or implicitly dares us to disbelieve her version of the events that made her famous. Let’s be blunt: She’s challenging us to dismiss her as white trash and to withhold our empathy. Alison Janney’s direct addresses to the audience, as Tonya’s heinous mother LaVona, are also embedded in my cerebral cortex.\u003c/p>\n\u003cfigure id=\"attachment_13817822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg\" alt=\"Christopher Rivera, Brooklynn Prince, and Valeria Cotto in 'The Florida Project.'\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13817822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Rivera, Brooklynn Prince, and Valeria Cotto in ‘The Florida Project.’ \u003ccite>(Photo courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Florida Project\u003c/em>\u003c/h3>\n\u003cp>Similarly, the images I keep from Sean Baker’s candy-colored, neo-neorealist mother-daughter saga are of faces: Brooklynn Prince conveys childish enthusiasm and candor along with calculated manipulation as the irrepressible, undisciplined Moonee. Hailey (Bria Vinaite), her desperately amoral mom, is scarcely more mature or capable of hiding her emotions. Like Tonya Harding’s mother, Hailey bulldozes through every drop of audience goodwill by the last reel. Moonee, however, transcends our judgments. She’s a child; she is blameless.\u003c/p>\n\u003cfigure id=\"attachment_13817823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg\" alt=\"Kyle Mooney and Jorge Lendeborg Jr. in 'Brigsby Bear.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13817823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney and Jorge Lendeborg Jr. in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Brigsby Bear\u003c/em>\u003c/h3>\n\u003cp>Kyle Mooney and Dave McCary’s gently touching fable imagines a sheltered young man forced to acclimate to the real world. Resisting the pressure to forget the fictional characters and sci-fi world that his parents created for his benefit, James writes and films a new chapter in the Hallmarkish but never mawkish fantasy — with the help of new friends. Unfamiliar with digital effects, James devises an explosion the old-fashioned (analog?) way, to the shock of his collaborators and (inevitably) the cops. \u003cem>Brigsby Bear\u003c/em> can be interpreted at varying points as a savage dig at the masses who worship the mythology of \u003cem>Star Wars\u003c/em> (Mark Hamill has a small role) or as an affectionate hug to people who bond over alternate universes populated by trustworthy heroes.\u003c/p>\n\u003cfigure id=\"attachment_13817825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg\" alt=\"A disrupted dinner scene from 'The Square.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A disrupted dinner scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Square\u003c/em>\u003c/h3>\n\u003cp>An art installation provides a framework to consider morality as a social experiment, but it is the questionable behavior toward one another outside of the square that concerns Swedish writer-director Ruben Östlund. The centerpiece of his quietly confrontational film is a black-tie fundraising dinner for the museum at which a bare-chested performer, in the guise of an aggressive primate, puts his artistic integrity above the conventional norms of polite society. 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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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