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"content": "\u003cp>The namesake of \u003cem>Wilson\u003c/em> is the kind of guy people try to avoid on the bus, at the sidewalk cafe, or while using the adjacent urinal. Yet the makers of this deadpan comedy want us to spend 90 minutes with him.\u003c/p>\n\u003cp>The experience isn’t painful, but it is a little frustrating. Playing the reclusive, misanthropic, yet oddly gregarious title character, Woody Harrelson is as engaging as the man’s personality allows. But \u003cem>Wilson\u003c/em> struggles with tone, shifting from monotonously bleak to predictably satirical to improbably sanguine.\u003c/p>\n\u003cp>The movie was adapted from a graphic novel by Daniel Clowes, and offers another take on the premise of \u003cem>Ghost World\u003c/em>, the best of the three films derived from his work: A disaffected middle-aged man bonds with an alienated teenage girl. But this time the story takes the viewpoint of the man, who lacks the winning adolescent sass of \u003cem>Ghost World\u003c/em>‘s Enid and her pal, Rebecca. (The other\u003csup>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=520412045#footnote\">1\u003c/a>\u003c/sup> film based on Clowes comic was 2006’s \u003cem>Art School Confidential\u003c/em>.)\u003c/p>\n\u003cp>https://youtu.be/w9S6bDzLUgk\u003c/p>\n\u003cp>Wilson is a lonely guy who’s about to get lonelier: His dad is dying and his best friend is moving to St. Louis. (Wilson’s tattered, semi-urban habitat is not identified, but the comic is set in Oakland, where Clowes lives.) Wilson will be left with just his adorable terrier, so he makes some tentative attempts to broaden his social circle. He fails, but in the process is introduced to something he’s been carefully avoiding: the Internet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n\u003c/div>\u003c/p>",
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"title": "IMDb Adopts F-Rating of Women's Contributions to Movies",
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"content": "\u003cp>The Internet Movie Database (IMDb) has adopted the F-rating, a classification system designed to champion women in film.\u003c/p>\n\u003cp>The new rating was created three years ago by Holly Tarquini, executive director of the Bath Film Festival, to “support women in film and change the stories we see on screen.” The Bath festival created \u003ca href=\"http://f-rated.org/\">a website for the rating\u003c/a>, which says:\u003c/p>\n\u003cp>“The F-Rating is a classification for any film which\u003c/p>\n\u003col>\n\u003cli>is directed by a woman\u003c/li>\n\u003cli>is written by a woman\u003c/li>\n\u003cli>features significant women on screen in their own right.”\u003c/li>\n\u003c/ol>\n\u003cp>Tarquini says that the rating was inspired by the Bechdel test, a system devised by cartoonist Alison Bechdel to identify works of fiction that feature at least two women talking about topics other than a man.\u003c/p>\n\u003cp>Ellen Telje’s “A” rating did something similar in Swedish cinemas in 2013, but Tarquini broadened the scope for her F-rating to include women’s contributions not just on-camera, but behind the camera. At the 2014 Bath Film Festival, where the rating was first introduced, 17 of the 42 films received the F-rating. More than 40 festivals and theater chains have adopted the rating since its inception.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now they’ve been joined by IMDb, an online database of info about films, TV programs and video games, which is a subsidiary of Amazon. With listings of more than 4.1 million titles (including TV episodes) IMDb’s adoption of the F-rating will significantly broaden the new rating’s reach.\u003c/p>\n\u003cp>IMDb has attached the F-rating to more than 22,000 films in its listings, and for films that feature all three qualifiers — that is, that were written by, directed by, and feature complex women characters — the site awards a triple-F rating. Thus far, there are 81 films that have qualified for a triple-F, including \u003cem>Clueless\u003c/em>, Pixar’s \u003cem>Brave\u003c/em>, \u003cem>Belle\u003c/em>, \u003cem>My Brilliant Career\u003c/em>, and the upcoming \u003cem>The Zookeeper’s Wife\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, the site does not feature the F or Triple-F ratings nearly as prominently as it does, say, such MPAA ratings as PG-13 and R. To find women-centered films on IMDb.com you need to use “F-rated” as a keyword search, and then sort through some 22,000 titles. Or you can reduce the search by looking only for women-directed titles (of which there are nearly 1,500), or films with a female protagonist. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=IMDb+Adopts+F-Rating+Of+Women%27s+Contributions+To+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Internet Movie Database (IMDb) has adopted the F-rating, a classification system designed to champion women in film.\u003c/p>\n\u003cp>The new rating was created three years ago by Holly Tarquini, executive director of the Bath Film Festival, to “support women in film and change the stories we see on screen.” The Bath festival created \u003ca href=\"http://f-rated.org/\">a website for the rating\u003c/a>, which says:\u003c/p>\n\u003cp>“The F-Rating is a classification for any film which\u003c/p>\n\u003col>\n\u003cli>is directed by a woman\u003c/li>\n\u003cli>is written by a woman\u003c/li>\n\u003cli>features significant women on screen in their own right.”\u003c/li>\n\u003c/ol>\n\u003cp>Tarquini says that the rating was inspired by the Bechdel test, a system devised by cartoonist Alison Bechdel to identify works of fiction that feature at least two women talking about topics other than a man.\u003c/p>\n\u003cp>Ellen Telje’s “A” rating did something similar in Swedish cinemas in 2013, but Tarquini broadened the scope for her F-rating to include women’s contributions not just on-camera, but behind the camera. At the 2014 Bath Film Festival, where the rating was first introduced, 17 of the 42 films received the F-rating. More than 40 festivals and theater chains have adopted the rating since its inception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now they’ve been joined by IMDb, an online database of info about films, TV programs and video games, which is a subsidiary of Amazon. With listings of more than 4.1 million titles (including TV episodes) IMDb’s adoption of the F-rating will significantly broaden the new rating’s reach.\u003c/p>\n\u003cp>IMDb has attached the F-rating to more than 22,000 films in its listings, and for films that feature all three qualifiers — that is, that were written by, directed by, and feature complex women characters — the site awards a triple-F rating. Thus far, there are 81 films that have qualified for a triple-F, including \u003cem>Clueless\u003c/em>, Pixar’s \u003cem>Brave\u003c/em>, \u003cem>Belle\u003c/em>, \u003cem>My Brilliant Career\u003c/em>, and the upcoming \u003cem>The Zookeeper’s Wife\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, the site does not feature the F or Triple-F ratings nearly as prominently as it does, say, such MPAA ratings as PG-13 and R. To find women-centered films on IMDb.com you need to use “F-rated” as a keyword search, and then sort through some 22,000 titles. Or you can reduce the search by looking only for women-directed titles (of which there are nearly 1,500), or films with a female protagonist. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=IMDb+Adopts+F-Rating+Of+Women%27s+Contributions+To+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Q&A with Sally Wainwright: Writer/Director of 'To Walk Invisible'",
"title": "Q&A with Sally Wainwright: Writer/Director of 'To Walk Invisible'",
"headTitle": "On KQED Insider | On Q Exclusive Interviews | About KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Fans of the actress Sarah Lancashire will recognize her as Caroline from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Tango in Halifax\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Catherine, the police sergeant in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Happy Valley. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">But t\u003c/span>\u003cspan style=\"font-weight: 400\">hey may not recognize \u003ca href=\"http://www.bbc.co.uk/programmes/b04k7b73\" target=\"_blank\">Sally Wainwright\u003c/a>, the creator and writer behind both of those British TV series. Wainwright has been writing for television since the 1990s, but these two programs in particular have slowly been raising awareness of her name, if not her face, to American audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to writing \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To Walk Invisible,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> a new biopic about the Brontë sisters (Anne, Emily and Charlotte), Wainwright also directed the film. During a recent telephone interview, Wainwright spoke about her interest in the Brontës, the origins of the project and what it felt like to write in the voice of someone from the 19th century.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What was your introduction to the Brontës' work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a teenager, I was first drawn to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wuthering Heights\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. As an adult, I've been much more engaged by Emily's poetry. I've never particularly got on with Charlotte's work, although she is very clever, obviously. It was because of her ambition and her drive that they ended up getting published. But I like Anne's \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tenant of Wildfell Hall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> best. That's my favorite novel. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up in West Yorkshire, about eight miles from Haworth [the village where the Brontës lived]. I visited the parsonage a lot when I was little. I've always known who the Brontë sisters were, and feel like they’re a part of my own personal culture.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_8603\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8603\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did \u003c/b>\u003cb>\u003ci>To Walk Invisible\u003c/i>\u003c/b>\u003cb> come about?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>About five years ago I was approached by the BBC. They wanted something to commemorate the bicentenary of Charlotte's birth, so they asked me if I would write a drama about the sisters' lives. It seemed to me that the most dramatic part of their lives was the last three years when they were all still together. I took a few liberties and a little bit of poetic license, but on the whole it fell very neatly into a dramatic structure. It's slightly truncated, obviously, because I've got to get three years into two hours, but I think it is pretty faithful to what happened in real life.\u003c/p>\n\u003cp>\u003cb>At the beginning of the program, there are fiery halos above the children’s heads. Did you use that imagery to reinforce or demystify the Brontë mythology?\u003c/b>\u003c/p>\n\u003cp>I wanted to demystify them. I wanted us to see them as they were before anybody imagined they would be famous. The halos of fire were meant to be about the magical world of childhood. It was probably the happiest time of their lives ,and they were on fire with their creative brilliance and imagination. I didn't want to mythologize them at all. I wanted to get away from that because I think they're mythologized too much.\u003c/p>\n\u003cfigure id=\"attachment_8604\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8604\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What made the three of them so unique?\u003c/b>\u003c/p>\n\u003cp>I don't think their circumstances created their genius. What's extraordinary about the Brontë family is that three very, very talented people . . . well, four very talented and intelligent people [including their brother Branwell] just happened to be born into the same family. That's the most extraordinary thing about them.\u003c/p>\n\u003cp>\u003cb>When you’re writing, is there any difference in the way that you hear 19th century characters as opposed to their counterparts in the 21st century?\u003c/b>\u003c/p>\n\u003cp>It took a long time for me to get the characters to speak in a way that I was happy with. I didn't want it to sound like other period dramas. We in the [television] industry have developed a language that is not necessarily authentic. We take everything from novels, and novels often use very heightened language. I wanted to try to re-create something that would both be accessible to modern ears and be a semblance of how they would have spoken in the past.\u003c/p>\n\u003cp>I listened to some very old tapes of recordings of ordinary people speaking. The oldest ones I could get hold of were like a 100 years old. It's really tricky to imagine what it would have been like. Even if one could know, it probably wouldn't work on television because it would be so remote and alien to how we speak now. It's like all TV dramas. It's a bit of a balancing act between authenticity and creating something that the audience will be engaged by and understand.\u003c/p>\n\u003cfigure id=\"attachment_8606\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8606\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg\" alt=\"Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1920x1079.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You grew up near the moors, and you have set several of your television series there. What does that particular landscape mean to your imagination?\u003c/b>\u003c/p>\n\u003cp>West Yorkshire, where I set a lot of my work, can be very bleak and intimidating, but it's also breathtakingly beautiful and dramatic. The area also has a very particular dialect. For me, it's about authenticity, so if I write something that's set there, and I use that landscape and I use that accent, it will feel very real to me, and I hope, in turn, it will feel very real to other people too.\u003c/p>\n\u003cp>\u003cb>For American audiences who aren’t familiar with your earlier work, what would you like them to watch?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first big series that I had on over here that was successful was called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">At Home with the Braithwaites.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It went four series over here and it was very successful. It was nominated for an Emmy actually, so it must have been on in America. Then I wrote a series in 2007 called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Amazing Mrs Pritchard,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which is very timely, actually, because it was about a supermarket manager becoming prime minister.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=24202\" target=\"_blank\">\u003cb>\u003ci>Masterpiece: To Walk Invisible: The Brontë Sisters\u003c/i>\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> airs Sunday, March 26 from 9 to 11pm on KQED 9.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Fans of the actress Sarah Lancashire will recognize her as Caroline from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Tango in Halifax\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Catherine, the police sergeant in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Happy Valley. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">But t\u003c/span>\u003cspan style=\"font-weight: 400\">hey may not recognize \u003ca href=\"http://www.bbc.co.uk/programmes/b04k7b73\" target=\"_blank\">Sally Wainwright\u003c/a>, the creator and writer behind both of those British TV series. Wainwright has been writing for television since the 1990s, but these two programs in particular have slowly been raising awareness of her name, if not her face, to American audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to writing \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To Walk Invisible,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> a new biopic about the Brontë sisters (Anne, Emily and Charlotte), Wainwright also directed the film. During a recent telephone interview, Wainwright spoke about her interest in the Brontës, the origins of the project and what it felt like to write in the voice of someone from the 19th century.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What was your introduction to the Brontës' work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a teenager, I was first drawn to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wuthering Heights\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. As an adult, I've been much more engaged by Emily's poetry. I've never particularly got on with Charlotte's work, although she is very clever, obviously. It was because of her ambition and her drive that they ended up getting published. But I like Anne's \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tenant of Wildfell Hall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> best. That's my favorite novel. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up in West Yorkshire, about eight miles from Haworth [the village where the Brontës lived]. I visited the parsonage a lot when I was little. I've always known who the Brontë sisters were, and feel like they’re a part of my own personal culture.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_8603\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8603\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did \u003c/b>\u003cb>\u003ci>To Walk Invisible\u003c/i>\u003c/b>\u003cb> come about?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>About five years ago I was approached by the BBC. They wanted something to commemorate the bicentenary of Charlotte's birth, so they asked me if I would write a drama about the sisters' lives. It seemed to me that the most dramatic part of their lives was the last three years when they were all still together. I took a few liberties and a little bit of poetic license, but on the whole it fell very neatly into a dramatic structure. It's slightly truncated, obviously, because I've got to get three years into two hours, but I think it is pretty faithful to what happened in real life.\u003c/p>\n\u003cp>\u003cb>At the beginning of the program, there are fiery halos above the children’s heads. Did you use that imagery to reinforce or demystify the Brontë mythology?\u003c/b>\u003c/p>\n\u003cp>I wanted to demystify them. I wanted us to see them as they were before anybody imagined they would be famous. The halos of fire were meant to be about the magical world of childhood. It was probably the happiest time of their lives ,and they were on fire with their creative brilliance and imagination. I didn't want to mythologize them at all. I wanted to get away from that because I think they're mythologized too much.\u003c/p>\n\u003cfigure id=\"attachment_8604\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8604\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What made the three of them so unique?\u003c/b>\u003c/p>\n\u003cp>I don't think their circumstances created their genius. What's extraordinary about the Brontë family is that three very, very talented people . . . well, four very talented and intelligent people [including their brother Branwell] just happened to be born into the same family. That's the most extraordinary thing about them.\u003c/p>\n\u003cp>\u003cb>When you’re writing, is there any difference in the way that you hear 19th century characters as opposed to their counterparts in the 21st century?\u003c/b>\u003c/p>\n\u003cp>It took a long time for me to get the characters to speak in a way that I was happy with. I didn't want it to sound like other period dramas. We in the [television] industry have developed a language that is not necessarily authentic. We take everything from novels, and novels often use very heightened language. I wanted to try to re-create something that would both be accessible to modern ears and be a semblance of how they would have spoken in the past.\u003c/p>\n\u003cp>I listened to some very old tapes of recordings of ordinary people speaking. The oldest ones I could get hold of were like a 100 years old. It's really tricky to imagine what it would have been like. Even if one could know, it probably wouldn't work on television because it would be so remote and alien to how we speak now. It's like all TV dramas. It's a bit of a balancing act between authenticity and creating something that the audience will be engaged by and understand.\u003c/p>\n\u003cfigure id=\"attachment_8606\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8606\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg\" alt=\"Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1920x1079.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You grew up near the moors, and you have set several of your television series there. What does that particular landscape mean to your imagination?\u003c/b>\u003c/p>\n\u003cp>West Yorkshire, where I set a lot of my work, can be very bleak and intimidating, but it's also breathtakingly beautiful and dramatic. The area also has a very particular dialect. For me, it's about authenticity, so if I write something that's set there, and I use that landscape and I use that accent, it will feel very real to me, and I hope, in turn, it will feel very real to other people too.\u003c/p>\n\u003cp>\u003cb>For American audiences who aren’t familiar with your earlier work, what would you like them to watch?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first big series that I had on over here that was successful was called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">At Home with the Braithwaites.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It went four series over here and it was very successful. It was nominated for an Emmy actually, so it must have been on in America. Then I wrote a series in 2007 called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Amazing Mrs Pritchard,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which is very timely, actually, because it was about a supermarket manager becoming prime minister.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=24202\" target=\"_blank\">\u003cb>\u003ci>Masterpiece: To Walk Invisible: The Brontë Sisters\u003c/i>\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> airs Sunday, March 26 from 9 to 11pm on KQED 9.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You'll never think of tickling the same way again. Also, a look at the dangers of being a know-it-all, the glory of Keanu Reeves, and the story of a badass four-year-old Siberian girl.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/03/Tickled.mp3\" title=\"The Dark and Twisted World of Tickling\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We start things off by getting into all the shocking details from \u003cem>Tickled\u003c/em>, a documentary about the twisted world of \"competitive endurance tickling.\"\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/MeLV4iO.gif\">\u003cimg class=\"aligncenter size-full wp-image-71174\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/MeLV4iO.gif\" alt=\"MeLV4iO\" width=\"460\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>We talk about how everyone is a know-it-all these days, and why that's not great.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-71173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\" alt=\"tumblr_mfuusos8hi1rf38dio1_500\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>We try falling in love with Keanu Reeves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\">\u003cimg class=\"size-full wp-image-71171 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\" alt=\"SvqnAaj\" width=\"350\" height=\"233\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on PWR BTTM's \"I Wanna Boi\", a song about how having a boyfriend is mostly about avoiding being cold:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xqwwkETs4TU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-71173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/tumblr_mfuusos8hi1rf38dio1_500.gif\" alt=\"tumblr_mfuusos8hi1rf38dio1_500\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>We try falling in love with Keanu Reeves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\">\u003cimg class=\"size-full wp-image-71171 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/SvqnAaj.gif\" alt=\"SvqnAaj\" width=\"350\" height=\"233\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on PWR BTTM's \"I Wanna Boi\", a song about how having a boyfriend is mostly about avoiding being cold:\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/xqwwkETs4TU'\n title='//www.youtube.com/embed/xqwwkETs4TU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "French Director François Ozon Brings the Trauma of War Home in ‘Frantz’",
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"content": "\u003cp>When the German filmmaker Rainer Werner Fassbinder died in 1982, François Ozon was 15 years old. Thirty-five years later the French director still acknowledges Fassbinder’s cinematic influence on his formative years. “When I discovered his films, I had the feeling that all of my problems were solved. I had the feeling of real freedom,” Ozon said in a recent telephone interview. “It was very important for me to know that it was possible to feel like that, totally free to follow your instincts making movies.”\u003c/p>\n\u003cp>From \u003cem>Water Drops on Burning Rocks\u003c/em> (2000) to \u003cem>Frantz\u003c/em>, Ozon’s latest release, Fassbinder’s impact on the contemporary director is unmistakable. Most obviously: Ozon adapted \u003cem>Water Drops\u003c/em> from a Fassbinder play. With \u003ci>Frantz\u003c/i>, opening March 24 in Bay Area theaters, the influence is more oblique; in the period piece Ozon harkens back to Fassbinder’s \u003cem>Effi Briest\u003c/em> (1974), depicting a world of forgotten etiquette and a society insistent on emotional restraint.\u003c/p>\n\u003cfigure id=\"attachment_12936519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12936519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg\" alt=\"Pierre Niney and Paula Beer in 'Frantz'. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small.jpg 903w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pierre Niney and Paula Beer in ‘Frantz’. (Photo:\u003cbr>Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Ozon first discovered the story of a French soldier carrying the trauma of World War I home in a play by Maurice Rostand. After he’d made \u003ci>Frantz\u003c/i>, a loose adaptation of Rostand’s play, Ozon discovered that director Ernst Lubitsch beat him to it in the 1932 film \u003cem>Broken Lullaby\u003c/em>.\u003c/p>\n\u003cp>“I was a little bit depressed. I wanted to give up,” Ozon says. But given \u003ci>Broken Lullaby\u003c/i>’s age, Ozon reconsidered the idea. “Lubitsch didn’t know that the Second World War would arrive,” he says. “So his film was more optimistic. It was about reconciliation and you didn’t think that something as terrible as the First War could happen again, you know?”\u003c/p>\n\u003cp>Ozon’s \u003ci>Frantz\u003c/i> also brings something new to the tale: a heroine. Instead of focusing on French soldier Adrien’s point of view (played by Pierre Niney), Ozon shifts the narrative to Anna (Paula Beer), the German fiancée of the late, titular Frantz. “My idea for the adaptation was to tell the story from the point of view of the loser of the war, which is the opposite of Lubitsch,” Ozon says. “I thought it would be a good answer 80 years after to a German director like Lubitsch, that a French director like me could give a different vision of this story.”\u003c/p>\n\u003cfigure id=\"attachment_12936520\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12936520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg\" alt=\"Director François Ozon. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"620\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-520x335.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Director François Ozon. (Photo: Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Frantz\u003c/i> is a tonal departure from Lubitsch and a stylistic one from Fassbinder. “The film was supposed to be shot all in color,” Ozon says. But two weeks before filming began, he changed his mind. “I decided to change everything and put the film in black and white, because I had the feeling it would be more realistic,” he says. At the same time, he didn’t want to give up entirely on the use of color: “I had the idea to keep a little bit of color in some emotional, key scenes in the film.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of those key emotional scenes involve a stifled and halting romance between Anna and Adrien. Her loss of Frantz doesn’t destroy her — instead, the film follows her slow awakening. And it’s not the Prince’s magic kiss that opens her eyes. “She has understood that Prince Charming maybe doesn’t exist,” Ozon says. “She was the victim of this situation and now she’s becoming a modern woman.” The director says, proudly, that was his idea.\u003c/p>\n\u003cp>https://youtu.be/oop8_CgSgmo\u003c/p>\n\u003cp>Despite his many influences, Ozon rarely sticks with any one genre for long. “When you make a film a year,” he says, “you don’t want to always make the same thing. I like to go in new directions and to experiment. I don’t want to repeat myself.”\u003c/p>\n\u003cp>Ozon’s next film is as far from \u003cem>Frantz\u003c/em>’s roundelay of unhappiness and unrequited war-torn love as he could possibly get: an erotic thriller called \u003cem>L’amant double\u003c/em> with Jacqueline Bisset.\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>‘Frantz’ opens in Bay Area theaters on Friday, March 24. For more information \u003ca href=\"http://www.musicboxfilms.com/frantz-movies-152.php\" 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>When the German filmmaker Rainer Werner Fassbinder died in 1982, François Ozon was 15 years old. Thirty-five years later the French director still acknowledges Fassbinder’s cinematic influence on his formative years. “When I discovered his films, I had the feeling that all of my problems were solved. I had the feeling of real freedom,” Ozon said in a recent telephone interview. “It was very important for me to know that it was possible to feel like that, totally free to follow your instincts making movies.”\u003c/p>\n\u003cp>From \u003cem>Water Drops on Burning Rocks\u003c/em> (2000) to \u003cem>Frantz\u003c/em>, Ozon’s latest release, Fassbinder’s impact on the contemporary director is unmistakable. Most obviously: Ozon adapted \u003cem>Water Drops\u003c/em> from a Fassbinder play. With \u003ci>Frantz\u003c/i>, opening March 24 in Bay Area theaters, the influence is more oblique; in the period piece Ozon harkens back to Fassbinder’s \u003cem>Effi Briest\u003c/em> (1974), depicting a world of forgotten etiquette and a society insistent on emotional restraint.\u003c/p>\n\u003cfigure id=\"attachment_12936519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12936519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg\" alt=\"Pierre Niney and Paula Beer in 'Frantz'. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-3_small.jpg 903w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pierre Niney and Paula Beer in ‘Frantz’. (Photo:\u003cbr>Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Ozon first discovered the story of a French soldier carrying the trauma of World War I home in a play by Maurice Rostand. After he’d made \u003ci>Frantz\u003c/i>, a loose adaptation of Rostand’s play, Ozon discovered that director Ernst Lubitsch beat him to it in the 1932 film \u003cem>Broken Lullaby\u003c/em>.\u003c/p>\n\u003cp>“I was a little bit depressed. I wanted to give up,” Ozon says. But given \u003ci>Broken Lullaby\u003c/i>’s age, Ozon reconsidered the idea. “Lubitsch didn’t know that the Second World War would arrive,” he says. “So his film was more optimistic. It was about reconciliation and you didn’t think that something as terrible as the First War could happen again, you know?”\u003c/p>\n\u003cp>Ozon’s \u003ci>Frantz\u003c/i> also brings something new to the tale: a heroine. Instead of focusing on French soldier Adrien’s point of view (played by Pierre Niney), Ozon shifts the narrative to Anna (Paula Beer), the German fiancée of the late, titular Frantz. “My idea for the adaptation was to tell the story from the point of view of the loser of the war, which is the opposite of Lubitsch,” Ozon says. “I thought it would be a good answer 80 years after to a German director like Lubitsch, that a French director like me could give a different vision of this story.”\u003c/p>\n\u003cfigure id=\"attachment_12936520\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12936520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg\" alt=\"Director François Ozon. (Photo: Jean-Claude Moireau - Foz/Courtesy of Music Box Films)\" width=\"620\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FRANTZ-4_ozon-520x335.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Director François Ozon. (Photo: Jean-Claude Moireau – Foz/Courtesy of Music Box Films)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Frantz\u003c/i> is a tonal departure from Lubitsch and a stylistic one from Fassbinder. “The film was supposed to be shot all in color,” Ozon says. But two weeks before filming began, he changed his mind. “I decided to change everything and put the film in black and white, because I had the feeling it would be more realistic,” he says. At the same time, he didn’t want to give up entirely on the use of color: “I had the idea to keep a little bit of color in some emotional, key scenes in the film.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of those key emotional scenes involve a stifled and halting romance between Anna and Adrien. Her loss of Frantz doesn’t destroy her — instead, the film follows her slow awakening. And it’s not the Prince’s magic kiss that opens her eyes. “She has understood that Prince Charming maybe doesn’t exist,” Ozon says. “She was the victim of this situation and now she’s becoming a modern woman.” The director says, proudly, that was his idea.\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/oop8_CgSgmo'\n title='//www.youtube.com/embed/oop8_CgSgmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite his many influences, Ozon rarely sticks with any one genre for long. “When you make a film a year,” he says, “you don’t want to always make the same thing. I like to go in new directions and to experiment. I don’t want to repeat myself.”\u003c/p>\n\u003cp>Ozon’s next film is as far from \u003cem>Frantz\u003c/em>’s roundelay of unhappiness and unrequited war-torn love as he could possibly get: an erotic thriller called \u003cem>L’amant double\u003c/em> with Jacqueline Bisset.\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>‘Frantz’ opens in Bay Area theaters on Friday, March 24. For more information \u003ca href=\"http://www.musicboxfilms.com/frantz-movies-152.php\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roman Polanski’s attorney implored a judge Monday to signal how the fugitive director would be sentenced if he returned to Los Angeles to resolve his long-running underage sex abuse case.\u003c/p>\n\u003cp>Superior Court Judge Scott Gordon heard arguments in the four-decade-old case but gave no immediate indication of how he would rule, saying he would issue a written order.\u003c/p>\n\u003cp>Polanski’s lawyer, Harland Braun, said he was trying to find a solution for a unique case, while a prosecutor said the Oscar winner was trying to get special treatment and dictate how the case proceeds from afar.\u003c/p>\n\u003cp>Deputy District Attorney Michele Hanisee said Polanski needed to appear in court to resolve the charges and urged the judge to reject what she called an attempt to give a “wealthy celebrity different treatment than any other fugitive.”\u003c/p>\n\u003cp>The hearing was the first time in seven years that a Los Angeles judge has considered Polanski’s case, which dates to 1977. He was accused of plying a 13-year-old girl with champagne and part of a sedative pill, then raping her at actor Jack Nicholson’s house.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Polanski pleaded guilty to unlawful sex with a minor but fled Los Angeles on the eve of sentencing in 1989. Since then, his movements have been restricted to France, Poland and Switzerland.\u003cbr>\nThe victim has said she forgives the “Rosemary’s Baby” director and believes the case should end.\u003c/p>\n\u003cp>Polanski, 83, has long contended that he is the victim of judicial misconduct because a now-deceased judge who handled the case suggested in private remarks that he would renege on a plea bargain and sentencing agreement. It called for no more time behind bars for the director after he spent 42 days in a prison undergoing a diagnostic screening.\u003c/p>\n\u003cp>Braun says Polanski has already served his sentence, in a part due to 335 days he spent in jail and under house arrest during a failed extradition effort from Switzerland in 2010.\u003c/p>\n\u003cp>The defense attorney pointed to statements by the original lawyers on the case saying the deceased judge had gone back on the sentence he initially promised the director. Braun said he was trying to get an assurance that the original agreement would be honored, either from the judge or prosecutors.\u003c/p>\n\u003cp>Hanisee refused, and Gordon did not indicate how he would respond. The judge directed several pointed questions about the facts and evidence to Braun during the hearing, and the prosecutor said she thought Braun’s calculations about how much time Polanski has served were incorrect.\u003c/p>\n\u003cp>Braun tried several strategies before and during the hearing but ultimately abandoned an effort to unseal 2010 testimony from the original prosecutor. He said the various approaches aimed to get enough of an assurance for Polanski to return to the United States, hopefully without the need to arrest the director.\u003c/p>\n\u003cp>“This is a unique case, and I’m trying to fashion a unique solution to resolve the case,” Braun said.\u003c/p>\n\u003cp>Hanisee blamed Polanski for its strange procedural history.\u003c/p>\n\u003cp>“This case is 40 years old because the defendant fled,” she said.\u003c/p>\n\u003cp>Braun has given a lengthy recitation of allegations of past judicial misconduct in his court filings but said Monday he did not want to litigate those issues.\u003c/p>\n\u003cp>“You’ve ventured very far into those things you don’t want to get into,” Gordon told Braun, smiling.\u003c/p>\n\u003cp>The judge said that if Polanski wanted to address those allegations in court, it would seem that he would need to personally appear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Polanski won an Academy Award for best director for his 2002 film “The Pianist” and was nominated for 1974’s “Chinatown” and 1979’s “Tess.”\u003cbr>\n___\u003cbr>\n can be reached at http://twitter.com/mccartneyAP .\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roman Polanski’s attorney implored a judge Monday to signal how the fugitive director would be sentenced if he returned to Los Angeles to resolve his long-running underage sex abuse case.\u003c/p>\n\u003cp>Superior Court Judge Scott Gordon heard arguments in the four-decade-old case but gave no immediate indication of how he would rule, saying he would issue a written order.\u003c/p>\n\u003cp>Polanski’s lawyer, Harland Braun, said he was trying to find a solution for a unique case, while a prosecutor said the Oscar winner was trying to get special treatment and dictate how the case proceeds from afar.\u003c/p>\n\u003cp>Deputy District Attorney Michele Hanisee said Polanski needed to appear in court to resolve the charges and urged the judge to reject what she called an attempt to give a “wealthy celebrity different treatment than any other fugitive.”\u003c/p>\n\u003cp>The hearing was the first time in seven years that a Los Angeles judge has considered Polanski’s case, which dates to 1977. He was accused of plying a 13-year-old girl with champagne and part of a sedative pill, then raping her at actor Jack Nicholson’s house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Polanski pleaded guilty to unlawful sex with a minor but fled Los Angeles on the eve of sentencing in 1989. Since then, his movements have been restricted to France, Poland and Switzerland.\u003cbr>\nThe victim has said she forgives the “Rosemary’s Baby” director and believes the case should end.\u003c/p>\n\u003cp>Polanski, 83, has long contended that he is the victim of judicial misconduct because a now-deceased judge who handled the case suggested in private remarks that he would renege on a plea bargain and sentencing agreement. It called for no more time behind bars for the director after he spent 42 days in a prison undergoing a diagnostic screening.\u003c/p>\n\u003cp>Braun says Polanski has already served his sentence, in a part due to 335 days he spent in jail and under house arrest during a failed extradition effort from Switzerland in 2010.\u003c/p>\n\u003cp>The defense attorney pointed to statements by the original lawyers on the case saying the deceased judge had gone back on the sentence he initially promised the director. Braun said he was trying to get an assurance that the original agreement would be honored, either from the judge or prosecutors.\u003c/p>\n\u003cp>Hanisee refused, and Gordon did not indicate how he would respond. The judge directed several pointed questions about the facts and evidence to Braun during the hearing, and the prosecutor said she thought Braun’s calculations about how much time Polanski has served were incorrect.\u003c/p>\n\u003cp>Braun tried several strategies before and during the hearing but ultimately abandoned an effort to unseal 2010 testimony from the original prosecutor. He said the various approaches aimed to get enough of an assurance for Polanski to return to the United States, hopefully without the need to arrest the director.\u003c/p>\n\u003cp>“This is a unique case, and I’m trying to fashion a unique solution to resolve the case,” Braun said.\u003c/p>\n\u003cp>Hanisee blamed Polanski for its strange procedural history.\u003c/p>\n\u003cp>“This case is 40 years old because the defendant fled,” she said.\u003c/p>\n\u003cp>Braun has given a lengthy recitation of allegations of past judicial misconduct in his court filings but said Monday he did not want to litigate those issues.\u003c/p>\n\u003cp>“You’ve ventured very far into those things you don’t want to get into,” Gordon told Braun, smiling.\u003c/p>\n\u003cp>The judge said that if Polanski wanted to address those allegations in court, it would seem that he would need to personally appear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Polanski won an Academy Award for best director for his 2002 film “The Pianist” and was nominated for 1974’s “Chinatown” and 1979’s “Tess.”\u003cbr>\n___\u003cbr>\n can be reached at http://twitter.com/mccartneyAP .\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Immortal Buster Keaton in Fremont",
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"content": "\u003cp>Buster Keaton was the cinema’s first superhero. Slight of frame, shy in demeanor, deferential and self-deprecating, Buster was the epitome of nondescript. \u003c/p>\n\u003cp>But confronted with an unnatural or natural disaster — a runaway locomotive engine, say, or a tornado — Buster turned into 130 pounds of acrobatic, indestructible, rubber-coated steel. Along with extraordinary agility, he possessed infinite creativity to transform everyday objects into save-the-day tools. \u003c/p>\n\u003cp>All that said, if we were to identify Keaton’s singular superpower, it would be his timing. Comic timing to stick the gag, of course, and on-set timing to (mostly) avoid getting slapped, smacked, whacked or crushed.\u003c/p>\n\u003cfigure id=\"attachment_12905310\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1.jpg\" alt=\"A memorable scene from Buster Keaton's 'Steamboat Bill, Jr.' 1928.\" width=\"1600\" height=\"1086\" class=\"size-full wp-image-12905310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-520x353.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A memorable scene from Buster Keaton’s ‘Steamboat Bill, Jr.’ 1928.\u003c/figcaption>\u003c/figure>\n\u003cp>One hundred years ago last month, Keaton met Fatty Arbuckle and, armed with extensive childhood experience in vaudeville, made the jump to motion pictures. \u003c/p>\n\u003cp>The \u003ca href=\"http://nilesfilmmuseum.org/\" target=\"_blank\" rel=\"noopener\">Niles Essanay Silent Film Museum\u003c/a>, which preserves and commemorates the East Bay hamlet of Fremont’s historic importance in the early days of movies, honors the great comedian March 24–26 with a \u003ca href=\"http://nilesfilmmuseum.org/?tv=4997833899900928\" target=\"_blank\" rel=\"noopener\">Buster Keaton Weekend Celebration\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The family-friendly blowout boasts a dozen hours of screen comedy gold and a panel discussion with silent-film historians. Here’s a question for the experts: What do you find more impressive about Keaton’s stunts, the concept or the execution? \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>\n\u003cp>\u003cem>Buster Keaton Weekend takes place March 24-26 at Niles Essanay Silent Film Museum (Edison Theater, 37417 Niles Boulevard, Fremont). Admission is $10.00. For tickets and more information, \u003ca href=\"http://nilesfilmmuseum.org/?tv=4997833899900928\" 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>Buster Keaton was the cinema’s first superhero. Slight of frame, shy in demeanor, deferential and self-deprecating, Buster was the epitome of nondescript. \u003c/p>\n\u003cp>But confronted with an unnatural or natural disaster — a runaway locomotive engine, say, or a tornado — Buster turned into 130 pounds of acrobatic, indestructible, rubber-coated steel. Along with extraordinary agility, he possessed infinite creativity to transform everyday objects into save-the-day tools. \u003c/p>\n\u003cp>All that said, if we were to identify Keaton’s singular superpower, it would be his timing. Comic timing to stick the gag, of course, and on-set timing to (mostly) avoid getting slapped, smacked, whacked or crushed.\u003c/p>\n\u003cfigure id=\"attachment_12905310\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1.jpg\" alt=\"A memorable scene from Buster Keaton's 'Steamboat Bill, Jr.' 1928.\" width=\"1600\" height=\"1086\" class=\"size-full wp-image-12905310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/steamboat_bill_jr_usa_1928_003_presse-1-520x353.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A memorable scene from Buster Keaton’s ‘Steamboat Bill, Jr.’ 1928.\u003c/figcaption>\u003c/figure>\n\u003cp>One hundred years ago last month, Keaton met Fatty Arbuckle and, armed with extensive childhood experience in vaudeville, made the jump to motion pictures. \u003c/p>\n\u003cp>The \u003ca href=\"http://nilesfilmmuseum.org/\" target=\"_blank\" rel=\"noopener\">Niles Essanay Silent Film Museum\u003c/a>, which preserves and commemorates the East Bay hamlet of Fremont’s historic importance in the early days of movies, honors the great comedian March 24–26 with a \u003ca href=\"http://nilesfilmmuseum.org/?tv=4997833899900928\" target=\"_blank\" rel=\"noopener\">Buster Keaton Weekend Celebration\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The family-friendly blowout boasts a dozen hours of screen comedy gold and a panel discussion with silent-film historians. Here’s a question for the experts: What do you find more impressive about Keaton’s stunts, the concept or the execution? \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>\n\u003cp>\u003cem>Buster Keaton Weekend takes place March 24-26 at Niles Essanay Silent Film Museum (Edison Theater, 37417 Niles Boulevard, Fremont). Admission is $10.00. For tickets and more information, \u003ca href=\"http://nilesfilmmuseum.org/?tv=4997833899900928\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Personal Shopper', Kristen Stewart is a Cinderella in Reverse",
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"content": "\u003cp>Paris is killing Kristen Stewart. At least, it’s killing Maureen Cartwright, the character she inhabits in Olivier Assayas’ new film \u003cem>Personal Shopper.\u003c/em> Maureen suffers from a rare heart condition, the same one that recently killed her twin brother Louis. Additionally, her soul-consuming job as a famous actress’ personal shopper isn’t helping matters.\u003c/p>\n\u003cp>The self-important, cold and preening Kyra (Nora von Waldstätten) requests two pairs of $2,000 leather pants but quibbles with Maureen about reimbursing her for expenses. There’s a joylessness in Stewart’s expression, the corners of her mouth perpetually turned down, as she darts around town from one high-end boutique to the next.\u003c/p>\n\u003cp>But she also has a strange affinity for it. Maureen quickly strides into each store grim yet determined. She touches the garments, feeling the material the way a blind person reads braille, to understand their essence. She’s a fashion witch, having adapted her powers for the 21st century — confirmed by the film’s opening scene in Louis’ enormous house that appears to be emptied of everything except cobwebs, creaking doors and, unsurprisingly, ghosts.\u003c/p>\n\u003cfigure id=\"attachment_12913163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s only been a few months since Maureen’s brother died, and she is still in a hardened state of grief. Before the new owners move into his old house, they’ve asked her to spend the night in the house to clear it. Just like Patricia Arquette’s character in the 2005-2011 TV series \u003cem>Medium\u003c/em>, Maureen sees and communicates with dead people. To confirm her claim, the director slams doors offscreen and creates an off-kilter flash of light to indicate an otherworldly presence. Ectoplasm and matching Cartier jewel sets, what exactly are Stewart and Assayas up to?\u003c/p>\n\u003cp>This is their second collaboration after 2014’s \u003cem>Clouds of Sils Maria.\u003c/em> If Stewart’s role here sounds familiar, it is. In \u003cem>Clouds,\u003c/em> she played Valentine, assistant to a famous actress Maria Enders (Juliette Binoche). Unlike Kyra, Maria needs Valentine as a companion, a foil and a bulwark to defend her from a series of grasping hands. The film explored their relationship, its intensity and closeness, in a remote mountain setting. Valentine remains a semi-mysterious, often mystified, figure who is running out of patience with the unending demands of show business.\u003c/p>\n\u003cfigure id=\"attachment_12913164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg\" alt=\"Kristen Stewart and Olivier Assayas on the set of Olivier Assayas’s PERSONAL SHOPPER. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Olivier Assayas on the set of ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from the name change, Maureen is a natural extension of that character. \u003cem>Clouds of Sils Maria\u003c/em> isn’t exactly a prequel to \u003cem>Personal Shopper\u003c/em>, though. It’s a companion film, a fraternal twin, whose glancing resemblance only complements and then enhances a viewing of the other. Much in the same way that Ingmar Bergman’s screenplay of \u003cem>The Best Intentions\u003c/em> related to his earlier autobiographical film \u003cem>Fanny and Alexander\u003c/em>, \u003cem>Clouds\u003c/em> also traffics in grief but in a more allusive way — it resolves to stay unresolved. \u003cem>Shopper\u003c/em> is grittier (Paris looks dirty). Assayas wants to upend and combine suspense and horror genres. And Stewart is chattier: she explains more of her behavior in the first half hour of the new film than she does in the entirety of \u003cem>Clouds.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most interesting aspect of both films is the casting of Stewart as a movie star’s assistant. As Bella Swan in the \u003cem>Twilight\u003c/em> series of vampire movies, she became a high-paid Hollywood star who reeled from the subsequent onslaught of fandom, public scrutiny and the intrusions of paparazzi. In \u003cem>Clouds,\u003c/em> as Stewart plays against her public image, you can detect a barely suppressed ironic smile. With Maureen in \u003cem>Personal Shopper\u003c/em>, she takes an evolutionary step forward with her public persona.\u003c/p>\n\u003cfigure id=\"attachment_12913165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Like a character in an Angela Carter fairy tale, Maureen is forbidden from trying on Kyra’s clothing, and she breaks that taboo. The camera watches Stewart as she strips herself down, to her thinnest, most fragile bones. She temporarily rebuilds herself in Kyra’s image, donning a newly purchased dress and shoes, slipping on the identity of a star. Assayas rightly captures the eroticism of that forbidden moment, the sexual liberation Maureen feels when she’s so close to Kyra’s skin, the fantasy of the viewer’s desire for a matinee idol.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the next day, after the fantasy ends, there are terrible consequences. Trying on the glass slipper casts Maureen out of the palace instead of offering her access to it and the prince. Maureen is a Cinderella in reverse. Stewart, with Assayas’ help, wants to regain her earthly footing, denuded of glamor in a comfortable hoodie and sneakers. Like some angry, lingering ghost from the past, Bella Swan is exorcised and cast out at last.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paris is killing Kristen Stewart. At least, it’s killing Maureen Cartwright, the character she inhabits in Olivier Assayas’ new film \u003cem>Personal Shopper.\u003c/em> Maureen suffers from a rare heart condition, the same one that recently killed her twin brother Louis. Additionally, her soul-consuming job as a famous actress’ personal shopper isn’t helping matters.\u003c/p>\n\u003cp>The self-important, cold and preening Kyra (Nora von Waldstätten) requests two pairs of $2,000 leather pants but quibbles with Maureen about reimbursing her for expenses. There’s a joylessness in Stewart’s expression, the corners of her mouth perpetually turned down, as she darts around town from one high-end boutique to the next.\u003c/p>\n\u003cp>But she also has a strange affinity for it. Maureen quickly strides into each store grim yet determined. She touches the garments, feeling the material the way a blind person reads braille, to understand their essence. She’s a fashion witch, having adapted her powers for the 21st century — confirmed by the film’s opening scene in Louis’ enormous house that appears to be emptied of everything except cobwebs, creaking doors and, unsurprisingly, ghosts.\u003c/p>\n\u003cfigure id=\"attachment_12913163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9945.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s only been a few months since Maureen’s brother died, and she is still in a hardened state of grief. Before the new owners move into his old house, they’ve asked her to spend the night in the house to clear it. Just like Patricia Arquette’s character in the 2005-2011 TV series \u003cem>Medium\u003c/em>, Maureen sees and communicates with dead people. To confirm her claim, the director slams doors offscreen and creates an off-kilter flash of light to indicate an otherworldly presence. Ectoplasm and matching Cartier jewel sets, what exactly are Stewart and Assayas up to?\u003c/p>\n\u003cp>This is their second collaboration after 2014’s \u003cem>Clouds of Sils Maria.\u003c/em> If Stewart’s role here sounds familiar, it is. In \u003cem>Clouds,\u003c/em> she played Valentine, assistant to a famous actress Maria Enders (Juliette Binoche). Unlike Kyra, Maria needs Valentine as a companion, a foil and a bulwark to defend her from a series of grasping hands. The film explored their relationship, its intensity and closeness, in a remote mountain setting. Valentine remains a semi-mysterious, often mystified, figure who is running out of patience with the unending demands of show business.\u003c/p>\n\u003cfigure id=\"attachment_12913164\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg\" alt=\"Kristen Stewart and Olivier Assayas on the set of Olivier Assayas’s PERSONAL SHOPPER. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_0784.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Olivier Assayas on the set of ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from the name change, Maureen is a natural extension of that character. \u003cem>Clouds of Sils Maria\u003c/em> isn’t exactly a prequel to \u003cem>Personal Shopper\u003c/em>, though. It’s a companion film, a fraternal twin, whose glancing resemblance only complements and then enhances a viewing of the other. Much in the same way that Ingmar Bergman’s screenplay of \u003cem>The Best Intentions\u003c/em> related to his earlier autobiographical film \u003cem>Fanny and Alexander\u003c/em>, \u003cem>Clouds\u003c/em> also traffics in grief but in a more allusive way — it resolves to stay unresolved. \u003cem>Shopper\u003c/em> is grittier (Paris looks dirty). Assayas wants to upend and combine suspense and horror genres. And Stewart is chattier: she explains more of her behavior in the first half hour of the new film than she does in the entirety of \u003cem>Clouds.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most interesting aspect of both films is the casting of Stewart as a movie star’s assistant. As Bella Swan in the \u003cem>Twilight\u003c/em> series of vampire movies, she became a high-paid Hollywood star who reeled from the subsequent onslaught of fandom, public scrutiny and the intrusions of paparazzi. In \u003cem>Clouds,\u003c/em> as Stewart plays against her public image, you can detect a barely suppressed ironic smile. With Maureen in \u003cem>Personal Shopper\u003c/em>, she takes an evolutionary step forward with her public persona.\u003c/p>\n\u003cfigure id=\"attachment_12913165\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12913165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg\" alt=\"Kristen Stewart as Maureen Cartwright in Olivier Assayas’s PERSONAL SHOPPER. Photo by Carole Bethuel. Courtesy of IFC Films. An IFC Films release. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_3898-copie.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart as Maureen Cartwright in ‘Personal Shopper.’ Photo by Carole Bethuel/IFC Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Like a character in an Angela Carter fairy tale, Maureen is forbidden from trying on Kyra’s clothing, and she breaks that taboo. The camera watches Stewart as she strips herself down, to her thinnest, most fragile bones. She temporarily rebuilds herself in Kyra’s image, donning a newly purchased dress and shoes, slipping on the identity of a star. Assayas rightly captures the eroticism of that forbidden moment, the sexual liberation Maureen feels when she’s so close to Kyra’s skin, the fantasy of the viewer’s desire for a matinee idol.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the next day, after the fantasy ends, there are terrible consequences. Trying on the glass slipper casts Maureen out of the palace instead of offering her access to it and the prince. Maureen is a Cinderella in reverse. Stewart, with Assayas’ help, wants to regain her earthly footing, denuded of glamor in a comfortable hoodie and sneakers. Like some angry, lingering ghost from the past, Bella Swan is exorcised and cast out at last.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Get Out' Sprang From An Effort To Master Fear, Says Director Jordan Peele",
"title": "'Get Out' Sprang From An Effort To Master Fear, Says Director Jordan Peele",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The new film, \u003cem>Get Out,\u003c/em> defies easy classification. Though it has funny moments, it's primarily a horror film, with racial anxiety at its center. Writer-director Jordan Peele tells \u003cem>Fresh Air\u003c/em>'s Terry Gross that he thinks of \u003cem>Get Out\u003c/em> as a \"social thriller.\"\u003c/p>\n\u003cp>The movie tells the story of a young black man named Chris whose white girlfriend, Rose, takes him to meet her parents for the first time — without first telling them he's black. Rose's parents go out of their way to show Chris how open minded they are, but there's something suspicious in the liberal facade they present. The film takes several twists and turns (which we won't spoil here) as Chris figures out what is going on.\u003c/p>\n\u003cp>Peele wanted the audience, regardless of race, to see the subtle racism through Chris' eyes. \"It was very important to me to just get the entire audience in touch in some way with the fears inherent [in] being black in this country,\" Peele says. \"Part of being black in this country, and I presume being any minority, is constantly being told that ... we're seeing racism where there just isn't racism.\"\u003c/p>\n\u003cp>Previously known for his comedic work on the Comedy Central sketch series \u003cem>Key & Peele, \u003c/em>Peele says that his current turn as the director of a horror/thriller film comes from a \"deeper place in my soul\" than his comic work. \"This [movie] is just simply my truest passion,\" he says. \"It comes from this fact that in order to deal with my own fears, I wanted to be able to sort of master them. It's really just want I want to be doing.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sRfnevzM9kQ\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On racism as a device for a horror movie plot \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Every great horror movie comes from a true fear, and ideally it's a universal fear. The tricky nature of this project is that the fear I'm pulling from is very human, but it's not necessarily a universal experience, so that's why the first third of the movie is showing, and not in an over-the-top way, in a sort of real, grounded way, just getting everybody to be able to see the world through my protagonist's eyes and his fears.\u003c/p>\n\u003cp>\u003cstrong>On a lack of black representation in horror films \u003c/strong>\u003c/p>\n\u003cp>The gestation period for this idea kind of spanned several years, and I think one of the most important milestones in that process was just realizing that every true horror, human horror, American horror has a horror movie that deals with it and allows us to face that fear, except [that] race in a modern sense, hadn't been touched. It really hadn't been touched in my opinion since \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2013/09/30/227943197/why-black-heroes-make-zombie-stories-more-interesting\">Night of the Living Dead\u003c/a> \u003c/em>50 years ago. Maybe with the film \u003cem>Candyman\u003c/em>. That to me, I just saw a void there. So it really started with this notion of like, \u003cem>this has to be possible, let's figure it out\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On writing a film that would play differently to black and white people, but is meant to be inclusive \u003c/strong>\u003c/p>\n\u003cp>This was an exercise in ... making a movie that is meant to be inclusive. ... In any good story, whoever you are, you should be able to relate to the protagonist. At the same time, I had to recognize that black people would be watching this movie and having a different experience ... than white people would. ...\u003c/p>\n\u003cp>Often when I thought about a specific scene or a specific moment I'd think, \u003cem>I hope the black audience here\u003c/em> \u003cem>is [saying] 'Y\u003c/em>ou know what? This is my experience. I've never seen it done in \u003cem>film like this, that's awesome.\u003c/em>' And at the same moment I might recognize that there would be a lot of white people who would watch the scene and either recognize these moments as something that maybe they've done, or that they've seen someone do.\u003c/p>\n\u003cp>\u003cstrong>On Chris trying to connect with the black groundskeeper and housekeeper at Rose's house and not getting the response he expected\u003c/strong>\u003c/p>\n\u003cp>You know the stereotype of all black people know each other, well I think it probably comes from the fact that we can identify with each other's experience in a way that others may have a harder time. So yes, you see a black person anywhere where you're the only two, it's like there's an instant bond, or there should be, is sort of the feeling.\u003c/p>\n\u003cp>There's also this feeling, the fear of dating outside of one's race also brings with it a loaded group of fears\u003cem>. Am I abandoning my blackness in some way? Am I turning my back on my roots in some way?\u003c/em> So I wanted Chris to be dealing with that uncomfortableness of not knowing how he's being judged by the housekeeper and the groundskeeper in this situation.\u003c/p>\n\u003cp>\u003cstrong>On his biracial identity growing up \u003c/strong>\u003c/p>\n\u003cp>I'd been taught from an early age that I was in the \"other\" category on the standardized tests. I had to go down the list, \"Caucasian, African American, Latino, Asian, Pacific Islander,\" and then at the bottom is \"other.\" Very early on I was taught in a way that I was somehow this anomaly. ...\u003c/p>\n\u003cp>It's probably one of the reasons that I fell in love with horror and comedy, which I think are genres that really appeal to someone who identifies with the outsider or the other, which is many of us. I remember it being a very confusing notion that we were on the one hand learning about Martin Luther King's dream and then on the other hand we were having to fill in these boxes and declare what we were.\u003c/p>\n\u003cp>By the time I was a little older, maybe fourth or fifth grade, I would check the \"African American\" box, which brought me comfort to be able to identify with a group more. ...\u003c/p>\n\u003cp>By the time Barack Obama was elected it changed a lot of my feelings of identity and really inspired both \u003cem>Key & Peele\u003c/em> and \u003cem>Get Out\u003c/em>. ... All of a sudden being mixed was an identity, and one that was the identity of a man who I consider [to be] the very best of us. I feel like the discussions about being biracial weren't even in existence, so when Barack Obama was elected it definitely inspired us to explore that and the notions of code-switching and everything.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview!\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/520130162/520281850\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Get+Out%27+Sprang+From+An+Effort+To+Master+Fear%2C+Says+Director+Jordan+Peele&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\n",
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"excerpt": "As a kid, Peele was terrified of \"the demons that lurked in the dark.\" Then he realized that by making a horror-thriller, he \"would be wielding this power, as opposed to being a victim to it.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new film, \u003cem>Get Out,\u003c/em> defies easy classification. Though it has funny moments, it's primarily a horror film, with racial anxiety at its center. Writer-director Jordan Peele tells \u003cem>Fresh Air\u003c/em>'s Terry Gross that he thinks of \u003cem>Get Out\u003c/em> as a \"social thriller.\"\u003c/p>\n\u003cp>The movie tells the story of a young black man named Chris whose white girlfriend, Rose, takes him to meet her parents for the first time — without first telling them he's black. Rose's parents go out of their way to show Chris how open minded they are, but there's something suspicious in the liberal facade they present. The film takes several twists and turns (which we won't spoil here) as Chris figures out what is going on.\u003c/p>\n\u003cp>Peele wanted the audience, regardless of race, to see the subtle racism through Chris' eyes. \"It was very important to me to just get the entire audience in touch in some way with the fears inherent [in] being black in this country,\" Peele says. \"Part of being black in this country, and I presume being any minority, is constantly being told that ... we're seeing racism where there just isn't racism.\"\u003c/p>\n\u003cp>Previously known for his comedic work on the Comedy Central sketch series \u003cem>Key & Peele, \u003c/em>Peele says that his current turn as the director of a horror/thriller film comes from a \"deeper place in my soul\" than his comic work. \"This [movie] is just simply my truest passion,\" he says. \"It comes from this fact that in order to deal with my own fears, I wanted to be able to sort of master them. It's really just want I want to be doing.\"\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/sRfnevzM9kQ'\n title='//www.youtube.com/embed/sRfnevzM9kQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On racism as a device for a horror movie plot \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every great horror movie comes from a true fear, and ideally it's a universal fear. The tricky nature of this project is that the fear I'm pulling from is very human, but it's not necessarily a universal experience, so that's why the first third of the movie is showing, and not in an over-the-top way, in a sort of real, grounded way, just getting everybody to be able to see the world through my protagonist's eyes and his fears.\u003c/p>\n\u003cp>\u003cstrong>On a lack of black representation in horror films \u003c/strong>\u003c/p>\n\u003cp>The gestation period for this idea kind of spanned several years, and I think one of the most important milestones in that process was just realizing that every true horror, human horror, American horror has a horror movie that deals with it and allows us to face that fear, except [that] race in a modern sense, hadn't been touched. It really hadn't been touched in my opinion since \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2013/09/30/227943197/why-black-heroes-make-zombie-stories-more-interesting\">Night of the Living Dead\u003c/a> \u003c/em>50 years ago. Maybe with the film \u003cem>Candyman\u003c/em>. That to me, I just saw a void there. So it really started with this notion of like, \u003cem>this has to be possible, let's figure it out\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>On writing a film that would play differently to black and white people, but is meant to be inclusive \u003c/strong>\u003c/p>\n\u003cp>This was an exercise in ... making a movie that is meant to be inclusive. ... In any good story, whoever you are, you should be able to relate to the protagonist. At the same time, I had to recognize that black people would be watching this movie and having a different experience ... than white people would. ...\u003c/p>\n\u003cp>Often when I thought about a specific scene or a specific moment I'd think, \u003cem>I hope the black audience here\u003c/em> \u003cem>is [saying] 'Y\u003c/em>ou know what? This is my experience. I've never seen it done in \u003cem>film like this, that's awesome.\u003c/em>' And at the same moment I might recognize that there would be a lot of white people who would watch the scene and either recognize these moments as something that maybe they've done, or that they've seen someone do.\u003c/p>\n\u003cp>\u003cstrong>On Chris trying to connect with the black groundskeeper and housekeeper at Rose's house and not getting the response he expected\u003c/strong>\u003c/p>\n\u003cp>You know the stereotype of all black people know each other, well I think it probably comes from the fact that we can identify with each other's experience in a way that others may have a harder time. So yes, you see a black person anywhere where you're the only two, it's like there's an instant bond, or there should be, is sort of the feeling.\u003c/p>\n\u003cp>There's also this feeling, the fear of dating outside of one's race also brings with it a loaded group of fears\u003cem>. Am I abandoning my blackness in some way? Am I turning my back on my roots in some way?\u003c/em> So I wanted Chris to be dealing with that uncomfortableness of not knowing how he's being judged by the housekeeper and the groundskeeper in this situation.\u003c/p>\n\u003cp>\u003cstrong>On his biracial identity growing up \u003c/strong>\u003c/p>\n\u003cp>I'd been taught from an early age that I was in the \"other\" category on the standardized tests. I had to go down the list, \"Caucasian, African American, Latino, Asian, Pacific Islander,\" and then at the bottom is \"other.\" Very early on I was taught in a way that I was somehow this anomaly. ...\u003c/p>\n\u003cp>It's probably one of the reasons that I fell in love with horror and comedy, which I think are genres that really appeal to someone who identifies with the outsider or the other, which is many of us. I remember it being a very confusing notion that we were on the one hand learning about Martin Luther King's dream and then on the other hand we were having to fill in these boxes and declare what we were.\u003c/p>\n\u003cp>By the time I was a little older, maybe fourth or fifth grade, I would check the \"African American\" box, which brought me comfort to be able to identify with a group more. ...\u003c/p>\n\u003cp>By the time Barack Obama was elected it changed a lot of my feelings of identity and really inspired both \u003cem>Key & Peele\u003c/em> and \u003cem>Get Out\u003c/em>. ... All of a sudden being mixed was an identity, and one that was the identity of a man who I consider [to be] the very best of us. I feel like the discussions about being biracial weren't even in existence, so when Barack Obama was elected it definitely inspired us to explore that and the notions of code-switching and everything.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Listen to the full interview!\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/520130162/520281850\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Get+Out%27+Sprang+From+An+Effort+To+Master+Fear%2C+Says+Director+Jordan+Peele&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Top 10 Hottest Tickets at the San Francisco International Film Festival",
"headTitle": "Top 10 Hottest Tickets at the San Francisco International Film Festival | KQED",
"content": "\u003cp>The San Francisco International Film Festival unveiled its far-ranging 60th anniversary lineup yesterday, along with an earlier calendar spot (April 5-19), a new shorthand moniker (hello SFFILM Festival, goodbye SFIFF) and a cascade of one-off events (the first weekend, especially). Tickets go on sale to the public at noon on Friday, March 17, which gives you ample time to mark up your calendar with films to see. Here’s a tip sheet of the programs likely to sell out first.\u003c/p>\n\u003cp>\u003cstrong>‘The Green Fog — A San Francisco Fantasia’ with Kronos Quartet\u003c/strong>\u003cbr>\nFor the closing night program on April 16 (note that Festival screenings continue through April 19), SFFILM commissioned a new work by cult hero Guy Maddin. With a couple close collaborators, Maddin has fashioned an alternate view of San Francisco circa \u003cem>Vertigo\u003c/em> from a dizzying, delectable assortment of vintage footage. Jacob Garchik composed a score to accompany the visuals, which the redoubtable Kronos Quartet will perform.\u003c/p>\n\u003cfigure id=\"attachment_12909503\" class=\"wp-caption alignright\" style=\"max-width: 732px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence.jpg\" alt=\"Still from '18 Black Girls/Boys Ages 1-18 Who Have Arrived at the Singularity and Are Thus Spiritual Machines.'\" width=\"732\" height=\"1000\" class=\"size-full wp-image-12909503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence.jpg 732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-240x328.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-375x512.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-520x710.jpg 520w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003cfigcaption class=\"wp-caption-text\">Still from ’18 Black Girls/Boys Ages 1-18 Who Have Arrived at the Singularity and Are Thus Spiritual Machines.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>18 Black Girls/Boys Ages 1-18 Who Have Arrived at the Singularity and Are Thus Spiritual Machines\u003c/strong>\u003cbr>\nTerence Nance’s acclaimed performance pieces combine dance, music and images from the internet to examine perception, stereotypes and identity. Black girls have the spotlight at the April 16 show, followed by the boys the following evening (both shows at the Victoria).\u003c/p>\n\u003cp>\u003cstrong>‘Long Strange Trip’\u003c/strong>\u003cbr>\nAmir Bar-Lev’s six-part, four-hour Grateful Dead documentary premieres May 26 on Amazon Prime, but why wait to start your Summer of Love commemorative celebrations? Catch a contact high at the Festival’s tax day show at the Castro, where dancing in the aisles is permitted. (Possibly. Smoking is definitely verboten, so if you want to party like it’s 1969, plan accordingly.)\u003c/p>\n\u003cp>\u003cstrong>A Tribute to Ethan Hawke\u003c/strong>\u003cbr>\nIt took me a long, long time to warm up to the Austin-born actor, director and novelist. The turning point was his unshowy performance a decade ago as Philip Seymour Hoffman’s dim-bulb brother in \u003cem>Before the Devil Knows You’re Dead\u003c/em>. Hawke takes a bow and takes questions at the YBCA on April 8, followed by a screening of \u003cem>Maudie\u003c/em> starring Sally Hawkins as Nova Scotia folk artist Maud Lewis and Hawke as the fish peddler she married in 1938.\u003c/p>\n\u003cfigure id=\"attachment_12909502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/The_Force_01-800x449.jpg\" alt=\"Still from 'The Force.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-12909502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Force.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Force’\u003c/strong>\u003cbr>\nEast Bay filmmaker Pete Nicks’ hotly awaited follow-up to \u003cem>The Waiting Room\u003c/em> (shot in the ER at Oakland’s Highland Hospital) observes the Oakland Police Department at a crucial juncture in the national debate over police power and racial injustice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Bollywood Blowout\u003c/strong>\u003cbr>\nOne of the biggest stars on the planet — no exaggeration — visits the Castro April 14. We’re sworn to secrecy, though the Festival will reveal his name on Monday, Mar. 20, if not before. Am I recommending you buy a ticket based solely on this tiny dollop of information? I am. You get a movie with a San Francisco connection in the bargain, too.\u003c/p>\n\u003cp>\u003cstrong>‘City of Ghosts’\u003c/strong>\u003cbr>\nBay Area moviegoers consistently turn out for the current events-oriented docs in the lineup every year. This portrait of extraordinarily brave Syrian activists (April 13 and 16 at Alamo Drafthouse) from \u003cem>Cartel Land\u003c/em> director Matthew Heineman is especially timely given the reported increase in U.S. ground troops in Syria.\u003c/p>\n\u003cfigure id=\"attachment_12909506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-800x450.jpg\" alt=\"Still from 'This is Everything: Gigi Gorgeous.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12909506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘This is Everything: Gigi Gorgeous.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘This Is Everything: Gigi Gorgeous’\u003c/strong>\u003cbr>\nThe Canadian YouTube star, born Gregory Lazarrato, opens up (unsurprisingly) for Barbara Kopple’s camera. The discussion after the lone Festival screening (April 12 at the Victoria) purportedly will focus less on Gigi’s life and career than on social media’s influence on the nature of celebrity, the construction of image, and the impact on the audience.\u003c/p>\n\u003cp>\u003cstrong>A Tribute to John Ridley\u003c/strong>\u003cbr>\nAn increasingly important producer, writer and director, Ridley started out as a stand-up comic before breaking into television as a writer of black-themed sitcoms (\u003cem>Martin\u003c/em>, \u003cem>The Fresh Prince of Bel-Air\u003c/em>, among others) in the 1990s. His early novels were adapted into the films \u003cem>U-Turn\u003c/em> and \u003cem>Three Kings\u003c/em>, while his Oscar-winning screenplay for \u003cem>12 Years a Slave\u003c/em> presumably allowed him more freedom and power. I expect Ridley’s onstage interview April 12 at Alamo Drafthouse to combine straight-shooting insight into Hollywood’s new (and alleged) diversity with broader political commentary. The other hook: The first episode of \u003cem>Guerilla\u003c/em>, Ridley’s six-part Showtime miniseries (debuting April 16) about a radical activist couple in 1970s London.\u003c/p>\n\u003cfigure id=\"attachment_12909504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-800x450.jpg\" alt=\"Still from 'The Man With a Movie Camera.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12909504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Man With a Movie Camera.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Man with a Movie Camera’\u003c/strong>\u003cbr>\nSoviet filmmaker Dziga Vertov’s brilliant 1929 synthesis of documentary and fiction still stands as one of the freshest and most vital movies ever made. The festival’s annual marriage of silent film and live music pairs Vertov’s masterpiece with the quartet DeVotchKa at the Castro on April 13.\u003c/p>\n\u003cp>That’s really only a smattering of what’s in store at SFFILM’s 60th birthday bash. Additional salutes include Berkeley native James Ivory (April 14 at SFMOMA with \u003cem>Maurice\u003c/em>), S.F. pioneer and Persistence of Vision Award-winner Lynn Hershman Leeson (April 11 at YBCA with her latest, \u003cem>Tania Libre\u003c/em>) and producer and behind-the-scenes mover and shaker Tom Luddy (Mel Novikoff Award, Apr. 9 at the Castro followed by the gorgeous Soviet road movie \u003cem>A Long Happy Life\u003c/em>). A revival of \u003cem>Citizen Kane\u003c/em> features local historian and critic David Thomson querying William R. Hearst III about his grandfather (April 6 at YBCA), while Jill Soloway (Transparent) debuts the first two episodes of her new Amazon Prime series, \u003cem>I Love Dick\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pixar’s Ed Catmull gives the annual State of Cinema address (April 8 at the new Dolby Theater on Market), which kicks off a day of talks and panels billed as the festival’s first Creativity Summit (and anticipates the following two VR Days at YBCA). Have I omitted anything? Of course. \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">Go scouting\u003c/a>.\u003c/p>\n\n",
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"excerpt": "A world-famous Bollywood star, a tribute to Ethan Hawke, a new Grateful Dead documentary and more are sure to sell out quick. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco International Film Festival unveiled its far-ranging 60th anniversary lineup yesterday, along with an earlier calendar spot (April 5-19), a new shorthand moniker (hello SFFILM Festival, goodbye SFIFF) and a cascade of one-off events (the first weekend, especially). Tickets go on sale to the public at noon on Friday, March 17, which gives you ample time to mark up your calendar with films to see. Here’s a tip sheet of the programs likely to sell out first.\u003c/p>\n\u003cp>\u003cstrong>‘The Green Fog — A San Francisco Fantasia’ with Kronos Quartet\u003c/strong>\u003cbr>\nFor the closing night program on April 16 (note that Festival screenings continue through April 19), SFFILM commissioned a new work by cult hero Guy Maddin. With a couple close collaborators, Maddin has fashioned an alternate view of San Francisco circa \u003cem>Vertigo\u003c/em> from a dizzying, delectable assortment of vintage footage. Jacob Garchik composed a score to accompany the visuals, which the redoubtable Kronos Quartet will perform.\u003c/p>\n\u003cfigure id=\"attachment_12909503\" class=\"wp-caption alignright\" style=\"max-width: 732px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence.jpg\" alt=\"Still from '18 Black Girls/Boys Ages 1-18 Who Have Arrived at the Singularity and Are Thus Spiritual Machines.'\" width=\"732\" height=\"1000\" class=\"size-full wp-image-12909503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence.jpg 732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-240x328.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-375x512.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/18_Black_Girls_Boys_Terence-520x710.jpg 520w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003cfigcaption class=\"wp-caption-text\">Still from ’18 Black Girls/Boys Ages 1-18 Who Have Arrived at the Singularity and Are Thus Spiritual Machines.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>18 Black Girls/Boys Ages 1-18 Who Have Arrived at the Singularity and Are Thus Spiritual Machines\u003c/strong>\u003cbr>\nTerence Nance’s acclaimed performance pieces combine dance, music and images from the internet to examine perception, stereotypes and identity. Black girls have the spotlight at the April 16 show, followed by the boys the following evening (both shows at the Victoria).\u003c/p>\n\u003cp>\u003cstrong>‘Long Strange Trip’\u003c/strong>\u003cbr>\nAmir Bar-Lev’s six-part, four-hour Grateful Dead documentary premieres May 26 on Amazon Prime, but why wait to start your Summer of Love commemorative celebrations? Catch a contact high at the Festival’s tax day show at the Castro, where dancing in the aisles is permitted. (Possibly. Smoking is definitely verboten, so if you want to party like it’s 1969, plan accordingly.)\u003c/p>\n\u003cp>\u003cstrong>A Tribute to Ethan Hawke\u003c/strong>\u003cbr>\nIt took me a long, long time to warm up to the Austin-born actor, director and novelist. The turning point was his unshowy performance a decade ago as Philip Seymour Hoffman’s dim-bulb brother in \u003cem>Before the Devil Knows You’re Dead\u003c/em>. Hawke takes a bow and takes questions at the YBCA on April 8, followed by a screening of \u003cem>Maudie\u003c/em> starring Sally Hawkins as Nova Scotia folk artist Maud Lewis and Hawke as the fish peddler she married in 1938.\u003c/p>\n\u003cfigure id=\"attachment_12909502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/The_Force_01-800x449.jpg\" alt=\"Still from 'The Force.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-12909502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/The_Force_01.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Force.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Force’\u003c/strong>\u003cbr>\nEast Bay filmmaker Pete Nicks’ hotly awaited follow-up to \u003cem>The Waiting Room\u003c/em> (shot in the ER at Oakland’s Highland Hospital) observes the Oakland Police Department at a crucial juncture in the national debate over police power and racial injustice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Bollywood Blowout\u003c/strong>\u003cbr>\nOne of the biggest stars on the planet — no exaggeration — visits the Castro April 14. We’re sworn to secrecy, though the Festival will reveal his name on Monday, Mar. 20, if not before. Am I recommending you buy a ticket based solely on this tiny dollop of information? I am. You get a movie with a San Francisco connection in the bargain, too.\u003c/p>\n\u003cp>\u003cstrong>‘City of Ghosts’\u003c/strong>\u003cbr>\nBay Area moviegoers consistently turn out for the current events-oriented docs in the lineup every year. This portrait of extraordinarily brave Syrian activists (April 13 and 16 at Alamo Drafthouse) from \u003cem>Cartel Land\u003c/em> director Matthew Heineman is especially timely given the reported increase in U.S. ground troops in Syria.\u003c/p>\n\u003cfigure id=\"attachment_12909506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-800x450.jpg\" alt=\"Still from 'This is Everything: Gigi Gorgeous.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12909506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/This_Is_Everything_Gigi_Gor.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘This is Everything: Gigi Gorgeous.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘This Is Everything: Gigi Gorgeous’\u003c/strong>\u003cbr>\nThe Canadian YouTube star, born Gregory Lazarrato, opens up (unsurprisingly) for Barbara Kopple’s camera. The discussion after the lone Festival screening (April 12 at the Victoria) purportedly will focus less on Gigi’s life and career than on social media’s influence on the nature of celebrity, the construction of image, and the impact on the audience.\u003c/p>\n\u003cp>\u003cstrong>A Tribute to John Ridley\u003c/strong>\u003cbr>\nAn increasingly important producer, writer and director, Ridley started out as a stand-up comic before breaking into television as a writer of black-themed sitcoms (\u003cem>Martin\u003c/em>, \u003cem>The Fresh Prince of Bel-Air\u003c/em>, among others) in the 1990s. His early novels were adapted into the films \u003cem>U-Turn\u003c/em> and \u003cem>Three Kings\u003c/em>, while his Oscar-winning screenplay for \u003cem>12 Years a Slave\u003c/em> presumably allowed him more freedom and power. I expect Ridley’s onstage interview April 12 at Alamo Drafthouse to combine straight-shooting insight into Hollywood’s new (and alleged) diversity with broader political commentary. The other hook: The first episode of \u003cem>Guerilla\u003c/em>, Ridley’s six-part Showtime miniseries (debuting April 16) about a radical activist couple in 1970s London.\u003c/p>\n\u003cfigure id=\"attachment_12909504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-800x450.jpg\" alt=\"Still from 'The Man With a Movie Camera.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12909504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Man_With_A_Movie_Camera_02.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Man With a Movie Camera.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Man with a Movie Camera’\u003c/strong>\u003cbr>\nSoviet filmmaker Dziga Vertov’s brilliant 1929 synthesis of documentary and fiction still stands as one of the freshest and most vital movies ever made. The festival’s annual marriage of silent film and live music pairs Vertov’s masterpiece with the quartet DeVotchKa at the Castro on April 13.\u003c/p>\n\u003cp>That’s really only a smattering of what’s in store at SFFILM’s 60th birthday bash. Additional salutes include Berkeley native James Ivory (April 14 at SFMOMA with \u003cem>Maurice\u003c/em>), S.F. pioneer and Persistence of Vision Award-winner Lynn Hershman Leeson (April 11 at YBCA with her latest, \u003cem>Tania Libre\u003c/em>) and producer and behind-the-scenes mover and shaker Tom Luddy (Mel Novikoff Award, Apr. 9 at the Castro followed by the gorgeous Soviet road movie \u003cem>A Long Happy Life\u003c/em>). A revival of \u003cem>Citizen Kane\u003c/em> features local historian and critic David Thomson querying William R. Hearst III about his grandfather (April 6 at YBCA), while Jill Soloway (Transparent) debuts the first two episodes of her new Amazon Prime series, \u003cem>I Love Dick\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pixar’s Ed Catmull gives the annual State of Cinema address (April 8 at the new Dolby Theater on Market), which kicks off a day of talks and panels billed as the festival’s first Creativity Summit (and anticipates the following two VR Days at YBCA). Have I omitted anything? Of course. \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">Go scouting\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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