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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a flurry of one-off events and opening-weekend guests, the \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">60th SFFILM Festival\u003c/a> settles into a more familiar rhythm this week. Well, only at venues other than the Castro Theater, which hosts super-special shows every night. Musician (and actor) Will Oldham and a cabal of cohorts provide improvised accompaniment to a trio of local experimental filmmaker Jerome Hiler’s impressionistic works tonight in a program called “\u003ca href=\"http://www.sffilm.org/festival-2017/parallel-spaces\" target=\"_blank\" rel=\"noopener\">Parallel Spaces\u003c/a>.” Another match of live music with film, Asian Dub Foundation with George Lucas’s 1971 sci-fi saga \u003cem>\u003ca href=\"http://www.sffilm.org/festival-2017/asian-dub-foundation\" target=\"_blank\" rel=\"noopener\">THX 1138\u003c/a>\u003c/em> (with glimpses of the then-brand-new BART system), packs the house on Tuesday (Apr. 11). \u003c/p>\n\u003cfigure id=\"attachment_13018453\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200.jpg\" alt=\"Asian Dub Foundation performs a live score of George Lucas's 'THX 1138.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13018453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Asian_Dub_Foundation_03_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Asian Dub Foundation performs a live score of George Lucas’s ‘THX 1138.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Geremy Jasper’s Sundance sensation, \u003cem>\u003ca href=\"http://www.sffilm.org/patti-cake\" target=\"_blank\" rel=\"noopener\">Patti Cake$\u003c/a>\u003c/em>, receives its Bay Area premiere as the fest’s centerpiece presentation on Wednesday. Another pulse-quickening marriage of music and film is on tap for Thursday when DeVotchka lays down tracks under Dziga Vertov’s astonishingly fresh 1929 blend of documentary and fiction, \u003cem>\u003ca href=\"http://www.sffilm.org/festival-2017/man-with-a-movie-camera\" target=\"_blank\" rel=\"noopener\">The Man with a Movie Camera\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>How do you top that extravaganza? An in-person salute to Bollywood megastar Shah Rukh Kahn on Friday night, capped by a screening of the 2010 epic, \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/a-tribute-to-shah-rukh-khan-my-name-is-khan\" target=\"_blank\" rel=\"noopener\">My Name is Khan\u003c/a>\u003c/em>. Still holding out for your favorite song? Turn on, tune in and drop in Saturday evening at the Castro for the Bay Area premiere Amir Bar-Lev’s four-hour Grateful Dead doc, \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/long-strange-trip\" target=\"_blank\" rel=\"noopener\">Long Strange Trip\u003c/a>\u003c/em>. As the Dead sing in “New Speedway Boogie,” “Please don’t dominate the rap, Jack, if you got nothing new to say.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>She’s Gotta Have It\u003c/em>, Spike Lee’s famous 1986 film, is only an hour-and-a-half long. But when the movie was screened as part of the \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">Black Aesthetic film series\u003c/a> last fall, the post-screening discussion went on for almost two hours. Attendees of all different ages and backgrounds — although mostly black — chimed in with contributions to the roving conversation that boomed out of Oakland’s \u003ca href=\"http://wolfmanhomerepair.com/\" target=\"_blank\" rel=\"noopener\">E.M. Wolfman\u003c/a> bookstore.\u003c/p>\n\u003cp>“That was a really long one, and it was so joyous, too,” recalls Ryanaustin Dennis, who curates the series. “We laughed and laughed, but we also got to questions of, ‘What is rape?’”\u003c/p>\n\u003cp>Dennis started the eight-week series in October of 2016 in collaboration with Oakland filmmaker Christian Johnson as a way to generate conversation around the work of black women filmmakers and actresses.\u003c/p>\n\u003cfigure id=\"attachment_12998145\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg\" alt=\"Poster from the first season of The Black Aesthetic film series.\" width=\"600\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-520x804.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Poster from the first season of The Black Aesthetic film series.\u003c/figcaption>\u003c/figure>\n\u003cp>With space at E.M. Wolfman and a small grant from the shop’s \u003ca href=\"https://www.soex.org/alternative-exposure/grant-recipients-projects/em-wolfman-bookstore-and-gallery\" target=\"_blank\" rel=\"noopener\">Wolfman Art Machine\u003c/a> program, Dennis produced a successful first season serving films such as \u003cem>The Watermelon Woman, Drylongso, Bush Mama, \u003c/em>and\u003cem> Daughters of the Dust\u003c/em> to a packed shop. And for the second season — \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launching\u003c/a> Thursday, April 13 — Dennis highlights emerging black filmmakers from the Bay Area (and a few beyond).\u003c/p>\n\u003cp>It’s no coincidence that looking back at the history of black films motivated Dennis to support filmmakers he would like to see canonized in the future. When putting the series together, Dennis began to realize how few black female directors have become household names — and not for lack of talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“How many people can we really name?” he asks. “I, even to this day, am still going through and learning.”\u003c/p>\n\u003cp>In part, the series is meant to highlight “the talent that was wasted sometimes because of racism — the talent that was never given a chance,” says Dennis. He is interested, too, in films that speak profoundly to black women’s experiences and feature incredible female leads — such as \u003cem>She’s Gotta Have It\u003c/em>.\u003c/p>\n\u003cp>“How many films really talk about black female girlhood?’” he asks. “I’m always thinking, we don’t have that many stories about that. It’s important to see those images.”\u003c/p>\n\u003cp>But beyond curating an expanded canon, Dennis is also interested in stimulating expanded conversations — ones that draw people outside of the typical indie-film audience often found at art house screenings. He did that, in part, by centering the series around conversations about blackness rather than jargon-filled talks on cinematic techniques (although there’s some of that, too). He calls it creating a “black space,” where people can “really open up and engage and share their opinions and get heated.”\u003c/p>\n\u003cfigure id=\"attachment_12998354\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998354 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg\" alt=\"Still from 'All My Babies: A Midwife's Own Story' by George C. Stone (1953).\" width=\"850\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-520x208.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘All My Babies: A Midwife’s Own Story’ by George C. Stone (1953).\u003c/figcaption>\u003c/figure>\n\u003cp>“To be quite honest, I want to make sure I’m drawing the right people, so we’re having the right conversations,” he says. “Yeah, we will talk about blackness and all its variations — but also, I think point blank, it’s like: We already know we’re all black, lets dive deeper into all the intricacies and nuances that surround that.”\u003c/p>\n\u003cp>For many screenings, he also asks a local writer or scholar — \u003ca href=\"https://twitter.com/ztsamudzi\" target=\"_blank\" rel=\"noopener\">Zoe Samudzi\u003c/a>, for instance — to facilitate the conversation.\u003c/p>\n\u003cp>After season one wrapped up in November 2016, Dennis worked to create a publication with multi-disciplinary reflections on the movies he screened. The book, which will be released during season two, includes essays and visual art as well as audio and video works, which are hosted online and accessed through a URL printed in the book. Among the works are a photography series inspired by \u003cem>Drylongso\u003c/em> and a video piece responding to \u003cem>She’s Gotta Have It.\u003c/em>\u003c/p>\n\u003cp>For Dennis, the anthology is an essential next step in the project, because he wants it to be creatively generative — not just an “intellectual jack off.” And, of course, publications are key for contributing to canonization. “We have to preserve these things,” says Dennis. “So, I want people to be like, ‘I was there, I saw this, and they can go back to this moment. That’s really important to me, that we preserve our history, preserve film, preserve these cultural things, because we don’t know what’s gonna happen — they often get lost.”\u003c/p>\n\u003cfigure id=\"attachment_12998362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998362 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2351.original.jpg\" alt=\"A still from 'Ganja and Hess' (1973) by Bill Gunn.\" width=\"1920\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-520x286.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Ganja and Hess’ (1973) by Bill Gunn.\u003c/figcaption>\u003c/figure>\n\u003cp>For Dennis, the concept of the Black Aesthetic functions as a rhetorical hook to draw people in and ground the discussions. “It’s very much an open-ended question: What is the black aesthetic?,” says Dennis. “And also, do we want to even ask that question? For me, yes, I think it’s an important question to ask — because it doesn’t exist.”\u003c/p>\n\u003cp>“There’s no one essentializing black voice, of course not. And the whole point of the film series is: How do you show the multiplicities of these, along with queerness and class and all that stuff?”\u003c/p>\n\u003cp>Season two, which will screen at E.M. Wolfman, \u003ca href=\"https://www.facebook.com/NookArtGallery/\" target=\"_blank\" rel=\"noopener\">Nook Gallery\u003c/a>, and an unannounced outdoor location for the finale, approaches that question through a contemporary lens. The line-up includes \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a>’s \u003cem>100 Boyfriends Mixtape\u003c/em>, \u003ca href=\"http://www.jehnovahcarlisle.com/about/\" target=\"_blank\" rel=\"noopener\">Jehnovah Carlisle\u003c/a>’s \u003cem>Day by Day / The Man Who Feared\u003c/em>, and \u003ca href=\"https://vimeo.com/198186589\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a>’s \u003cem>i gave myself space to go back…pt. II\u003c/em>, among many other works. The lineup ranges from dramas to cinematic ritual to experimental short films. And for most screenings, the filmmaker will be in attendance to participate in the conversation. For Dennis, that’s crucial, because he hopes to foster community among filmmakers as well — not just audiences.\u003c/p>\n\u003cp>“My fundamental goal was, how do you foster a creative culture in Oakland?,” says Dennis. “For POC and black people in particular, because I feel like there’s a lot of black weirdos around here that need to know that they are loved. And that they’re understood and that their voice is important.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Season two of the Black Aesthetic film series \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launches\u003c/a> at E.M. Wolfman bookstore (410 13th St., Oakland) on Thursday, April 13, at 7pm. For information on future screenings, \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>She’s Gotta Have It\u003c/em>, Spike Lee’s famous 1986 film, is only an hour-and-a-half long. But when the movie was screened as part of the \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">Black Aesthetic film series\u003c/a> last fall, the post-screening discussion went on for almost two hours. Attendees of all different ages and backgrounds — although mostly black — chimed in with contributions to the roving conversation that boomed out of Oakland’s \u003ca href=\"http://wolfmanhomerepair.com/\" target=\"_blank\" rel=\"noopener\">E.M. Wolfman\u003c/a> bookstore.\u003c/p>\n\u003cp>“That was a really long one, and it was so joyous, too,” recalls Ryanaustin Dennis, who curates the series. “We laughed and laughed, but we also got to questions of, ‘What is rape?’”\u003c/p>\n\u003cp>Dennis started the eight-week series in October of 2016 in collaboration with Oakland filmmaker Christian Johnson as a way to generate conversation around the work of black women filmmakers and actresses.\u003c/p>\n\u003cfigure id=\"attachment_12998145\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg\" alt=\"Poster from the first season of The Black Aesthetic film series.\" width=\"600\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/black_aesthetic_11x17-520x804.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Poster from the first season of The Black Aesthetic film series.\u003c/figcaption>\u003c/figure>\n\u003cp>With space at E.M. Wolfman and a small grant from the shop’s \u003ca href=\"https://www.soex.org/alternative-exposure/grant-recipients-projects/em-wolfman-bookstore-and-gallery\" target=\"_blank\" rel=\"noopener\">Wolfman Art Machine\u003c/a> program, Dennis produced a successful first season serving films such as \u003cem>The Watermelon Woman, Drylongso, Bush Mama, \u003c/em>and\u003cem> Daughters of the Dust\u003c/em> to a packed shop. And for the second season — \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launching\u003c/a> Thursday, April 13 — Dennis highlights emerging black filmmakers from the Bay Area (and a few beyond).\u003c/p>\n\u003cp>It’s no coincidence that looking back at the history of black films motivated Dennis to support filmmakers he would like to see canonized in the future. When putting the series together, Dennis began to realize how few black female directors have become household names — and not for lack of talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“How many people can we really name?” he asks. “I, even to this day, am still going through and learning.”\u003c/p>\n\u003cp>In part, the series is meant to highlight “the talent that was wasted sometimes because of racism — the talent that was never given a chance,” says Dennis. He is interested, too, in films that speak profoundly to black women’s experiences and feature incredible female leads — such as \u003cem>She’s Gotta Have It\u003c/em>.\u003c/p>\n\u003cp>“How many films really talk about black female girlhood?’” he asks. “I’m always thinking, we don’t have that many stories about that. It’s important to see those images.”\u003c/p>\n\u003cp>But beyond curating an expanded canon, Dennis is also interested in stimulating expanded conversations — ones that draw people outside of the typical indie-film audience often found at art house screenings. He did that, in part, by centering the series around conversations about blackness rather than jargon-filled talks on cinematic techniques (although there’s some of that, too). He calls it creating a “black space,” where people can “really open up and engage and share their opinions and get heated.”\u003c/p>\n\u003cfigure id=\"attachment_12998354\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998354 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg\" alt=\"Still from 'All My Babies: A Midwife's Own Story' by George C. Stone (1953).\" width=\"850\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/All-My-Babies-clip-blog-header-copy-520x208.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘All My Babies: A Midwife’s Own Story’ by George C. Stone (1953).\u003c/figcaption>\u003c/figure>\n\u003cp>“To be quite honest, I want to make sure I’m drawing the right people, so we’re having the right conversations,” he says. “Yeah, we will talk about blackness and all its variations — but also, I think point blank, it’s like: We already know we’re all black, lets dive deeper into all the intricacies and nuances that surround that.”\u003c/p>\n\u003cp>For many screenings, he also asks a local writer or scholar — \u003ca href=\"https://twitter.com/ztsamudzi\" target=\"_blank\" rel=\"noopener\">Zoe Samudzi\u003c/a>, for instance — to facilitate the conversation.\u003c/p>\n\u003cp>After season one wrapped up in November 2016, Dennis worked to create a publication with multi-disciplinary reflections on the movies he screened. The book, which will be released during season two, includes essays and visual art as well as audio and video works, which are hosted online and accessed through a URL printed in the book. Among the works are a photography series inspired by \u003cem>Drylongso\u003c/em> and a video piece responding to \u003cem>She’s Gotta Have It.\u003c/em>\u003c/p>\n\u003cp>For Dennis, the anthology is an essential next step in the project, because he wants it to be creatively generative — not just an “intellectual jack off.” And, of course, publications are key for contributing to canonization. “We have to preserve these things,” says Dennis. “So, I want people to be like, ‘I was there, I saw this, and they can go back to this moment. That’s really important to me, that we preserve our history, preserve film, preserve these cultural things, because we don’t know what’s gonna happen — they often get lost.”\u003c/p>\n\u003cfigure id=\"attachment_12998362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12998362 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2351.original.jpg\" alt=\"A still from 'Ganja and Hess' (1973) by Bill Gunn.\" width=\"1920\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2351.original-520x286.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Ganja and Hess’ (1973) by Bill Gunn.\u003c/figcaption>\u003c/figure>\n\u003cp>For Dennis, the concept of the Black Aesthetic functions as a rhetorical hook to draw people in and ground the discussions. “It’s very much an open-ended question: What is the black aesthetic?,” says Dennis. “And also, do we want to even ask that question? For me, yes, I think it’s an important question to ask — because it doesn’t exist.”\u003c/p>\n\u003cp>“There’s no one essentializing black voice, of course not. And the whole point of the film series is: How do you show the multiplicities of these, along with queerness and class and all that stuff?”\u003c/p>\n\u003cp>Season two, which will screen at E.M. Wolfman, \u003ca href=\"https://www.facebook.com/NookArtGallery/\" target=\"_blank\" rel=\"noopener\">Nook Gallery\u003c/a>, and an unannounced outdoor location for the finale, approaches that question through a contemporary lens. The line-up includes \u003ca href=\"https://ww2.kqed.org/arts/2015/10/23/alive-and-well-and-right-where-he-wants-to-be/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a>’s \u003cem>100 Boyfriends Mixtape\u003c/em>, \u003ca href=\"http://www.jehnovahcarlisle.com/about/\" target=\"_blank\" rel=\"noopener\">Jehnovah Carlisle\u003c/a>’s \u003cem>Day by Day / The Man Who Feared\u003c/em>, and \u003ca href=\"https://vimeo.com/198186589\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a>’s \u003cem>i gave myself space to go back…pt. II\u003c/em>, among many other works. The lineup ranges from dramas to cinematic ritual to experimental short films. And for most screenings, the filmmaker will be in attendance to participate in the conversation. For Dennis, that’s crucial, because he hopes to foster community among filmmakers as well — not just audiences.\u003c/p>\n\u003cp>“My fundamental goal was, how do you foster a creative culture in Oakland?,” says Dennis. “For POC and black people in particular, because I feel like there’s a lot of black weirdos around here that need to know that they are loved. And that they’re understood and that their voice is important.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Season two of the Black Aesthetic film series \u003ca href=\"https://www.facebook.com/events/395004960871225/\" target=\"_blank\" rel=\"noopener\">launches\u003c/a> at E.M. Wolfman bookstore (410 13th St., Oakland) on Thursday, April 13, at 7pm. For information on future screenings, \u003ca href=\"https://www.facebook.com/theblckaesthetic/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the charming and soulful Japanese anime \u003cem>Your Name\u003c/em>, two teenagers who have never met wake up rattled to discover that they have switched bodies in their sleep, or more precisely their dreams. And it’s not just their anatomies they’ve exchanged, or even the identities-in-progress each has managed to cobble together at such a tender age. Mitsuha, a spirited but restless small-town girl of Miyazaki-type vintage, and Taki, a Tokyo high school boy, have also swapped the country for the city, with all the psychic and cultural adjustments that will entail.\u003c/p>\n\u003cp>Soon it grows clear the two have also switched places in time as well, with potentially drastic consequences for at least one of them. Indeed Mitsuha’s village of Itomori may be in terrible danger from the fallout of a beautifully rendered approaching comet. The kicker is that the fallout fell three years ago.\u003c/p>\n\u003cp>https://youtu.be/e4dZhQaTJMk\u003c/p>\n\u003cp>\u003cem>Your Name\u003c/em> is a stirring tale of rescue with a boisterous edge of YA mischief. It’s also a love story with a swoony romantic affinity for the age-old tussle between chance and fate. The movie — which is released stateside in both dubbed and subtitled formats (for sheer atmospheric pleasure, the latter is overwhelmingly preferred) — is not a Studio Ghibli project, but visually it might as well be.\u003c/p>\n\u003cp>The director of animation, Andou Masashi, is a longtime Ghibli artist who worked on the ravishing \u003cem>Spirited Away\u003c/em>, and fans of Hayao Miyazaki will swoon over the small-town landscape with its pastel-washed skies and lakes and tile-roofed houses, its blow-ups of frying eggs and dripping taps. Itomori is the kind of place you wish you’d grown up in — unless you happen to be sixteen years old, in which case the cityscapes may be more likely to thrill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Your Name\u003c/em>‘s young director, Makoto Shinkai, brings a frisky pop vibe (the soundtrack is by the Japanese rock band Radwimps) to the lively interplay between the rural idylls and metropolitan Tokyo, with its rush of trains and looming, angled skyscrapers and entitled young hipsters bellowing orders in the restaurant where Mitsuha, uncomfortably lodged in Taki’s body, must learn to cope with urban folkways.\u003c/p>\n\u003cp>For all its twitchy city-kid appeal, \u003cem>Your Name\u003c/em> often seems to cast its vote for history and rural tradition. Based on a classic Japanese poem, the story is shot through with reverence for ancient ritual, as spelled out by a prototypical granny-crone with an acerbic grasp of life’s real business. In many ways this is an old-fashioned movie, exquisitely attuned to the dualism of mind and body, male and female, that strike deep roots in Japanese art and literature down the centuries. The plot does little more than glance incuriously at elements like cyborgs, hacking and gender fluidity.\u003c/p>\n\u003cp>As in Miyazaki, Shinkai’s casual feminism gives us a boy who sews and a girl who spits, and its impulses are broadly humanistic rather than in-your-face challenging. Taki and Mitsuha’s entertainingly rendered initial panic on discovering strange new body parts where flatness once prevailed soon gives way to an intense desire to connect. The action segues nimbly from one to the other as the teens, both motherless and both suffering from inattentive fathers, find ways to communicate across space and time via text message and, when that fails, by other creative means. As the comet closes in, both draft their friends to try and save the town — and to get in sync with the mysterious Other who has invaded their dreams as well as their bodies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With its gods and extra-real dimensions, its staccato beat of memory and forgetting that guide the journey, \u003cem>Your Name\u003c/em> shimmers with the magic of a fairy tale, yet also has its feet firmly planted on the ground of Japan’s past and present. Undeterred by constant setbacks, Taki and Mitsuha move uncertainly toward one another in a journey to adulthood that must be carried out alone and entail the shedding of long-cherished illusions as well as their alternate selves. When they finally meet, the encounter will bring several new meanings to “You had me at hello.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the charming and soulful Japanese anime \u003cem>Your Name\u003c/em>, two teenagers who have never met wake up rattled to discover that they have switched bodies in their sleep, or more precisely their dreams. And it’s not just their anatomies they’ve exchanged, or even the identities-in-progress each has managed to cobble together at such a tender age. Mitsuha, a spirited but restless small-town girl of Miyazaki-type vintage, and Taki, a Tokyo high school boy, have also swapped the country for the city, with all the psychic and cultural adjustments that will entail.\u003c/p>\n\u003cp>Soon it grows clear the two have also switched places in time as well, with potentially drastic consequences for at least one of them. Indeed Mitsuha’s village of Itomori may be in terrible danger from the fallout of a beautifully rendered approaching comet. The kicker is that the fallout fell three years ago.\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/e4dZhQaTJMk'\n title='//www.youtube.com/embed/e4dZhQaTJMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Your Name\u003c/em> is a stirring tale of rescue with a boisterous edge of YA mischief. It’s also a love story with a swoony romantic affinity for the age-old tussle between chance and fate. The movie — which is released stateside in both dubbed and subtitled formats (for sheer atmospheric pleasure, the latter is overwhelmingly preferred) — is not a Studio Ghibli project, but visually it might as well be.\u003c/p>\n\u003cp>The director of animation, Andou Masashi, is a longtime Ghibli artist who worked on the ravishing \u003cem>Spirited Away\u003c/em>, and fans of Hayao Miyazaki will swoon over the small-town landscape with its pastel-washed skies and lakes and tile-roofed houses, its blow-ups of frying eggs and dripping taps. Itomori is the kind of place you wish you’d grown up in — unless you happen to be sixteen years old, in which case the cityscapes may be more likely to thrill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Get Off the Beaten Path with the SF International Film Festival",
"headTitle": "Get Off the Beaten Path with the SF International Film Festival | KQED",
"content": "\u003cp>A film festival necessarily tries to be many things to many people, and the 60th San Francisco International Film Festival looks to be a shrewd mix of party favors, art-house standbys, conversation pieces, and mysterious objects (\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-human-surge\" target=\"_blank\" rel=\"noopener\">The Human Surge\u003c/a>\u003c/em> being this year’s whatzit par excellence).\u003c/p>\n\u003cp>As always, the festival offers up a bulletin of auteur cinema, with new works by mainstays like Cristi Puiu (\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/sieranevada\" target=\"_blank\" rel=\"noopener\">Sieranevada\u003c/a>\u003c/em>), Bertrand Bonello (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/nocturama\" target=\"_blank\" rel=\"noopener\">Nocturama\u003c/a>\u003c/i>), João Pedro Rodrigues (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-ornithologist\" target=\"_blank\" rel=\"noopener\">The Ornithologist\u003c/a>\u003c/i>), James Gray (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-lost-city-of-z\" target=\"_blank\" rel=\"noopener\">The Lost City of Z\u003c/a>\u003c/i>), Hong Sang-soo (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/yourself-and-yours\" target=\"_blank\" rel=\"noopener\">Yourself and Yours\u003c/a>\u003c/i>), and the Dardenne brothers (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-unknown-girl\" target=\"_blank\" rel=\"noopener\">The Unknown Girl\u003c/a>\u003c/i>), as well as ascendant figures like Alex Ross Perry (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/golden-exits\" target=\"_blank\" rel=\"noopener\">Golden Exits\u003c/a>\u003c/i>), Matías Piñeiro (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/hermia-and-helena\" target=\"_blank\" rel=\"noopener\">Hermia & Helena\u003c/a>\u003c/i>), and Eliza Hittman (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/beach-rats\" target=\"_blank\" rel=\"noopener\">Beach Rats\u003c/a>\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13000036\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13000036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200.jpg\" alt=\"A scene from Anocha Suwichakornpong's 'By The Time It Gets Dark.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Anocha Suwichakornpong’s ‘By The Time It Gets Dark.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That list, like the “Masters” section writ large, is glaringly male, but several festival finds are directed by women. \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/by-the-time-it-gets-dark\" target=\"_blank\" rel=\"noopener\">By the Time it Gets Dark\u003c/a>\u003c/em>, Anocha Suwichakornpong’s follow-up to \u003cem>Mundane History\u003c/em> (2010), ripples out from the question of how to represent the long-repressed Thammasat University Massacre of 1976. What begins as a Bergman-esque psychodrama of a young filmmaker interviewing an erstwhile activist wanders off course partway through, slipping the bonds of past and future, self and other, human and animal. The many mutations of Suwichakornpong’s film suggest a view history itself as shape-shifter.\u003c/p>\n\u003cp>Similarly prismatic is \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/who-cares-who-sees-experimental-shorts\" target=\"_blank\" rel=\"noopener\">Bad mama, who cares\u003c/a>\u003c/em>, Brigid McCaffrey’s quietly astonishing portrait of the geologist Ren Lallatin at home in the desert. An inventive film for an inventive subject, \u003cem>Bad mama, who cares\u003c/em> dissolves body, work, environment, and a carousel of color into a gestalt of lived experience and everyday science fiction. The result is simultaneously dense, with more visual ideas crammed into its eleven minutes than a clutch of features, and serenely speculative.\u003c/p>\n\u003cfigure id=\"attachment_13000038\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13000038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200.jpg\" alt=\"A scene from Yuri Ancarani's 'The Challenge.'\" width=\"1200\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Yuri Ancarani’s ‘The Challenge.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Bad mama, who cares\u003c/em> shows as part of SFFILM’s dedicated experimental program (“\u003ca href=\"http://www.sffilm.org/festival/lineup/who-cares-who-sees-experimental-shorts\" target=\"_blank\" rel=\"noopener\">Who Cares. Who Sees: Experimental Shorts\u003c/a>”), but several other worthwhile shorts are scattered throughout the festival. Bonnie “Prince” Billy and Bitchin Bajas perform a free musical interpretation of local artist \u003ca href=\"http://www.sffilm.org/festival-2017/parallel-spaces\" target=\"_blank\" rel=\"noopener\">Jerome Hiler\u003c/a>’s luminous and rarely screened 16mm films.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Robert Nelson’s imperishable \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/canyon-cinema-50-guy-maddin-presents-the-great-blondino-and-other-delights\" target=\"_blank\" rel=\"noopener\">The Great Blondino\u003c/a>\u003c/em> (1967) anchors a program curated by Guy Maddin celebrating local film distributor Canyon Cinema’s 50th anniversary. (The Canadian filmmaker aims to make his mark on San Francisco movie lore with \u003cem>\u003ca href=\"http://www.sffilm.org/festival2017-closing-night\" target=\"_blank\" rel=\"noopener\">The Green Fog\u003c/a>\u003c/em>, an originally commissioned surrealist spin on \u003cem>Vertigo\u003c/em> (1958), and the festival’s closing event.)\u003c/p>\n\u003cfigure id=\"attachment_13000037\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13000037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200.jpg\" alt=\"A scene from 'El Mar La Mar.'\" width=\"1200\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘El Mar La Mar.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003ca href=\"http://www.sffilm.org/festival/lineup/shorts-4-new-visions\" target=\"_blank\" rel=\"noopener\">Shorts 4: New Visions\u003c/a>” is another strong program, with fine new works by Ephraim Asili and Ana Vaz, and keep your eyes peeled for Lois Patiño’s \u003cem>Fajir\u003c/em> (playing with \u003ca href=\"http://www.sffilm.org/festival/lineup/the-challenge\" target=\"_blank\" rel=\"noopener\">\u003cem>The Challenge\u003c/em>\u003c/a>) and Jem Cohen’s sketches of New York and Inauguration Day playing alongside his charming if wispy \u003ca href=\"http://www.sffilm.org/festival/lineup/world-without-end-(no-reported-incidents)\" target=\"_blank\" rel=\"noopener\">\u003cem>World Without End (No Reported Incidents)\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As in year’s past, several of the festival’s true wild cards are slotted as documentaries. \u003ca href=\"http://www.sffilm.org/festival/lineup/the-challenge\" target=\"_blank\" rel=\"noopener\">\u003cem>The Challenge\u003c/em>\u003c/a> almost feels like a musical in its precisely choreographed depiction of Qatar’s gilded heirs. The young men gravitate towards symbols of power and speed, whether falcons, gold-plated motorcycles, or Lamborghinis (the latter with a lightly leashed cheetah riding shotgun). Italian director Yuri Ancarani himself gets great metaphoric mileage out of the falcons as they are auctioned, groomed, hooded, tracked, and flown. He cuts between different set-pieces as if building towards a climax, but by the time \u003cem>The Challenge\u003c/em> arrives at an actual competition it’s been drained of all tension, leaving only a spectacle of men without women, games without risk, society without a public sphere.\u003c/p>\n\u003cfigure id=\"attachment_13000039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200.jpg\" alt=\"A scene from Sabaah Folaya's 'Whose Streets?'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13000039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sabaah Folaya’s ‘Whose Streets?’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Half a world away, Joshua Bonnetta and J.P. Sniadecki’s \u003ca href=\"http://www.sffilm.org/festival/lineup/el-mar-la-mar\" target=\"_blank\" rel=\"noopener\">\u003cem>El mar la mar\u003c/em>\u003c/a> offers a radically porous survey of the Sonoran desert. The U.S.-Mexico border is, to put it mildly, an over-determined location, but \u003cem>El mar la mar\u003c/em>’s immersive style radiates a desire to see and hear for oneself. Landscape is only half the equation, as Bonnetta and Sniadecki incorporate a chorus of voices addressing the borderlands and its crossings. They speak without being introduced, questioned, credentialed, or even pictured — a formal choice which, among other things, makes it difficult to slot their accounts into prefab political categories. Indeed, \u003cem>El mar la mar\u003c/em> is the rare topical documentary that pricks the sympathetic imagination without recourse to didactic exposition or a goal-oriented protagonist.\u003c/p>\n\u003cp>SFFILM’s documentary selection could use a few more rolls of the dice like these, though even a conventionally structured film like \u003ca href=\"http://www.sffilm.org/festival/lineup/the-force\" target=\"_blank\" rel=\"noopener\">\u003cem>The Force\u003c/em>\u003c/a> is likely to stir lively public comment in the current political environment. Accordingly, SFFILM’s canniest move may be the presentation of \u003ca href=\"http://www.sffilm.org/festival/lineup/whose-streets\" target=\"_blank\" rel=\"noopener\">\u003cem>Whose Streets?\u003c/em>\u003c/a>, a documentary forged from Ferguson’s unrest, as a free outdoor screening at Hayes Valey’s \u003ca href=\"http://proxysf.net/\" target=\"_blank\" rel=\"noopener\">PROXY\u003c/a>. These days, one could do worse for a raison d’être than packing a public square.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 60th San Francisco International Film Festival \u003c/em>\u003cem>takes place April 5-19, 2017 at various Bay Area theaters. For tickets and more information, \u003ca href=\"http://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Roll the dice on SFFILM's hearty list of radical, experimental and truly wild-card films. ",
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"title": "Get Off the Beaten Path with the SF International Film Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A film festival necessarily tries to be many things to many people, and the 60th San Francisco International Film Festival looks to be a shrewd mix of party favors, art-house standbys, conversation pieces, and mysterious objects (\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-human-surge\" target=\"_blank\" rel=\"noopener\">The Human Surge\u003c/a>\u003c/em> being this year’s whatzit par excellence).\u003c/p>\n\u003cp>As always, the festival offers up a bulletin of auteur cinema, with new works by mainstays like Cristi Puiu (\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/sieranevada\" target=\"_blank\" rel=\"noopener\">Sieranevada\u003c/a>\u003c/em>), Bertrand Bonello (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/nocturama\" target=\"_blank\" rel=\"noopener\">Nocturama\u003c/a>\u003c/i>), João Pedro Rodrigues (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-ornithologist\" target=\"_blank\" rel=\"noopener\">The Ornithologist\u003c/a>\u003c/i>), James Gray (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-lost-city-of-z\" target=\"_blank\" rel=\"noopener\">The Lost City of Z\u003c/a>\u003c/i>), Hong Sang-soo (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/yourself-and-yours\" target=\"_blank\" rel=\"noopener\">Yourself and Yours\u003c/a>\u003c/i>), and the Dardenne brothers (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-unknown-girl\" target=\"_blank\" rel=\"noopener\">The Unknown Girl\u003c/a>\u003c/i>), as well as ascendant figures like Alex Ross Perry (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/golden-exits\" target=\"_blank\" rel=\"noopener\">Golden Exits\u003c/a>\u003c/i>), Matías Piñeiro (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/hermia-and-helena\" target=\"_blank\" rel=\"noopener\">Hermia & Helena\u003c/a>\u003c/i>), and Eliza Hittman (\u003ci>\u003ca href=\"http://www.sffilm.org/festival/lineup/beach-rats\" target=\"_blank\" rel=\"noopener\">Beach Rats\u003c/a>\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13000036\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13000036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200.jpg\" alt=\"A scene from Anocha Suwichakornpong's 'By The Time It Gets Dark.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/By_the_Time_It_Gets_Dark_01_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Anocha Suwichakornpong’s ‘By The Time It Gets Dark.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That list, like the “Masters” section writ large, is glaringly male, but several festival finds are directed by women. \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/by-the-time-it-gets-dark\" target=\"_blank\" rel=\"noopener\">By the Time it Gets Dark\u003c/a>\u003c/em>, Anocha Suwichakornpong’s follow-up to \u003cem>Mundane History\u003c/em> (2010), ripples out from the question of how to represent the long-repressed Thammasat University Massacre of 1976. What begins as a Bergman-esque psychodrama of a young filmmaker interviewing an erstwhile activist wanders off course partway through, slipping the bonds of past and future, self and other, human and animal. The many mutations of Suwichakornpong’s film suggest a view history itself as shape-shifter.\u003c/p>\n\u003cp>Similarly prismatic is \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/who-cares-who-sees-experimental-shorts\" target=\"_blank\" rel=\"noopener\">Bad mama, who cares\u003c/a>\u003c/em>, Brigid McCaffrey’s quietly astonishing portrait of the geologist Ren Lallatin at home in the desert. An inventive film for an inventive subject, \u003cem>Bad mama, who cares\u003c/em> dissolves body, work, environment, and a carousel of color into a gestalt of lived experience and everyday science fiction. The result is simultaneously dense, with more visual ideas crammed into its eleven minutes than a clutch of features, and serenely speculative.\u003c/p>\n\u003cfigure id=\"attachment_13000038\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13000038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200.jpg\" alt=\"A scene from Yuri Ancarani's 'The Challenge.'\" width=\"1200\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The_Challenge_01_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Yuri Ancarani’s ‘The Challenge.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Bad mama, who cares\u003c/em> shows as part of SFFILM’s dedicated experimental program (“\u003ca href=\"http://www.sffilm.org/festival/lineup/who-cares-who-sees-experimental-shorts\" target=\"_blank\" rel=\"noopener\">Who Cares. Who Sees: Experimental Shorts\u003c/a>”), but several other worthwhile shorts are scattered throughout the festival. Bonnie “Prince” Billy and Bitchin Bajas perform a free musical interpretation of local artist \u003ca href=\"http://www.sffilm.org/festival-2017/parallel-spaces\" target=\"_blank\" rel=\"noopener\">Jerome Hiler\u003c/a>’s luminous and rarely screened 16mm films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Robert Nelson’s imperishable \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/canyon-cinema-50-guy-maddin-presents-the-great-blondino-and-other-delights\" target=\"_blank\" rel=\"noopener\">The Great Blondino\u003c/a>\u003c/em> (1967) anchors a program curated by Guy Maddin celebrating local film distributor Canyon Cinema’s 50th anniversary. (The Canadian filmmaker aims to make his mark on San Francisco movie lore with \u003cem>\u003ca href=\"http://www.sffilm.org/festival2017-closing-night\" target=\"_blank\" rel=\"noopener\">The Green Fog\u003c/a>\u003c/em>, an originally commissioned surrealist spin on \u003cem>Vertigo\u003c/em> (1958), and the festival’s closing event.)\u003c/p>\n\u003cfigure id=\"attachment_13000037\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13000037\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200.jpg\" alt=\"A scene from 'El Mar La Mar.'\" width=\"1200\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/El_Mar_La_Mar_01_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘El Mar La Mar.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003ca href=\"http://www.sffilm.org/festival/lineup/shorts-4-new-visions\" target=\"_blank\" rel=\"noopener\">Shorts 4: New Visions\u003c/a>” is another strong program, with fine new works by Ephraim Asili and Ana Vaz, and keep your eyes peeled for Lois Patiño’s \u003cem>Fajir\u003c/em> (playing with \u003ca href=\"http://www.sffilm.org/festival/lineup/the-challenge\" target=\"_blank\" rel=\"noopener\">\u003cem>The Challenge\u003c/em>\u003c/a>) and Jem Cohen’s sketches of New York and Inauguration Day playing alongside his charming if wispy \u003ca href=\"http://www.sffilm.org/festival/lineup/world-without-end-(no-reported-incidents)\" target=\"_blank\" rel=\"noopener\">\u003cem>World Without End (No Reported Incidents)\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As in year’s past, several of the festival’s true wild cards are slotted as documentaries. \u003ca href=\"http://www.sffilm.org/festival/lineup/the-challenge\" target=\"_blank\" rel=\"noopener\">\u003cem>The Challenge\u003c/em>\u003c/a> almost feels like a musical in its precisely choreographed depiction of Qatar’s gilded heirs. The young men gravitate towards symbols of power and speed, whether falcons, gold-plated motorcycles, or Lamborghinis (the latter with a lightly leashed cheetah riding shotgun). Italian director Yuri Ancarani himself gets great metaphoric mileage out of the falcons as they are auctioned, groomed, hooded, tracked, and flown. He cuts between different set-pieces as if building towards a climax, but by the time \u003cem>The Challenge\u003c/em> arrives at an actual competition it’s been drained of all tension, leaving only a spectacle of men without women, games without risk, society without a public sphere.\u003c/p>\n\u003cfigure id=\"attachment_13000039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200.jpg\" alt=\"A scene from Sabaah Folaya's 'Whose Streets?'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13000039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Whose_Streets_01_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sabaah Folaya’s ‘Whose Streets?’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Half a world away, Joshua Bonnetta and J.P. Sniadecki’s \u003ca href=\"http://www.sffilm.org/festival/lineup/el-mar-la-mar\" target=\"_blank\" rel=\"noopener\">\u003cem>El mar la mar\u003c/em>\u003c/a> offers a radically porous survey of the Sonoran desert. The U.S.-Mexico border is, to put it mildly, an over-determined location, but \u003cem>El mar la mar\u003c/em>’s immersive style radiates a desire to see and hear for oneself. Landscape is only half the equation, as Bonnetta and Sniadecki incorporate a chorus of voices addressing the borderlands and its crossings. They speak without being introduced, questioned, credentialed, or even pictured — a formal choice which, among other things, makes it difficult to slot their accounts into prefab political categories. Indeed, \u003cem>El mar la mar\u003c/em> is the rare topical documentary that pricks the sympathetic imagination without recourse to didactic exposition or a goal-oriented protagonist.\u003c/p>\n\u003cp>SFFILM’s documentary selection could use a few more rolls of the dice like these, though even a conventionally structured film like \u003ca href=\"http://www.sffilm.org/festival/lineup/the-force\" target=\"_blank\" rel=\"noopener\">\u003cem>The Force\u003c/em>\u003c/a> is likely to stir lively public comment in the current political environment. Accordingly, SFFILM’s canniest move may be the presentation of \u003ca href=\"http://www.sffilm.org/festival/lineup/whose-streets\" target=\"_blank\" rel=\"noopener\">\u003cem>Whose Streets?\u003c/em>\u003c/a>, a documentary forged from Ferguson’s unrest, as a free outdoor screening at Hayes Valey’s \u003ca href=\"http://proxysf.net/\" target=\"_blank\" rel=\"noopener\">PROXY\u003c/a>. These days, one could do worse for a raison d’être than packing a public square.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 60th San Francisco International Film Festival \u003c/em>\u003cem>takes place April 5-19, 2017 at various Bay Area theaters. For tickets and more information, \u003ca href=\"http://www.sffilm.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Oakland and S.F. Film Festivals Vie for the Spotlight",
"headTitle": "Now Playing! Oakland and S.F. Film Festivals Vie for the Spotlight | KQED",
"content": "\u003cp>The weather, the Warriors and the spanking new baseball season (along with more pressing matters) have your attention, but move ‘em to the back burner this week. The \u003ca href=\"http://www.oiff.org\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a> (April 4-8) and the \u003ca href=\"http://www.sffilm.org/festival/\" target=\"_blank\" rel=\"noopener\">SFFILM Festival\u003c/a> (April 5-19) are where the action is, with hordes of local and visiting filmmakers and dozens of galvanizing new movies (about those pressing matters).\u003c/p>\n\u003cfigure id=\"attachment_12994992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Maudie_1200.jpg\" alt=\"Sally Hawkins in a scene from 'Maudie,' part of 'A Tribute To Ethan Hawke' at the San Francisco International Film Festival.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12994992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sally Hawkins in a scene from ‘Maudie,’ part of ‘A Tribute To Ethan Hawke’ at the San Francisco International Film Festival. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 60th SFFILM fest (aka S.F. International Film Festival) front-loads its first weekend with a boatload of special events, including a revival of \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/citizen-kane-with-william-r-hearst-iii\" target=\"_blank\" rel=\"noopener\">Citizen Kane\u003c/a>\u003c/em> augmented with a rare conversation between William R. Hearst III and film historian David Thomson (Apr. 6), Pixar ace Ed Catmull offering the \u003ca href=\"http://www.sffilm.org/festival/lineup/state-of-cinema-edwin-catmull\" target=\"_blank\" rel=\"noopener\">State of Cinema address\u003c/a> and a tribute to Ethan Hawke accompanied by a screening of \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/a-tribute-to-ethan-hawke-maudie\" target=\"_blank\" rel=\"noopener\">Maudie\u003c/a>\u003c/em> (both Apr. 8), the presentation of the \u003ca href=\"http://www.sffilm.org/festival/lineup/mel-novikoff-award-tom-luddy-a-long-happy-life\" target=\"_blank\" rel=\"noopener\">Mel Novikoff Award\u003c/a> to Bay Area behind-the-scenes maestro Tom Luddy and the local premiere of \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-lost-city-of-z\" target=\"_blank\" rel=\"noopener\">The Lost City of Z\u003c/a>\u003c/em> with director James Gray on hand (both Apr. 9).\u003c/p>\n\u003cp>The 15th Oakland IFF kicks off April 4 with local filmmakers Christiane Badgley and Erica Marcus’s revelatory globalization documentary, \u003cem>\u003ca href=\"http://www.gzdreamfactory.com/\" target=\"_blank\" rel=\"noopener\">Guangzhou Dream Factory\u003c/a>\u003c/em>, which sold out its S.F. premiere at CAAMFest a few weeks ago. The lineup includes several shorts programs, offering an introduction to talented new directors while inviting viewers into lives and worlds they’ll never encounter on their own. Sean Durant’s ambitious documentary, \u003cem>\u003ca href=\"http://www.ginasjourney.com/\" target=\"_blank\" rel=\"noopener\">Gina’s Journey: The Search for William Grimes\u003c/a>\u003c/em> (Apr. 6), illustrates Regina Mason’s long and arduous mission to research, edit and republish the memoir of her ancestor and runaway slave.\u003c/p>\n\u003cfigure id=\"attachment_12994991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Gina1200.jpg\" alt=\"Regina Mason in 'Gina's Journey: The Search for William Grimes.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12994991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Regina Mason in ‘Gina’s Journey: The Search for William Grimes.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day pitch-and-response sessions at the Oakland IFF (Apr. 7), while designed for filmmakers to solicit feedback and assistance, provide an extraordinary opportunity for the community to learn about projects in development — and, perhaps, get involved. The Oakland IFF wraps April 8 with a once-in-a-lifetime reunion, discussion and celebration of the landmark TV series \u003cem>\u003ca href=\"http://www.oiff.org/roots-2017/\" target=\"_blank\" rel=\"noopener\">Roots\u003c/a>\u003c/em> on its 40th anniversary. Louis Gossett, Jr. and Mario Van Peebles will be in the house, along with Danny Glover and musical guests John Santos and the Oakland Interfaith Gospel Choir (among others). As if all that isn’t enough, the program also includes the festival awards ceremony. \u003c/p>\n\u003cp>It’s opening day and we’ve got a Battle of the Bay. Play ball!\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=\"Q.Logo.Break\" 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": "With hordes of local and visiting filmmakers and dozens of galvanizing new movies, there's plenty to see on both side of the Bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weather, the Warriors and the spanking new baseball season (along with more pressing matters) have your attention, but move ‘em to the back burner this week. The \u003ca href=\"http://www.oiff.org\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a> (April 4-8) and the \u003ca href=\"http://www.sffilm.org/festival/\" target=\"_blank\" rel=\"noopener\">SFFILM Festival\u003c/a> (April 5-19) are where the action is, with hordes of local and visiting filmmakers and dozens of galvanizing new movies (about those pressing matters).\u003c/p>\n\u003cfigure id=\"attachment_12994992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Maudie_1200.jpg\" alt=\"Sally Hawkins in a scene from 'Maudie,' part of 'A Tribute To Ethan Hawke' at the San Francisco International Film Festival.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12994992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Maudie_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sally Hawkins in a scene from ‘Maudie,’ part of ‘A Tribute To Ethan Hawke’ at the San Francisco International Film Festival. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 60th SFFILM fest (aka S.F. International Film Festival) front-loads its first weekend with a boatload of special events, including a revival of \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/citizen-kane-with-william-r-hearst-iii\" target=\"_blank\" rel=\"noopener\">Citizen Kane\u003c/a>\u003c/em> augmented with a rare conversation between William R. Hearst III and film historian David Thomson (Apr. 6), Pixar ace Ed Catmull offering the \u003ca href=\"http://www.sffilm.org/festival/lineup/state-of-cinema-edwin-catmull\" target=\"_blank\" rel=\"noopener\">State of Cinema address\u003c/a> and a tribute to Ethan Hawke accompanied by a screening of \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/a-tribute-to-ethan-hawke-maudie\" target=\"_blank\" rel=\"noopener\">Maudie\u003c/a>\u003c/em> (both Apr. 8), the presentation of the \u003ca href=\"http://www.sffilm.org/festival/lineup/mel-novikoff-award-tom-luddy-a-long-happy-life\" target=\"_blank\" rel=\"noopener\">Mel Novikoff Award\u003c/a> to Bay Area behind-the-scenes maestro Tom Luddy and the local premiere of \u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-lost-city-of-z\" target=\"_blank\" rel=\"noopener\">The Lost City of Z\u003c/a>\u003c/em> with director James Gray on hand (both Apr. 9).\u003c/p>\n\u003cp>The 15th Oakland IFF kicks off April 4 with local filmmakers Christiane Badgley and Erica Marcus’s revelatory globalization documentary, \u003cem>\u003ca href=\"http://www.gzdreamfactory.com/\" target=\"_blank\" rel=\"noopener\">Guangzhou Dream Factory\u003c/a>\u003c/em>, which sold out its S.F. premiere at CAAMFest a few weeks ago. The lineup includes several shorts programs, offering an introduction to talented new directors while inviting viewers into lives and worlds they’ll never encounter on their own. Sean Durant’s ambitious documentary, \u003cem>\u003ca href=\"http://www.ginasjourney.com/\" target=\"_blank\" rel=\"noopener\">Gina’s Journey: The Search for William Grimes\u003c/a>\u003c/em> (Apr. 6), illustrates Regina Mason’s long and arduous mission to research, edit and republish the memoir of her ancestor and runaway slave.\u003c/p>\n\u003cfigure id=\"attachment_12994991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Gina1200.jpg\" alt=\"Regina Mason in 'Gina's Journey: The Search for William Grimes.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12994991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Gina1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Regina Mason in ‘Gina’s Journey: The Search for William Grimes.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day pitch-and-response sessions at the Oakland IFF (Apr. 7), while designed for filmmakers to solicit feedback and assistance, provide an extraordinary opportunity for the community to learn about projects in development — and, perhaps, get involved. The Oakland IFF wraps April 8 with a once-in-a-lifetime reunion, discussion and celebration of the landmark TV series \u003cem>\u003ca href=\"http://www.oiff.org/roots-2017/\" target=\"_blank\" rel=\"noopener\">Roots\u003c/a>\u003c/em> on its 40th anniversary. Louis Gossett, Jr. and Mario Van Peebles will be in the house, along with Danny Glover and musical guests John Santos and the Oakland Interfaith Gospel Choir (among others). As if all that isn’t enough, the program also includes the festival awards ceremony. \u003c/p>\n\u003cp>It’s opening day and we’ve got a Battle of the Bay. Play ball!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Family Struggles To Connect In The Rueful, Richly Detailed 'After The Storm'",
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"content": "\u003cp>From time to time in Hirokazu Kore-eda’s gently incisive family drama \u003cem>After the Storm\u003c/em>, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives. If you’ve seen any other of Kore-eda’s leisurely character studies — \u003cem>Nobody Knows\u003c/em>, say, or last year’s lovely \u003cem>Our Little Sister\u003c/em> — you’ll know not to expect much in the way of action, let alone spectacles.\u003c/p>\n\u003cp>Watch and listen closely, though, and worlds of deeply felt, awkwardly expressed passion will unfold in and around a cramped apartment in a nondescript high-rise that has aged along with the inhabitants who raised families there. There, Ryôta’s mother, Yoshiko (Kilin Kiki), ekes out her last years on an income slashed to the rind by her late husband’s gambling losses. No victim, she: In her ebulliently acid way Yoshiko is a resilient survivor. Which is more than can be said of her son as he comes and goes, trying to make his peace with a family that doesn’t exactly run on oiled wheels.\u003c/p>\n\u003cp>https://youtu.be/MISbcZZvSPI\u003c/p>\n\u003cp>Every Kore-eda family portrait functions, the director has said, as an inquiry from different angles into his own early experience. Almost invariably there’s a feckless father; maternal dragons in various shades of bracing; and in the foreground a floundering younger generation struggling not to repeat their elders’ mistakes even as they do that very thing. As lost souls go, Ryôta may be Kore-eda’s most hapless: Tall and handsome but red-eyed and long-faced, this man-child with shirt perennially untucked walks with the shambling, head-down gait of one who fears he’s as much of a screw-up as his father.\u003c/p>\n\u003cp>While gathering material for a new novel that’s not noticeably getting written, Ryôta shakes down cheaters and adulterers for his sleazy boss at the agency, then squanders his meager earnings at the racetrack instead of paying child support to his beautiful ex-wife Kyoko (Yoko Maki), whom he clearly loves as much as he does his sweet young son (Taiyo Yoshizawa) whom he manages to serially fail. It’s telling that Ryôta still seeks validation from his plainspoken mother, who has her son’s number (“You’re taking too long to bloom”) but who, we will see, has given up neither on him nor on life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As always, Kor-eda offers little by way of plot. Instead he builds the dynamic between his characters out of an accumulating wealth of seemingly banal detail: A woman wordlessly vacuuming up broken glass; a tangerine tree that bears no blossom or fruit but “I water it every day like it’s you”; a man obsessively rummaging through drawers for the wrong treasure. Like his creator, Ryôta is a meticulous observer of others. But he’s pretty clueless about his own motives until the arrival of the typhoon brings the family together, not entirely by accident, for the night in his mother’s apartment.\u003c/p>\n\u003cp>If Yoshiko provides much of the movie’s tartly unsentimental comedy (who else would make someone a gift of her son’s umbilical cord?), she’s also the source of its wisdom and the carrier of Kore-eda’s insight into how mired we are in self-defeating delusion, how harsh in our judgment of others, how wacky in our fantasies that Action A will lead inexorably to Desired Outcome B. Before the film’s end, more than one member of this patched-together, clumsily durable family will cry out piteously that things weren’t supposed to turn out like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On paper such insights can seem trite, but Kore-eda fills them to the brim with the rich muddle of life, of endless aspiration, repeated failure, unlooked-for internal reboots. Near the end of the movie, Ryôta and two of his imperfectly loved ones sit out the storm inside a ridiculous pink structure in a nearby park, eating stale cookies and sharing memories. There’s no Hollywood ending here, only a mutual nudging toward rueful understanding of how to go forward, and the creation of one of those cherished moments out of which, in the gospel according to Kore-eda, the good life is built.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From time to time in Hirokazu Kore-eda’s gently incisive family drama \u003cem>After the Storm\u003c/em>, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives. If you’ve seen any other of Kore-eda’s leisurely character studies — \u003cem>Nobody Knows\u003c/em>, say, or last year’s lovely \u003cem>Our Little Sister\u003c/em> — you’ll know not to expect much in the way of action, let alone spectacles.\u003c/p>\n\u003cp>Watch and listen closely, though, and worlds of deeply felt, awkwardly expressed passion will unfold in and around a cramped apartment in a nondescript high-rise that has aged along with the inhabitants who raised families there. There, Ryôta’s mother, Yoshiko (Kilin Kiki), ekes out her last years on an income slashed to the rind by her late husband’s gambling losses. No victim, she: In her ebulliently acid way Yoshiko is a resilient survivor. Which is more than can be said of her son as he comes and goes, trying to make his peace with a family that doesn’t exactly run on oiled wheels.\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/MISbcZZvSPI'\n title='//www.youtube.com/embed/MISbcZZvSPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Every Kore-eda family portrait functions, the director has said, as an inquiry from different angles into his own early experience. Almost invariably there’s a feckless father; maternal dragons in various shades of bracing; and in the foreground a floundering younger generation struggling not to repeat their elders’ mistakes even as they do that very thing. As lost souls go, Ryôta may be Kore-eda’s most hapless: Tall and handsome but red-eyed and long-faced, this man-child with shirt perennially untucked walks with the shambling, head-down gait of one who fears he’s as much of a screw-up as his father.\u003c/p>\n\u003cp>While gathering material for a new novel that’s not noticeably getting written, Ryôta shakes down cheaters and adulterers for his sleazy boss at the agency, then squanders his meager earnings at the racetrack instead of paying child support to his beautiful ex-wife Kyoko (Yoko Maki), whom he clearly loves as much as he does his sweet young son (Taiyo Yoshizawa) whom he manages to serially fail. It’s telling that Ryôta still seeks validation from his plainspoken mother, who has her son’s number (“You’re taking too long to bloom”) but who, we will see, has given up neither on him nor on life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As always, Kor-eda offers little by way of plot. Instead he builds the dynamic between his characters out of an accumulating wealth of seemingly banal detail: A woman wordlessly vacuuming up broken glass; a tangerine tree that bears no blossom or fruit but “I water it every day like it’s you”; a man obsessively rummaging through drawers for the wrong treasure. Like his creator, Ryôta is a meticulous observer of others. But he’s pretty clueless about his own motives until the arrival of the typhoon brings the family together, not entirely by accident, for the night in his mother’s apartment.\u003c/p>\n\u003cp>If Yoshiko provides much of the movie’s tartly unsentimental comedy (who else would make someone a gift of her son’s umbilical cord?), she’s also the source of its wisdom and the carrier of Kore-eda’s insight into how mired we are in self-defeating delusion, how harsh in our judgment of others, how wacky in our fantasies that Action A will lead inexorably to Desired Outcome B. Before the film’s end, more than one member of this patched-together, clumsily durable family will cry out piteously that things weren’t supposed to turn out like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On paper such insights can seem trite, but Kore-eda fills them to the brim with the rich muddle of life, of endless aspiration, repeated failure, unlooked-for internal reboots. Near the end of the movie, Ryôta and two of his imperfectly loved ones sit out the storm inside a ridiculous pink structure in a nearby park, eating stale cookies and sharing memories. There’s no Hollywood ending here, only a mutual nudging toward rueful understanding of how to go forward, and the creation of one of those cherished moments out of which, in the gospel according to Kore-eda, the good life is built.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Modern Marching Band, Recalling a Racial Injustice, and Getting Wired",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X2b8_eZtjvo\u003c/p>\n\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6jWBCnIHe9A\u003c/p>\n\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zw7DfFVga5Y\u003c/p>\n\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/208527770\u003c/p>\n\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ytXTtXSgpPc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\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/X2b8_eZtjvo'\n title='//www.youtube.com/embed/X2b8_eZtjvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are 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/6jWBCnIHe9A'\n title='//www.youtube.com/embed/6jWBCnIHe9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zw7DfFVga5Y'\n title='//www.youtube.com/embed/Zw7DfFVga5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">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/ytXTtXSgpPc'\n title='//www.youtube.com/embed/ytXTtXSgpPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Coordinated Screenings of '1984' Unite Independent Cinemas Across US",
"headTitle": "Coordinated Screenings of ‘1984’ Unite Independent Cinemas Across US | KQED",
"content": "\u003cp>The question “Are we living in 1984?” arises every so often in the popular consciousness. The reference to George Orwell’s dystopian, 1949 novel about a future totalitarian government is not usually a good sign. In 2013, it was Edward Snowden’s leaked documents about the National Security Agency’s domestic surveillance operations that caused a massive spike in the book’s sales.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Today the novel is back on bestseller lists and featured prominently in \u003ca href=\"https://ww2.kqed.org/arts/2017/02/12/talking-with-the-anonymous-donors-giving-away-free-copies-of-1984/\" target=\"_blank\" rel=\"noopener\">local bookstore displays\u003c/a> as the question looms yet again. But this time, comparisons between \u003ci>1984\u003c/i>’s fictional Oceania and our current administration dwell less on the idea of an all-seeing “Big Brother” and more on the concept of “doublethink,” which might as well be called “alternative facts.”\u003c/p>\n\u003cp>On Tuesday, Apr. 4, you can decide for yourself whether or not we’re living in \u003cem>1984 \u003c/em>when more than 180 independent cinemas across the country band together to screen Michael Radford’s bleak film adaptation of Orwell’s novel, starring the late John Hurt as protagonist Winston Smith.\u003c/p>\n\u003cfigure id=\"attachment_12969048\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12969048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/image308.jpg\" alt=\"John Hurt in '1984.'\" width=\"610\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-520x292.jpg 520w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">John Hurt in ‘1984.’ \u003ccite>(Courtesy of United State of Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening date has special significance: Apr. 4 is the date Smith — who is tasked with rewriting history as an employee of the sinister “Ministry of Truth” — begins keeping a forbidden diary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the organizers of “\u003ca href=\"http://www.unitedstateofcinema.com/\" target=\"_blank\" rel=\"noopener\">United State of Cinema\u003c/a>,” as the coordinated screening is called, \u003ci>1984\u003c/i> directly speaks to the civil liberties at stake under the current administration. “The goal is that cinemas can initiate a much-needed community conversation at a time when the existence of facts, and basic human rights are under attack,” the project’s website states. “Through nationwide participation and strength in numbers, these screenings are intended to galvanize people at the crossroads of cinema and community, and bring us together to foster communication and resistance against current efforts to undermine the most basic tenets of our society.”\u003c/p>\n\u003cp>Local participants include San Francisco’s Yerba Buena Center for the Arts and Balboa Theater, the Empress Theater in Vallejo, Larkspur’s Lark Theater, Oakland’s New Parkway and Berkeley’s Rialto Cinemas.\u003c/p>\n\u003cp>Joel Shepard, YBCA’s film and video curator, says joining the national event was a no-brainer. “It appealed to me because it’s all basically independent cinemas who are doing this,” Shepard says. “Since we’re independent, we don’t always do the greatest job of communicating with each other. This was a great opportunity to be more of a coalition and show that we’re independent but also dependent on each other.”\u003c/p>\n\u003cfigure id=\"attachment_12969049\" class=\"wp-caption aligncenter\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12969049\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/image316.jpg\" alt=\"Suzanna Hamilton as Julia and John Hurt as Winston Smith in '1984.'\" width=\"607\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316.jpg 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-520x358.jpg 520w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">Suzanna Hamilton as Julia and John Hurt as Winston Smith in ‘1984.’ \u003ccite>(Courtesy of United State of Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Shepard says so many cinemas jumped at the chance to join the coordinated screening that the company responsible for making \u003ci>1984\u003c/i> on Blu-ray temporarily ran out of stock. Wisely, he got his copy early.\u003c/p>\n\u003cp>Shepard remembers seeing — and enjoying — \u003ci>1984\u003c/i> in 1984, when it was released in theaters. “It wasn’t a flop, but it wasn’t a hit,” he says. What stands out for Shepard even now is Hurt’s performance. “This is the role he was made for,” he says of the British actor.\u003c/p>\n\u003cp>Hurt passed away in late January at the age of 77, but \u003ci>1984\u003c/i> director Michael Radford is still around to comment on the film. For the upcoming screenings, Radford is filming a short introduction and Q&A session to be sent to each participating cinema as an extra treat for audiences.\u003c/p>\n\u003cp>YBCA’s screenings are free and open to the public, but cinemas charging admission have all committed to giving some or all of the ticket sales to a deserving nonprofit. So if after watching Radford’s \u003ci>1984\u003c/i> you conclude we are indeed living in \u003ci>1984\u003c/i>, that’s a small silver lining to consider on your way to Room 101 (where poor Winston gets “rehabilitated”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘1984’ screens at cinemas across the U.S. (and in Canada, the U.K., Sweden and Croatia!) on Tuesday, Apr. 4. \u003ca href=\"http://www.unitedstateofcinema.com/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> for the complete listings.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The question “Are we living in 1984?” arises every so often in the popular consciousness. The reference to George Orwell’s dystopian, 1949 novel about a future totalitarian government is not usually a good sign. In 2013, it was Edward Snowden’s leaked documents about the National Security Agency’s domestic surveillance operations that caused a massive spike in the book’s sales.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Today the novel is back on bestseller lists and featured prominently in \u003ca href=\"https://ww2.kqed.org/arts/2017/02/12/talking-with-the-anonymous-donors-giving-away-free-copies-of-1984/\" target=\"_blank\" rel=\"noopener\">local bookstore displays\u003c/a> as the question looms yet again. But this time, comparisons between \u003ci>1984\u003c/i>’s fictional Oceania and our current administration dwell less on the idea of an all-seeing “Big Brother” and more on the concept of “doublethink,” which might as well be called “alternative facts.”\u003c/p>\n\u003cp>On Tuesday, Apr. 4, you can decide for yourself whether or not we’re living in \u003cem>1984 \u003c/em>when more than 180 independent cinemas across the country band together to screen Michael Radford’s bleak film adaptation of Orwell’s novel, starring the late John Hurt as protagonist Winston Smith.\u003c/p>\n\u003cfigure id=\"attachment_12969048\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12969048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/image308.jpg\" alt=\"John Hurt in '1984.'\" width=\"610\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image308-520x292.jpg 520w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">John Hurt in ‘1984.’ \u003ccite>(Courtesy of United State of Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening date has special significance: Apr. 4 is the date Smith — who is tasked with rewriting history as an employee of the sinister “Ministry of Truth” — begins keeping a forbidden diary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the organizers of “\u003ca href=\"http://www.unitedstateofcinema.com/\" target=\"_blank\" rel=\"noopener\">United State of Cinema\u003c/a>,” as the coordinated screening is called, \u003ci>1984\u003c/i> directly speaks to the civil liberties at stake under the current administration. “The goal is that cinemas can initiate a much-needed community conversation at a time when the existence of facts, and basic human rights are under attack,” the project’s website states. “Through nationwide participation and strength in numbers, these screenings are intended to galvanize people at the crossroads of cinema and community, and bring us together to foster communication and resistance against current efforts to undermine the most basic tenets of our society.”\u003c/p>\n\u003cp>Local participants include San Francisco’s Yerba Buena Center for the Arts and Balboa Theater, the Empress Theater in Vallejo, Larkspur’s Lark Theater, Oakland’s New Parkway and Berkeley’s Rialto Cinemas.\u003c/p>\n\u003cp>Joel Shepard, YBCA’s film and video curator, says joining the national event was a no-brainer. “It appealed to me because it’s all basically independent cinemas who are doing this,” Shepard says. “Since we’re independent, we don’t always do the greatest job of communicating with each other. This was a great opportunity to be more of a coalition and show that we’re independent but also dependent on each other.”\u003c/p>\n\u003cfigure id=\"attachment_12969049\" class=\"wp-caption aligncenter\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12969049\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/image316.jpg\" alt=\"Suzanna Hamilton as Julia and John Hurt as Winston Smith in '1984.'\" width=\"607\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316.jpg 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/image316-520x358.jpg 520w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">Suzanna Hamilton as Julia and John Hurt as Winston Smith in ‘1984.’ \u003ccite>(Courtesy of United State of Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Shepard says so many cinemas jumped at the chance to join the coordinated screening that the company responsible for making \u003ci>1984\u003c/i> on Blu-ray temporarily ran out of stock. Wisely, he got his copy early.\u003c/p>\n\u003cp>Shepard remembers seeing — and enjoying — \u003ci>1984\u003c/i> in 1984, when it was released in theaters. “It wasn’t a flop, but it wasn’t a hit,” he says. What stands out for Shepard even now is Hurt’s performance. “This is the role he was made for,” he says of the British actor.\u003c/p>\n\u003cp>Hurt passed away in late January at the age of 77, but \u003ci>1984\u003c/i> director Michael Radford is still around to comment on the film. For the upcoming screenings, Radford is filming a short introduction and Q&A session to be sent to each participating cinema as an extra treat for audiences.\u003c/p>\n\u003cp>YBCA’s screenings are free and open to the public, but cinemas charging admission have all committed to giving some or all of the ticket sales to a deserving nonprofit. So if after watching Radford’s \u003ci>1984\u003c/i> you conclude we are indeed living in \u003ci>1984\u003c/i>, that’s a small silver lining to consider on your way to Room 101 (where poor Winston gets “rehabilitated”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘1984’ screens at cinemas across the U.S. (and in Canada, the U.K., Sweden and Croatia!) on Tuesday, Apr. 4. \u003ca href=\"http://www.unitedstateofcinema.com/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> for the complete listings.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Moonlight\u003c/em> director Barry Jenkins will follow up his Oscar-winning film with a drama series for Amazon based on Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em>.\u003c/p>\n\u003cp>Amazon announced Monday that it will develop the TV series, with Jenkins writing and directing the adaptation of the 2016 National Book Award winner. Whitehead’s \u003cem>The Underground Railroad\u003c/em> is a part-historic, part-surrealistic novel about a slave who escapes on an actual railroad.\u003c/p>\n\u003cp>“Going back to The Intuitionist, Colson’s writing has always defied convention, and The Underground Railroad is no different,” said Jenkins in a statement. “It’s a groundbreaking work that pays respect to our nation’s history while using the form to explore it in a thoughtful and original way. Preserving the sweep and grandeur of a story like this requires bold, innovative thinking and in Amazon we’ve found a partner whose reverence for storytelling and freeness of form is wholly in line with our vision.”\u003c/p>\n\u003cp>Jenkins has already been at work on the series, though how many episodes are planned was not announced. He is to write and direct.\u003c/p>\n\u003cp>\u003cem>Moonlight\u003c/em>, which last month won best picture, was Jenkins’ second film following 2008’s well-regarded but little-seen \u003cem>Medicine for Melancholy\u003c/em>. Made for just $1.5 million, \u003cem>Moonlight\u003c/em> has grossed more than $56 million worldwide. It also won Academy Awards for Jenkins’ screenplay, based on Tarell Alvin McCraney’s play, and for Mahershala Ali’s supporting performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Underground Railroad\u003c/em> will reunite much of the team behind \u003cem>Moonlight\u003c/em>. Like that film, it will be produced by Adele Romanski and Brad Pitt’s Plan B.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Moonlight\u003c/em> director Barry Jenkins will follow up his Oscar-winning film with a drama series for Amazon based on Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em>.\u003c/p>\n\u003cp>Amazon announced Monday that it will develop the TV series, with Jenkins writing and directing the adaptation of the 2016 National Book Award winner. Whitehead’s \u003cem>The Underground Railroad\u003c/em> is a part-historic, part-surrealistic novel about a slave who escapes on an actual railroad.\u003c/p>\n\u003cp>“Going back to The Intuitionist, Colson’s writing has always defied convention, and The Underground Railroad is no different,” said Jenkins in a statement. “It’s a groundbreaking work that pays respect to our nation’s history while using the form to explore it in a thoughtful and original way. Preserving the sweep and grandeur of a story like this requires bold, innovative thinking and in Amazon we’ve found a partner whose reverence for storytelling and freeness of form is wholly in line with our vision.”\u003c/p>\n\u003cp>Jenkins has already been at work on the series, though how many episodes are planned was not announced. He is to write and direct.\u003c/p>\n\u003cp>\u003cem>Moonlight\u003c/em>, which last month won best picture, was Jenkins’ second film following 2008’s well-regarded but little-seen \u003cem>Medicine for Melancholy\u003c/em>. Made for just $1.5 million, \u003cem>Moonlight\u003c/em> has grossed more than $56 million worldwide. It also won Academy Awards for Jenkins’ screenplay, based on Tarell Alvin McCraney’s play, and for Mahershala Ali’s supporting performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Prosecutors in Bill Cosby’s sex assault case in Pennsylvania objected Monday to defense efforts to prescreen as many as 2,000 potential jurors.\u003c/p>\n\u003cp>They also said in a court filing that the jury should be selected weeks before the scheduled June 5 trial so jurors can prepare to be sequestered nearly 300 miles away from home. And they challenged defense claims that it will be tough to find people without opinions of the longtime Hollywood icon.\u003c/p>\n\u003cp>In a sometimes caustic court filing, they called that “a cynical view of the potential jurors in Allegheny County.”\u003c/p>\n\u003cp>“Defendant forecasts that jury selection will take weeks; we are confident that it will not,” Montgomery County District Attorney Kevin Steele said, noting that it took just a day to pick jurors for the state attorney general’s perjury trial last year.\u003c/p>\n\u003cp>Cosby, who turns 80 next month, is accused of drugging and molesting a Temple University basketball team manager at his home in 2004, an encounter he calls consensual. He was 66 at the time; Andrea Constand was 30.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prosecutors had hoped to call a dozen women who have made similar accusations, but the judge will allow just one “prior bad act” witness: a woman who worked for Cosby’s agent and said he drugged and assaulted her during a lunch meeting at the Bel-Air Hotel, in Los Angeles, in 1996.\u003c/p>\n\u003cp>The trial will be held in suburban Philadelphia, where Cosby met with Constand at his estate, but the jury will come from the Pittsburgh area because of pretrial publicity over the past two years. Cosby’s appearance at a half-dozen court hearings has drawn a swarm of national and international media.\u003c/p>\n\u003cp>Defense lawyers have proposed sending a specialized questionnaire to up to 2,000 Allegheny County residents, and to question those who pass muster starting June 5. Prosecutors said Cosby deserves no such “special treatment.” They want opening statements to start that day.\u003c/p>\n\u003cp>The battle over jury selection is just the latest legal maneuvering in the high-profile case. The judge must still decide how much the jury will hear from Cosby’s deposition about his long history of extramarital affairs. The next court hearing is scheduled for Monday.\u003c/p>\n\u003cp>Cosby, a Philadelphia native, broke racial barriers when he became the first black actor to star in a network drama, the 1965 hit \u003cem>I Spy\u003c/em>, a role that earned him three consecutive Emmy awards for best actor. He is perhaps best known for his top-rated 1980s sitcom, \u003cem>The Cosby Show\u003c/em>, which painted a warm portrait of black family life and earned hundreds of millions of dollars in royalties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they are sexual assault victims, but Constand has granted permission through her lawyer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prosecutors in Bill Cosby’s sex assault case in Pennsylvania objected Monday to defense efforts to prescreen as many as 2,000 potential jurors.\u003c/p>\n\u003cp>They also said in a court filing that the jury should be selected weeks before the scheduled June 5 trial so jurors can prepare to be sequestered nearly 300 miles away from home. And they challenged defense claims that it will be tough to find people without opinions of the longtime Hollywood icon.\u003c/p>\n\u003cp>In a sometimes caustic court filing, they called that “a cynical view of the potential jurors in Allegheny County.”\u003c/p>\n\u003cp>“Defendant forecasts that jury selection will take weeks; we are confident that it will not,” Montgomery County District Attorney Kevin Steele said, noting that it took just a day to pick jurors for the state attorney general’s perjury trial last year.\u003c/p>\n\u003cp>Cosby, who turns 80 next month, is accused of drugging and molesting a Temple University basketball team manager at his home in 2004, an encounter he calls consensual. He was 66 at the time; Andrea Constand was 30.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors had hoped to call a dozen women who have made similar accusations, but the judge will allow just one “prior bad act” witness: a woman who worked for Cosby’s agent and said he drugged and assaulted her during a lunch meeting at the Bel-Air Hotel, in Los Angeles, in 1996.\u003c/p>\n\u003cp>The trial will be held in suburban Philadelphia, where Cosby met with Constand at his estate, but the jury will come from the Pittsburgh area because of pretrial publicity over the past two years. Cosby’s appearance at a half-dozen court hearings has drawn a swarm of national and international media.\u003c/p>\n\u003cp>Defense lawyers have proposed sending a specialized questionnaire to up to 2,000 Allegheny County residents, and to question those who pass muster starting June 5. Prosecutors said Cosby deserves no such “special treatment.” They want opening statements to start that day.\u003c/p>\n\u003cp>The battle over jury selection is just the latest legal maneuvering in the high-profile case. The judge must still decide how much the jury will hear from Cosby’s deposition about his long history of extramarital affairs. The next court hearing is scheduled for Monday.\u003c/p>\n\u003cp>Cosby, a Philadelphia native, broke racial barriers when he became the first black actor to star in a network drama, the 1965 hit \u003cem>I Spy\u003c/em>, a role that earned him three consecutive Emmy awards for best actor. He is perhaps best known for his top-rated 1980s sitcom, \u003cem>The Cosby Show\u003c/em>, which painted a warm portrait of black family life and earned hundreds of millions of dollars in royalties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they are sexual assault victims, but Constand has granted permission through her lawyer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Whether it was truth in advertising or the cheekiness of youth, the \u003ca href=\"https://disposablefilm.com/our-10th-anniversary-march-30-april-2/\" target=\"_blank\" rel=\"noopener\">Disposable Film Festival\u003c/a> scored points 10 years ago by choosing a name that popped the pretentiousness of modern technology. The festival was never dismissive of the work of experimental artists and amateur moviemakers using handheld devices and consumer computer software, mind you, but rather the inflated cachet that surrounded anything “digital” at the time. \u003c/p>\n\u003cp>Today, the word’s residual mystique is on par with that of “natural” and “artisanal,” which means we can respond and react to the Disposable Film Festival’s selections without filtering them through the tools and the process used to achieve them. \u003c/p>\n\u003cfigure id=\"attachment_12949418\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/children_of_the_null_t.jpg\" alt=\"John Butler, still from 'Children of the Null.'\" width=\"600\" height=\"500\" class=\"size-full wp-image-12949418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-520x433.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">John Butler, still from ‘Children of the Null.’ \u003ccite>(Courtesy of Disposable Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short works are the DFF’s métier, as evidenced by the annual \u003ca href=\"https://dff2017openingnight.attendease.com/\" target=\"_blank\" rel=\"noopener\">opening night compilation\u003c/a> at the Castro Theater on Thursday, March 30. Whet your appetite for a \u003ca href=\"https://filmandfood2017.attendease.com/\" target=\"_blank\" rel=\"noopener\">free outdoor show\u003c/a> at Proxy in Hayes Valley on Friday night, Mar. 31, where food is movies’ unifying factor. \u003c/p>\n\u003cp>Lest you think the festival is all fun, networking and games, drop by the \u003ca href=\"https://dffcitizenjournalism.attendease.com/\" target=\"_blank\" rel=\"noopener\">Citizen Journalism Workshop\u003c/a> at the San Francisco Film Society’s Filmhouse offices on the cusp of Chinatown and North Beach on Saturday afternoon (paradoxically, April Fools’ Day). For all the teenagers mastering their moviemaking skills in hopes of being the next Michael Bay (Jah forbid), the best feature of ubiquitous pocket technology is its usefulness in documenting the reality on the streets.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Disposable Film Festival takes place March 30-April 2 at locations throughout San Francisco. For tickets and more information, \u003ca href=\"https://disposablefilm.com/our-10th-anniversary-march-30-april-2/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether it was truth in advertising or the cheekiness of youth, the \u003ca href=\"https://disposablefilm.com/our-10th-anniversary-march-30-april-2/\" target=\"_blank\" rel=\"noopener\">Disposable Film Festival\u003c/a> scored points 10 years ago by choosing a name that popped the pretentiousness of modern technology. The festival was never dismissive of the work of experimental artists and amateur moviemakers using handheld devices and consumer computer software, mind you, but rather the inflated cachet that surrounded anything “digital” at the time. \u003c/p>\n\u003cp>Today, the word’s residual mystique is on par with that of “natural” and “artisanal,” which means we can respond and react to the Disposable Film Festival’s selections without filtering them through the tools and the process used to achieve them. \u003c/p>\n\u003cfigure id=\"attachment_12949418\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/children_of_the_null_t.jpg\" alt=\"John Butler, still from 'Children of the Null.'\" width=\"600\" height=\"500\" class=\"size-full wp-image-12949418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/children_of_the_null_t-520x433.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">John Butler, still from ‘Children of the Null.’ \u003ccite>(Courtesy of Disposable Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short works are the DFF’s métier, as evidenced by the annual \u003ca href=\"https://dff2017openingnight.attendease.com/\" target=\"_blank\" rel=\"noopener\">opening night compilation\u003c/a> at the Castro Theater on Thursday, March 30. Whet your appetite for a \u003ca href=\"https://filmandfood2017.attendease.com/\" target=\"_blank\" rel=\"noopener\">free outdoor show\u003c/a> at Proxy in Hayes Valley on Friday night, Mar. 31, where food is movies’ unifying factor. \u003c/p>\n\u003cp>Lest you think the festival is all fun, networking and games, drop by the \u003ca href=\"https://dffcitizenjournalism.attendease.com/\" target=\"_blank\" rel=\"noopener\">Citizen Journalism Workshop\u003c/a> at the San Francisco Film Society’s Filmhouse offices on the cusp of Chinatown and North Beach on Saturday afternoon (paradoxically, April Fools’ Day). For all the teenagers mastering their moviemaking skills in hopes of being the next Michael Bay (Jah forbid), the best feature of ubiquitous pocket technology is its usefulness in documenting the reality on the streets.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Disposable Film Festival takes place March 30-April 2 at locations throughout San Francisco. For tickets and more information, \u003ca href=\"https://disposablefilm.com/our-10th-anniversary-march-30-april-2/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Forgotten Fresno Recording Finds New Life in Oscar-Winning ‘Moonlight’",
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"content": "\u003cp>When “Moonlight” won the Oscar for best picture this year, 60-year-old Leonard Sanders decided to go see it in the theater instead of waiting for it to be released online. He took his wife and they stayed until the very end.\u003c/p>\n\u003cp>“The people that come around to clean up after the movie’s over, they were looking at us wondering why we were still there. I was waiting for the credits, you know, to see it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It” was the name of the gospel band The Supreme Jubilees. Sanders was the lead singer and songwriter. The title track of their self-released LP \u003c/span>\u003ca href=\"http://lightintheattic.net/releases/1368-it-ll-all-be-over\">\u003cspan style=\"font-weight: 400\">“It’ll All Be Over”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> played during one scene in “Moonlight.” Sanders wrote the song almost 40 years ago. He never expected this. His reaction to the credits? \u003c/span>\u003c/p>\n\u003cp>“Wow.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D82kFc9nHUU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For years, Sanders has led a church band on his organ keyboard. He and his six siblings pretty much grew up in the Witness of Jesus Christ Church here in Southwest Fresno. After all, their dad, Marion Sanders, was the pastor for four decades.\u003c/p>\n\u003cp>He was a singer, too, says Sanders. “He had a gospel quartet with his brothers, the Humble Singers.”\u003c/p>\n\u003cp>When Sanders was a kid, he would watch other people play the piano. Then he’d go home and try to mimic the sound on his parents’ upright. He never had a piano lesson — Sanders learned to play by ear.\u003c/p>\n\u003cfigure id=\"attachment_11374523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374523\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg\" alt=\"The Sanders brothers grew up in The Witness of Jesus Christ Church.\" width=\"800\" height=\"761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-520x495.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanders brothers grew up in the Witness of Jesus Christ Church. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you play for a Pentecostal church, you have to learn to play all types of songs in every key because there’s no structure. They just throw you in there. It’s either sink or swim.” Sanders swam. There were no rehearsals. No songbooks.\u003c/p>\n\u003cp>“It’s like anybody can get up and sing any song they want to in any key at any time and you gotta be able to catch them, you know?”\u003c/p>\n\u003cp>Any key as long as it was church music. Sanders wasn’t allowed to listen to secular tunes.\u003c/p>\n\u003cp>But curiosity got the better of him.\u003c/p>\n\u003cp>“I can remember going to bed with the radio to my ear, once my parents were asleep. I’m listening to Aretha Franklin, the O’Jays, everything that came on the radio,” Sanders recalls. “I was just intrigued with music, you know.”\u003c/p>\n\u003cp>As a teenager he wrote songs, and in 1978 he joined The Supreme Jubilees. It was an eight-member group made up of his brothers and cousins.\u003c/p>\n\u003cfigure id=\"attachment_11374537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374537\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg\" alt=\"An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left.\" width=\"800\" height=\"952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1180x1404.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-960x1143.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-240x286.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-375x446.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-520x619.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left. \u003ccite>(Courtesy of The Supreme Jubilees)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band recorded part of its LP “It’ll All Be Over” in Fresno, but the studio engineer was partial to country-western.\u003c/p>\n\u003cp>“We had an idea of what kind of sound we were looking for in the mix. We wanted a little more bass,” says Sanders. But the engineer balked.\u003c/p>\n\u003cp>“He was like, ‘I know what I’m doing. I don’t need your input,’ ” Sanders says, laughing. “And so my cousin Joe was like, ‘Yeah, but we want a little more bass.’ ”\u003c/p>\n\u003cp>More bass than the engineer could handle. He kicked them out before The Supreme Jubilees could record the rest of the album. They took it to another studio in Visalia and after the vinyl was pressed, the band piled into Sanders’ old van and struck out for Texas. People were comparing them to the gospel group the Mighty Clouds of Joy, and they played with them and other acts.\u003c/p>\n\u003cp>They sold their records at concerts but it wasn’t all glitz and glamour. The promoter lied about the money they’d get, Sanders says. The trips in the van with all of their equipment and clothes wore them down.\u003c/p>\n\u003cp>“Eleven to 12 of us in one motel room!” Sanders says.\u003c/p>\n\u003cp>“My older cousins wanted to keep going down South,” says Sanders. “But nooooo, we were going back to California.” The band members moved on to other things, day jobs, family. Sanders started another family gospel group called Sanders and Company.\u003c/p>\n\u003cfigure id=\"attachment_11374189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg\" alt=\"Leonard Sanders today with his parents Mary Alice and Marion. Marion was the pastor for four decades. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leonard Sanders today with his parents, Mary Alice and Marion. Marion was the pastor for four decades. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now “It’ll All Be Over” has been resurrected. The LP was re-released by \u003ca href=\"http://lightintheattic.net/\">Light in the Attic\u003c/a> records in 2015 after a record collector in Texas pushed its revival.\u003c/p>\n\u003cp>It not only found its way to the creators of “Moonlight,” but \u003ca href=\"http://www.whosampled.com/The-Supreme-Jubilees/It'll-All-Be-Over/\">other artists are also using it\u003c/a>, including well known Fresno rapper Fashawn, who sampled the title track on \u003ca href=\"https://www.youtube.com/watch?v=rwXyAqwQma8\">\u003cspan style=\"font-weight: 400\">“Just Remember Now.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>Sanders’ brother, Melvin, who sings backup on the LP, says it’s nice to see his brother finally get some credit.\u003c/p>\n\u003cp>“He’s a committed, dedicated writer. And it’s great somebody besides the local folks here recognize it.”\u003c/p>\n\u003cp>Meanwhile, another song from the LP plays in the recent movie “Louder Than Bombs.” It’s called “Do You Believe,” and Sanders sings all the vocal tracks on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for all the recognition he’s getting these days, well, none of it is a really big deal to him. Leonard Sanders says he’ll just keep singing in his church.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When “Moonlight” won the Oscar for best picture this year, 60-year-old Leonard Sanders decided to go see it in the theater instead of waiting for it to be released online. He took his wife and they stayed until the very end.\u003c/p>\n\u003cp>“The people that come around to clean up after the movie’s over, they were looking at us wondering why we were still there. I was waiting for the credits, you know, to see it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It” was the name of the gospel band The Supreme Jubilees. Sanders was the lead singer and songwriter. The title track of their self-released LP \u003c/span>\u003ca href=\"http://lightintheattic.net/releases/1368-it-ll-all-be-over\">\u003cspan style=\"font-weight: 400\">“It’ll All Be Over”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> played during one scene in “Moonlight.” Sanders wrote the song almost 40 years ago. He never expected this. His reaction to the credits? \u003c/span>\u003c/p>\n\u003cp>“Wow.”\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/D82kFc9nHUU'\n title='//www.youtube.com/embed/D82kFc9nHUU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For years, Sanders has led a church band on his organ keyboard. He and his six siblings pretty much grew up in the Witness of Jesus Christ Church here in Southwest Fresno. After all, their dad, Marion Sanders, was the pastor for four decades.\u003c/p>\n\u003cp>He was a singer, too, says Sanders. “He had a gospel quartet with his brothers, the Humble Singers.”\u003c/p>\n\u003cp>When Sanders was a kid, he would watch other people play the piano. Then he’d go home and try to mimic the sound on his parents’ upright. He never had a piano lesson — Sanders learned to play by ear.\u003c/p>\n\u003cfigure id=\"attachment_11374523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374523\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg\" alt=\"The Sanders brothers grew up in The Witness of Jesus Christ Church.\" width=\"800\" height=\"761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-520x495.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanders brothers grew up in the Witness of Jesus Christ Church. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you play for a Pentecostal church, you have to learn to play all types of songs in every key because there’s no structure. They just throw you in there. It’s either sink or swim.” Sanders swam. There were no rehearsals. No songbooks.\u003c/p>\n\u003cp>“It’s like anybody can get up and sing any song they want to in any key at any time and you gotta be able to catch them, you know?”\u003c/p>\n\u003cp>Any key as long as it was church music. Sanders wasn’t allowed to listen to secular tunes.\u003c/p>\n\u003cp>But curiosity got the better of him.\u003c/p>\n\u003cp>“I can remember going to bed with the radio to my ear, once my parents were asleep. I’m listening to Aretha Franklin, the O’Jays, everything that came on the radio,” Sanders recalls. “I was just intrigued with music, you know.”\u003c/p>\n\u003cp>As a teenager he wrote songs, and in 1978 he joined The Supreme Jubilees. It was an eight-member group made up of his brothers and cousins.\u003c/p>\n\u003cfigure id=\"attachment_11374537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374537\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg\" alt=\"An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left.\" width=\"800\" height=\"952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1180x1404.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-960x1143.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-240x286.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-375x446.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-520x619.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left. \u003ccite>(Courtesy of The Supreme Jubilees)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band recorded part of its LP “It’ll All Be Over” in Fresno, but the studio engineer was partial to country-western.\u003c/p>\n\u003cp>“We had an idea of what kind of sound we were looking for in the mix. We wanted a little more bass,” says Sanders. But the engineer balked.\u003c/p>\n\u003cp>“He was like, ‘I know what I’m doing. I don’t need your input,’ ” Sanders says, laughing. “And so my cousin Joe was like, ‘Yeah, but we want a little more bass.’ ”\u003c/p>\n\u003cp>More bass than the engineer could handle. He kicked them out before The Supreme Jubilees could record the rest of the album. They took it to another studio in Visalia and after the vinyl was pressed, the band piled into Sanders’ old van and struck out for Texas. People were comparing them to the gospel group the Mighty Clouds of Joy, and they played with them and other acts.\u003c/p>\n\u003cp>They sold their records at concerts but it wasn’t all glitz and glamour. The promoter lied about the money they’d get, Sanders says. The trips in the van with all of their equipment and clothes wore them down.\u003c/p>\n\u003cp>“Eleven to 12 of us in one motel room!” Sanders says.\u003c/p>\n\u003cp>“My older cousins wanted to keep going down South,” says Sanders. “But nooooo, we were going back to California.” The band members moved on to other things, day jobs, family. Sanders started another family gospel group called Sanders and Company.\u003c/p>\n\u003cfigure id=\"attachment_11374189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg\" alt=\"Leonard Sanders today with his parents Mary Alice and Marion. Marion was the pastor for four decades. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leonard Sanders today with his parents, Mary Alice and Marion. Marion was the pastor for four decades. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now “It’ll All Be Over” has been resurrected. The LP was re-released by \u003ca href=\"http://lightintheattic.net/\">Light in the Attic\u003c/a> records in 2015 after a record collector in Texas pushed its revival.\u003c/p>\n\u003cp>It not only found its way to the creators of “Moonlight,” but \u003ca href=\"http://www.whosampled.com/The-Supreme-Jubilees/It'll-All-Be-Over/\">other artists are also using it\u003c/a>, including well known Fresno rapper Fashawn, who sampled the title track on \u003ca href=\"https://www.youtube.com/watch?v=rwXyAqwQma8\">\u003cspan style=\"font-weight: 400\">“Just Remember Now.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>Sanders’ brother, Melvin, who sings backup on the LP, says it’s nice to see his brother finally get some credit.\u003c/p>\n\u003cp>“He’s a committed, dedicated writer. And it’s great somebody besides the local folks here recognize it.”\u003c/p>\n\u003cp>Meanwhile, another song from the LP plays in the recent movie “Louder Than Bombs.” It’s called “Do You Believe,” and Sanders sings all the vocal tracks on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for all the recognition he’s getting these days, well, none of it is a really big deal to him. Leonard Sanders says he’ll just keep singing in his church.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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.",
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"possible": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
"link": "/radio/program/possible",
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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",
"title": "Radiolab",
"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": {
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