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"content": "\u003cp>I thought I knew the basic pantheon of filmed-in-San-Francisco noir classics. \u003cem>The Lady From Shanghai\u003c/em>. \u003ci>Experiment in Terror\u003c/i>. \u003ci>Fog Over Frisco\u003c/i>. \u003ci>Thieves Highway\u003c/i>. \u003ci>Dark Passage\u003c/i>. \u003cem>The Sniper\u003c/em>.\u003c/p>\n\u003cp>So imagine my excitement when, on \u003ca href=\"https://www.kqed.org/news/11853439/party-like-its-1925-on-public-domain-day-gatsby-and-dalloway-are-in\">Public Domain Day\u003c/a> in 2021, I came across a black-and-white San Francisco movie I hadn’t yet seen: \u003cem>The Man Who Cheated Himself\u003c/em>. What’s more, it starred Lee J. Cobb?! And John Dall, star of the noir \u003cem>Gun Crazy\u003c/em> as well as Alfred Hitchcock’s \u003cem>Rope\u003c/em>?!? I pressed play and settled in. \u003c/p>\n\u003cp>I soon realized the film had a closer relation to Hitchcock than previously surmised. After a few telltale details, I stopped following the plot and began honing my hypothesis: that Hitch had lifted San Francisco locations and scenes wholesale from \u003cem>The Man Who Cheated Himself\u003c/em> for his masterpiece, the San Francisco movie of all San Francisco movies, \u003cem>Vertigo\u003c/em>. \u003c/p>\n\u003cp>\u003cstrong>Exhibit A\u003c/strong>: A gripping rooftop chase that starts on a fire escape, with Coit Tower in the background. Basically the opening scene of \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM.jpg\" alt=\"A man in a suit and fedora runs across a rooftop with a city skyline in the background, in a still from a black-and-white movie\" width=\"1920\" height=\"1291\" class=\"aligncenter size-full wp-image-13980041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM-1536x1033.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Exhibit B\u003c/strong>: An important scene at Fort Point, with Cobb and Jane Wyatt driving along the shore, shot at almost the same exact angle as Scottie and Madeline’s approach in \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM.jpg\" alt=\"A large sedan drives along a modest road, lined with a waist-high fence next to a body of water, in a still from a black-and-white movie\" width=\"1920\" height=\"1272\" class=\"aligncenter size-full wp-image-13980042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>Exhibit C\u003c/strong>, and perhaps the most specific: A pan across the intersection of Eddy and Gough, with a clear background shot of the McKittrick Hotel, from \u003cem>Vertigo\u003c/em>!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM.jpg\" alt=\"A police officer on a motorcycle leans into a corner turn with a large Victorian building in the background, in a still from a black-and-white movie\" width=\"1920\" height=\"1279\" class=\"aligncenter size-full wp-image-13980040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>I checked my Hitchcock books: the Truffaut interviews, the Donald Spoto studies, the filming location goldmine \u003cem>Footsteps in the Fog\u003c/em>. No mention of this clear \u003cdel>theft\u003c/del> er um \u003cdel>borrowing\u003c/del> er uh, \u003cem>inspiration\u003c/em>!\u003c/p>\n\u003cp>So when the 4-Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/wnp-film-club-man-who-cheated\">The Man Who Cheated Himself\u003c/a>\u003c/em> on Thursday, Aug. 14, expect a few annoying know-it-alls like myself to tut-tut, point at the screen, and mutter about gray-area plagiarism while everyone else is just trying to enjoy the film.\u003c/p>\n\u003cp>Do I remember anything about the plot? Not really. A murder coverup, the usual noir stuff. But as a precursor to a movie I’ve seen maybe 50 times, I’ll never forget it. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Man Who Cheated Himself’ screens Thursday, Aug. 14 at the 4-Star Theater (2200 Clement St., San Francisco) at 7 p.m. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/wnp-film-club-man-who-cheated\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I thought I knew the basic pantheon of filmed-in-San-Francisco noir classics. \u003cem>The Lady From Shanghai\u003c/em>. \u003ci>Experiment in Terror\u003c/i>. \u003ci>Fog Over Frisco\u003c/i>. \u003ci>Thieves Highway\u003c/i>. \u003ci>Dark Passage\u003c/i>. \u003cem>The Sniper\u003c/em>.\u003c/p>\n\u003cp>So imagine my excitement when, on \u003ca href=\"https://www.kqed.org/news/11853439/party-like-its-1925-on-public-domain-day-gatsby-and-dalloway-are-in\">Public Domain Day\u003c/a> in 2021, I came across a black-and-white San Francisco movie I hadn’t yet seen: \u003cem>The Man Who Cheated Himself\u003c/em>. What’s more, it starred Lee J. Cobb?! And John Dall, star of the noir \u003cem>Gun Crazy\u003c/em> as well as Alfred Hitchcock’s \u003cem>Rope\u003c/em>?!? I pressed play and settled in. \u003c/p>\n\u003cp>I soon realized the film had a closer relation to Hitchcock than previously surmised. After a few telltale details, I stopped following the plot and began honing my hypothesis: that Hitch had lifted San Francisco locations and scenes wholesale from \u003cem>The Man Who Cheated Himself\u003c/em> for his masterpiece, the San Francisco movie of all San Francisco movies, \u003cem>Vertigo\u003c/em>. \u003c/p>\n\u003cp>\u003cstrong>Exhibit A\u003c/strong>: A gripping rooftop chase that starts on a fire escape, with Coit Tower in the background. Basically the opening scene of \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM.jpg\" alt=\"A man in a suit and fedora runs across a rooftop with a city skyline in the background, in a still from a black-and-white movie\" width=\"1920\" height=\"1291\" class=\"aligncenter size-full wp-image-13980041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.29.37-PM-1536x1033.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Exhibit B\u003c/strong>: An important scene at Fort Point, with Cobb and Jane Wyatt driving along the shore, shot at almost the same exact angle as Scottie and Madeline’s approach in \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM.jpg\" alt=\"A large sedan drives along a modest road, lined with a waist-high fence next to a body of water, in a still from a black-and-white movie\" width=\"1920\" height=\"1272\" class=\"aligncenter size-full wp-image-13980042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.32.16-PM-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cstrong>Exhibit C\u003c/strong>, and perhaps the most specific: A pan across the intersection of Eddy and Gough, with a clear background shot of the McKittrick Hotel, from \u003cem>Vertigo\u003c/em>!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM.jpg\" alt=\"A police officer on a motorcycle leans into a corner turn with a large Victorian building in the background, in a still from a black-and-white movie\" width=\"1920\" height=\"1279\" class=\"aligncenter size-full wp-image-13980040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Screenshot-2025-08-12-at-3.25.17-PM-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>I checked my Hitchcock books: the Truffaut interviews, the Donald Spoto studies, the filming location goldmine \u003cem>Footsteps in the Fog\u003c/em>. No mention of this clear \u003cdel>theft\u003c/del> er um \u003cdel>borrowing\u003c/del> er uh, \u003cem>inspiration\u003c/em>!\u003c/p>\n\u003cp>So when the 4-Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/wnp-film-club-man-who-cheated\">The Man Who Cheated Himself\u003c/a>\u003c/em> on Thursday, Aug. 14, expect a few annoying know-it-alls like myself to tut-tut, point at the screen, and mutter about gray-area plagiarism while everyone else is just trying to enjoy the film.\u003c/p>\n\u003cp>Do I remember anything about the plot? Not really. A murder coverup, the usual noir stuff. But as a precursor to a movie I’ve seen maybe 50 times, I’ll never forget it. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Man Who Cheated Himself’ screens Thursday, Aug. 14 at the 4-Star Theater (2200 Clement St., San Francisco) at 7 p.m. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/wnp-film-club-man-who-cheated\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Oakland, a ‘Worst Film Festival’ Redefines Filmmaking Failures",
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"content": "\u003cp>Picture yourself in front of a classroom, sharing your homework, and explaining how you got all of the answers \u003cem>wrong\u003c/em>. Imagine being vulnerable enough to admit failure and own your shortcomings; not for the sake of embarrassment, but for the enlightenment of your fellow students.\u003c/p>\n\u003cp>Now imagine that you’re not talking about math or science — you’re discussing cinema. And instead of a classroom, it’s a film festival.\u003c/p>\n\u003cp>That’s the idea behind \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">The Worst Film Fest\u003c/a>, a celebration of indie flops at West Oakland’s \u003ca href=\"https://www.mamadogstudios.com/\">Mama Dog Studios\u003c/a> on Thursday, Aug. 28.\u003c/p>\n\u003cp>The festival’s trio of founders, \u003ca href=\"https://www.cherylisaacson.com/?fbclid=PAZXh0bgNhZW0CMTEAAadP5woDH6YWt1kK6lSCJIqr8jOsEGOcwbRYd0HsAaMxSP8yf3tT1ZCwo9oe8w_aem_TulkmgnylHlGWfzLOrRFZQ\" target=\"_blank\" rel=\"noopener\">Cheryl Isaacson\u003c/a>, \u003ca href=\"https://www.kerensouthall.com/\" target=\"_blank\" rel=\"noopener\">Keren Southall\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm5910066/\" target=\"_blank\" rel=\"noopener\">Danielle Cheifetz\u003c/a>, are collectively (and affectionately) referred to as “The Worst Board of Directors.” During last year’s inaugural event, it didn’t take long before they realized they were on to something.\u003c/p>\n\u003cfigure id=\"attachment_13979704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979704 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg\" alt=\"People sitting on a panel in front of a captive audience. Behind the panel are the letters TWFF on a screen, an acronym for The Worst Film Fest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Panelists dissect their filmmaking failures at The Worst Film Fest in Oakland. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody has some project that they learned from, that didn’t meet their expectations for one reason or another,” says Cheifetz, event co-founder and film producer, during a video call. She explains that the festival gives filmmakers a unique opportunity to showcase their blunders in order to grow together. “It makes us all better,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just about every aspect of the event flips the traditional festival format on its head. Those whose submissions get selected receive a notice that reads “we happily regret to inform you” their work has been chosen.\u003c/p>\n\u003cp>Throughout the event there’s examination of the language of failure, as well as reimagining what a supportive creative community looks like for professional filmmakers.\u003c/p>\n\u003cp>[aside postID='arts_13977398']On the night of the festival, attendees view short film clips, none of them longer than four minutes. Between the blocks of films, directors, producers and actors dissect aspects of moviemaking gone awry.\u003c/p>\n\u003cp>The audience also gets insight from recognized storytellers. Last year’s guest of honor was Boots Riley, director of the film \u003cem>Sorry To Bother You\u003c/em> and the series \u003cem>I’m A Virgo\u003c/em>.\u003c/p>\n\u003cp>Three awards are given out during the event, including one voted on by audience members that includes a portion of the event’s proceeds for filmmakers who have a convincing work in progress. It’s called the “Has Potential Award.”\u003c/p>\n\u003cp>“This is filmmaker-forward,” says Isaacson, noting that the goal of the event isn’t to make anyone’s work the butt of a joke. It’s also far from a parody show like the \u003ca href=\"https://en.wikipedia.org/wiki/Golden_Raspberry_Awards\" target=\"_blank\" rel=\"noopener\">Golden Raspberry Awards\u003c/a>. Isaacson, a film director herself, makes it clear: “This is by filmmakers, and for filmmakers.”\u003c/p>\n\u003cp>Once people hear the story of how it started, she says, they understand that it’s about community and vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13979722\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979722 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg\" alt=\"A dark room full of audience members focus on one person standing on stage with a microphone.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Keren Southall stands on stage at the inaugural gathering for The Worst Film Fest in 2024. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Isaacson refers back to a 2024 meeting between the founding trio, where one of them asked the others, “Want to see the worst thing I’ve ever done?”\u003c/p>\n\u003cp>The three started sharing film clips they’d promised would never see the light of day. “Turns out the three of us have some pretty embarrassing stuff,” Isaacson says, adding that “we just couldn’t stop laughing.”\u003c/p>\n\u003cp>As they gave feedback to each other and reflected on their experiences, a miniature rendition of the festival began taking place. “We kind of looked at each other jokingly,” says Isaacson, “and said: ‘Oh, this actually is the festival we need.'”\u003c/p>\n\u003cp>Southall, an actor and producer, wondered if it was possible to create “this little vulnerable pocket” for other filmmakers in a short period of time. Collectively working as volunteers, they started planning in April of 2024 and held a successful event four months later.\u003c/p>\n\u003cp>[aside postID='arts_13978142']“Filmmakers actually showed us their worst work,” Southall remarks, still slightly surprised. “There was really truly something magical that happened that first time around,” she says. “Filmmakers totally understood the process.”\u003c/p>\n\u003cp>In a world where artists are usually buttoned-up and primed to put their best foot forward, Cheifetz says doing the inverse oddly makes sense.\u003c/p>\n\u003cp>“My worst project is one of the projects that I had the most fun working on,” she says, reflecting on the longstanding connections she’s made over the course of failed productions. “Just because it’s your worst and isn’t something you initially might want to show other professionals, it’s still something that, as filmmakers, brings out our passions,” she says. “And we still love to do it even when it is our worst.”\u003c/p>\n\u003cp>At the festival, the term “worst” is a self-determined status. Some filmmakers have completely botched scenes, while others have struggled to land distribution deals. There’s levels to “failure.”\u003c/p>\n\u003cp>With that in mind, Southall notes the importance of establishing a tone of respect during the event. Last year, the team did that by boldly displaying their own movie mistakes.\u003c/p>\n\u003cp>[aside postID='arts_13979158']“We actually had an LED wall, which we will have again at this year’s fest, showcasing our first three projects,” says Southall. “When filmmakers come in, they can see a display of our worst work on the side,” she says. “That way we can be just as vulnerable as they are.”\u003c/p>\n\u003cp>Last year’s event welcomed indie filmmakers and representatives from collectives like \u003ca href=\"https://www.makeitbay.org/\" target=\"_blank\" rel=\"noopener\">#MakeItBay\u003c/a>, \u003ca href=\"https://cinemamafilm.com/\" target=\"_blank\" rel=\"noopener\">Cinemama\u003c/a> and other organizations. Cheifetz noticed that by reframing the idea of “failure,” it aided the process of not only filmmaking, but community building.\u003c/p>\n\u003cp>“It takes a little bit of the networking and socialization pressure off when you don’t have that fear just hanging over you,” she says. “And when all of that weight is lifted, then it’s just a breath of fresh air and a chance to just be real.”\u003c/p>\n\u003cp>Now with support from \u003ca href=\"https://url.us.m.mimecastprotect.com/s/ef2jC0R94PI4kN7LCwfAi9VVQW?domain=mamadogstudios.com\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Dog Studios,\u003c/a> as well as \u003ca href=\"https://www.littlegiantlighting.com/\">The Little Giant Lighting & Grip Co.\u003c/a>, \u003ca href=\"https://oaklandunitedbeerworks.com/\">Oakland United Beerworks\u003c/a> and the longstanding Northern Californian production services supply company \u003ca href=\"https://www.ranahan.com/\" target=\"_blank\" rel=\"noopener\">Ranahan\u003c/a>, this year the team is looking for more of the magic they experienced last year.\u003c/p>\n\u003cp>A safe classroom, where students get critical yet careful feedback, and “failure” is used as a teaching tool; a place where highlighting an individual’s “worst” is a part of making the larger collective better. Imagine if all schools were like that?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Worst Film Fest takes place Thursday, Aug. 28, at Mama Dog Studios (700 26th Street, Oakland). \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "The ‘Worst Film Festival’ Redefines Filmmaking Failures | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture yourself in front of a classroom, sharing your homework, and explaining how you got all of the answers \u003cem>wrong\u003c/em>. Imagine being vulnerable enough to admit failure and own your shortcomings; not for the sake of embarrassment, but for the enlightenment of your fellow students.\u003c/p>\n\u003cp>Now imagine that you’re not talking about math or science — you’re discussing cinema. And instead of a classroom, it’s a film festival.\u003c/p>\n\u003cp>That’s the idea behind \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">The Worst Film Fest\u003c/a>, a celebration of indie flops at West Oakland’s \u003ca href=\"https://www.mamadogstudios.com/\">Mama Dog Studios\u003c/a> on Thursday, Aug. 28.\u003c/p>\n\u003cp>The festival’s trio of founders, \u003ca href=\"https://www.cherylisaacson.com/?fbclid=PAZXh0bgNhZW0CMTEAAadP5woDH6YWt1kK6lSCJIqr8jOsEGOcwbRYd0HsAaMxSP8yf3tT1ZCwo9oe8w_aem_TulkmgnylHlGWfzLOrRFZQ\" target=\"_blank\" rel=\"noopener\">Cheryl Isaacson\u003c/a>, \u003ca href=\"https://www.kerensouthall.com/\" target=\"_blank\" rel=\"noopener\">Keren Southall\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm5910066/\" target=\"_blank\" rel=\"noopener\">Danielle Cheifetz\u003c/a>, are collectively (and affectionately) referred to as “The Worst Board of Directors.” During last year’s inaugural event, it didn’t take long before they realized they were on to something.\u003c/p>\n\u003cfigure id=\"attachment_13979704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979704 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg\" alt=\"People sitting on a panel in front of a captive audience. Behind the panel are the letters TWFF on a screen, an acronym for The Worst Film Fest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Panelists dissect their filmmaking failures at The Worst Film Fest in Oakland. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody has some project that they learned from, that didn’t meet their expectations for one reason or another,” says Cheifetz, event co-founder and film producer, during a video call. She explains that the festival gives filmmakers a unique opportunity to showcase their blunders in order to grow together. “It makes us all better,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just about every aspect of the event flips the traditional festival format on its head. Those whose submissions get selected receive a notice that reads “we happily regret to inform you” their work has been chosen.\u003c/p>\n\u003cp>Throughout the event there’s examination of the language of failure, as well as reimagining what a supportive creative community looks like for professional filmmakers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the night of the festival, attendees view short film clips, none of them longer than four minutes. Between the blocks of films, directors, producers and actors dissect aspects of moviemaking gone awry.\u003c/p>\n\u003cp>The audience also gets insight from recognized storytellers. Last year’s guest of honor was Boots Riley, director of the film \u003cem>Sorry To Bother You\u003c/em> and the series \u003cem>I’m A Virgo\u003c/em>.\u003c/p>\n\u003cp>Three awards are given out during the event, including one voted on by audience members that includes a portion of the event’s proceeds for filmmakers who have a convincing work in progress. It’s called the “Has Potential Award.”\u003c/p>\n\u003cp>“This is filmmaker-forward,” says Isaacson, noting that the goal of the event isn’t to make anyone’s work the butt of a joke. It’s also far from a parody show like the \u003ca href=\"https://en.wikipedia.org/wiki/Golden_Raspberry_Awards\" target=\"_blank\" rel=\"noopener\">Golden Raspberry Awards\u003c/a>. Isaacson, a film director herself, makes it clear: “This is by filmmakers, and for filmmakers.”\u003c/p>\n\u003cp>Once people hear the story of how it started, she says, they understand that it’s about community and vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13979722\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979722 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg\" alt=\"A dark room full of audience members focus on one person standing on stage with a microphone.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Keren Southall stands on stage at the inaugural gathering for The Worst Film Fest in 2024. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Isaacson refers back to a 2024 meeting between the founding trio, where one of them asked the others, “Want to see the worst thing I’ve ever done?”\u003c/p>\n\u003cp>The three started sharing film clips they’d promised would never see the light of day. “Turns out the three of us have some pretty embarrassing stuff,” Isaacson says, adding that “we just couldn’t stop laughing.”\u003c/p>\n\u003cp>As they gave feedback to each other and reflected on their experiences, a miniature rendition of the festival began taking place. “We kind of looked at each other jokingly,” says Isaacson, “and said: ‘Oh, this actually is the festival we need.'”\u003c/p>\n\u003cp>Southall, an actor and producer, wondered if it was possible to create “this little vulnerable pocket” for other filmmakers in a short period of time. Collectively working as volunteers, they started planning in April of 2024 and held a successful event four months later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Filmmakers actually showed us their worst work,” Southall remarks, still slightly surprised. “There was really truly something magical that happened that first time around,” she says. “Filmmakers totally understood the process.”\u003c/p>\n\u003cp>In a world where artists are usually buttoned-up and primed to put their best foot forward, Cheifetz says doing the inverse oddly makes sense.\u003c/p>\n\u003cp>“My worst project is one of the projects that I had the most fun working on,” she says, reflecting on the longstanding connections she’s made over the course of failed productions. “Just because it’s your worst and isn’t something you initially might want to show other professionals, it’s still something that, as filmmakers, brings out our passions,” she says. “And we still love to do it even when it is our worst.”\u003c/p>\n\u003cp>At the festival, the term “worst” is a self-determined status. Some filmmakers have completely botched scenes, while others have struggled to land distribution deals. There’s levels to “failure.”\u003c/p>\n\u003cp>With that in mind, Southall notes the importance of establishing a tone of respect during the event. Last year, the team did that by boldly displaying their own movie mistakes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We actually had an LED wall, which we will have again at this year’s fest, showcasing our first three projects,” says Southall. “When filmmakers come in, they can see a display of our worst work on the side,” she says. “That way we can be just as vulnerable as they are.”\u003c/p>\n\u003cp>Last year’s event welcomed indie filmmakers and representatives from collectives like \u003ca href=\"https://www.makeitbay.org/\" target=\"_blank\" rel=\"noopener\">#MakeItBay\u003c/a>, \u003ca href=\"https://cinemamafilm.com/\" target=\"_blank\" rel=\"noopener\">Cinemama\u003c/a> and other organizations. Cheifetz noticed that by reframing the idea of “failure,” it aided the process of not only filmmaking, but community building.\u003c/p>\n\u003cp>“It takes a little bit of the networking and socialization pressure off when you don’t have that fear just hanging over you,” she says. “And when all of that weight is lifted, then it’s just a breath of fresh air and a chance to just be real.”\u003c/p>\n\u003cp>Now with support from \u003ca href=\"https://url.us.m.mimecastprotect.com/s/ef2jC0R94PI4kN7LCwfAi9VVQW?domain=mamadogstudios.com\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Dog Studios,\u003c/a> as well as \u003ca href=\"https://www.littlegiantlighting.com/\">The Little Giant Lighting & Grip Co.\u003c/a>, \u003ca href=\"https://oaklandunitedbeerworks.com/\">Oakland United Beerworks\u003c/a> and the longstanding Northern Californian production services supply company \u003ca href=\"https://www.ranahan.com/\" target=\"_blank\" rel=\"noopener\">Ranahan\u003c/a>, this year the team is looking for more of the magic they experienced last year.\u003c/p>\n\u003cp>A safe classroom, where students get critical yet careful feedback, and “failure” is used as a teaching tool; a place where highlighting an individual’s “worst” is a part of making the larger collective better. Imagine if all schools were like that?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Worst Film Fest takes place Thursday, Aug. 28, at Mama Dog Studios (700 26th Street, Oakland). \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "freakier-friday-movie-review-lindsay-lohan-jamie-lee-curis-manny-jacinto-comedy-sequel",
"title": "‘Freakier Friday’ Reunites Lohan and Curtis for Feel-Good (But Confusing) Fun",
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"headTitle": "‘Freakier Friday’ Reunites Lohan and Curtis for Feel-Good (But Confusing) Fun | KQED",
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"content": "\u003cp>It’s a tale as old as time — or at least, a tale \u003ca href=\"https://www.kqed.org/pop/tag/hollywood\">Hollywood\u003c/a> loves to tell again and again: Body-swapping. It’s magical. It’s comical. It carries heartwarming messages about walking in another’s shoes, and learning about oneself along the way.\u003c/p>\n\u003cp>So it’s hardly surprising that \u003cem>Freaky Friday\u003c/em>, the 2003 version of the 1972 Mary Rodgers novel starring \u003ca href=\"https://www.kqed.org/pop/tag/lindsay-lohan\">Lindsay Lohan\u003c/a> and Jamie Lee Curtis, was a hit. Lohan was endearing and charismatic as an appealing, mildly turbulent teenager, and Curtis was a comic hoot as her control-freak therapist mom.\u003c/p>\n\u003cp>[aside postid='arts_13978623']And while there were a few misfires — the stereotypical Asian representation has aged badly — the film was powered by an easy chemistry between the two stars. So why not revisit the story in 2025? Sequels are often made for far less compelling reasons.\u003c/p>\n\u003cp>The chief weakness of \u003cem>Freakier Friday\u003c/em> — which brings Curtis and Lohan back for an amiable, often joyful and certainly chaotic reunion — is that while it hews overly closely to the structure, storyline and even dialogue of the original, it tries too hard to up the ante. The comedy is thus a bit more manic, and the plot machinations more overwrought (or sometimes distractingly silly).\u003c/p>\n\u003cp>Then there’s the double body-swapping. Because one major swap isn’t enough, here we have two sets of swappers — a quixotic quartet of lives disrupted during the lead-up to, yes, another wedding! The problem is that sometimes, it’s actually hard to keep track of who’s inhabiting whom, and therefore why they’re doing what.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IyJzhtJEtoU\u003c/p>\n\u003cp>Not to say that \u003cem>Freakier Friday\u003c/em>, directed with gusto by Nisha Ganatra, doesn’t have moments of comic glee. I’ll admit to laughing out loud — with everyone else older than 30 near me — when two teens were trying to locate an adult contact and one of them pulled up \u003ca href=\"https://www.kqed.org/arts/tag/facebook\">Facebook\u003c/a>, explaining: “It’s like a database of old people!” Touché, guys.\u003c/p>\n\u003cp>These “youngsters” are actually Lohan and Curtis, playing ninth-graders trapped in adult bodies. Before we get to that, though: We begin 22 years after we last saw Lohan’s Anna, playing electric guitar at her mom’s wedding. Now a single mom herself with a job managing a young pop star, she’s trying to get her daughter up for school. Harper (the excellent Julia Butters) is — surprise! — an appealing, mildly turbulent teenager. And just like Anna two decades ago, she keeps people out of her bedroom. “Prepare to be triggered!” Anna yells before barging in. (The dialogue has been duly updated to the present time.)\u003c/p>\n\u003cp>[aside postid='arts_13979097']Driving to school drop-off, Anna is joined by her mom, Tess (Curtis), who has stylish gray hair now and is still a practicing therapist, podcaster and author whose latest topic is “Rebelling with Respect.” Dropping Harper off, Anna calls out “Make good choices!” — just what mom Tess used to say, natch.\u003c/p>\n\u003cp>At school, Harper butts heads with transfer student Lily (Sophia Hammons), a budding fashion designer who hails from Britain and is very snooty. Anna is called to see the principal. There, she meets Lily’s dishy chef dad Eric (\u003ca href=\"https://www.kqed.org/arts/13812472/the-good-psychology-in-the-good-place\">Manny Jacinto\u003c/a>), and the two flirt so intensely, the principal herself makes them a dinner reservation.\u003c/p>\n\u003cp>All it takes is one cute dating montage, and poof, Anna and Eric are engaged. But things are still bad between Harper and Lily, whose animosity triggers a weirdly violent, all-school food fight on bake sale day. But they all have a bachelorette party to attend. There, a wacky fortune-teller and barista and business-card maker — Vanessa Bayer, in a cameo that perhaps, no definitely goes on too long — reads their palms. And then the earth starts shaking.\u003c/p>\n\u003cp>\u003cem>Freaky\u003c/em> fans know what happens next. The four awaken the next morning, each inhabiting someone else. Anna is Harper. Tess is Lily. Harper is Anna. Lily is Tess. We’ll be testing you on this later!\u003c/p>\n\u003cfigure id=\"attachment_13979667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2.png\" alt=\"A white girl with scruffy blond hair and a taller, slender multiracial girl with long brown hair stand indoors together looking unimpressed. They are both covered with paint spatters. \" width=\"2000\" height=\"1251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2-1536x961.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Butters (L) and Sophia Hammons in a scene from ‘Freakier Friday.’ \u003ccite>(Glen Wilson/Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seriously, it’s easy to lose the thread. Also, one wonders: why doesn’t Lily’s British accent travel with her to Tess’s body? If Curtis suddenly had a British accent, the pairing would make a lot more sense.\u003c/p>\n\u003cp>Anyway, they go about their days. Lily, in Tess’ body, plays pickleball awkwardly with husband Ryan (Mark Harmon is back, in a thankless part). Harper, in Anna’s body, goes to a pre-wedding tango lesson with Eric, with disastrous results. Meanwhile Anna and Tess, in their teen bodies, feast on junk food with impunity. “I haven’t eaten real dairy since the Bush administration,” one says.\u003c/p>\n\u003cp>[aside postid='arts_13979521']Curtis, aka Lily, gets her best moment in a drugstore, when her hubby asks her to get supplies from the “senior” aisle, and she stockpiles everything from adult diapers to enemas. Lohan’s at her comic best when, as Harper, she tries to flirt the way she thinks her mother would. She’s flirting with Jake (Chad Michael Murray) — yes, the hunky guy from the original — and her flirting is so weird, Jake thinks she’s having a stroke.\u003c/p>\n\u003cp>It all barrels toward a conclusion that we won’t spoil. Will the wedding be derailed by the efforts of Lily and Harper? Will that derailment be temporary? Will the sisters-to-be reach an understanding? Will Lohan get to play the electric guitar? Will everyone grow to appreciate each other?\u003c/p>\n\u003cp>That last question, we can answer. Of course they will. Whoever they are, and whatever they just did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Freakier Friday’ is released nationwide on Aug. 8, 2025\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a tale as old as time — or at least, a tale \u003ca href=\"https://www.kqed.org/pop/tag/hollywood\">Hollywood\u003c/a> loves to tell again and again: Body-swapping. It’s magical. It’s comical. It carries heartwarming messages about walking in another’s shoes, and learning about oneself along the way.\u003c/p>\n\u003cp>So it’s hardly surprising that \u003cem>Freaky Friday\u003c/em>, the 2003 version of the 1972 Mary Rodgers novel starring \u003ca href=\"https://www.kqed.org/pop/tag/lindsay-lohan\">Lindsay Lohan\u003c/a> and Jamie Lee Curtis, was a hit. Lohan was endearing and charismatic as an appealing, mildly turbulent teenager, and Curtis was a comic hoot as her control-freak therapist mom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And while there were a few misfires — the stereotypical Asian representation has aged badly — the film was powered by an easy chemistry between the two stars. So why not revisit the story in 2025? Sequels are often made for far less compelling reasons.\u003c/p>\n\u003cp>The chief weakness of \u003cem>Freakier Friday\u003c/em> — which brings Curtis and Lohan back for an amiable, often joyful and certainly chaotic reunion — is that while it hews overly closely to the structure, storyline and even dialogue of the original, it tries too hard to up the ante. The comedy is thus a bit more manic, and the plot machinations more overwrought (or sometimes distractingly silly).\u003c/p>\n\u003cp>Then there’s the double body-swapping. Because one major swap isn’t enough, here we have two sets of swappers — a quixotic quartet of lives disrupted during the lead-up to, yes, another wedding! The problem is that sometimes, it’s actually hard to keep track of who’s inhabiting whom, and therefore why they’re doing what.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IyJzhtJEtoU'\n title='//www.youtube.com/embed/IyJzhtJEtoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not to say that \u003cem>Freakier Friday\u003c/em>, directed with gusto by Nisha Ganatra, doesn’t have moments of comic glee. I’ll admit to laughing out loud — with everyone else older than 30 near me — when two teens were trying to locate an adult contact and one of them pulled up \u003ca href=\"https://www.kqed.org/arts/tag/facebook\">Facebook\u003c/a>, explaining: “It’s like a database of old people!” Touché, guys.\u003c/p>\n\u003cp>These “youngsters” are actually Lohan and Curtis, playing ninth-graders trapped in adult bodies. Before we get to that, though: We begin 22 years after we last saw Lohan’s Anna, playing electric guitar at her mom’s wedding. Now a single mom herself with a job managing a young pop star, she’s trying to get her daughter up for school. Harper (the excellent Julia Butters) is — surprise! — an appealing, mildly turbulent teenager. And just like Anna two decades ago, she keeps people out of her bedroom. “Prepare to be triggered!” Anna yells before barging in. (The dialogue has been duly updated to the present time.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Driving to school drop-off, Anna is joined by her mom, Tess (Curtis), who has stylish gray hair now and is still a practicing therapist, podcaster and author whose latest topic is “Rebelling with Respect.” Dropping Harper off, Anna calls out “Make good choices!” — just what mom Tess used to say, natch.\u003c/p>\n\u003cp>At school, Harper butts heads with transfer student Lily (Sophia Hammons), a budding fashion designer who hails from Britain and is very snooty. Anna is called to see the principal. There, she meets Lily’s dishy chef dad Eric (\u003ca href=\"https://www.kqed.org/arts/13812472/the-good-psychology-in-the-good-place\">Manny Jacinto\u003c/a>), and the two flirt so intensely, the principal herself makes them a dinner reservation.\u003c/p>\n\u003cp>All it takes is one cute dating montage, and poof, Anna and Eric are engaged. But things are still bad between Harper and Lily, whose animosity triggers a weirdly violent, all-school food fight on bake sale day. But they all have a bachelorette party to attend. There, a wacky fortune-teller and barista and business-card maker — Vanessa Bayer, in a cameo that perhaps, no definitely goes on too long — reads their palms. And then the earth starts shaking.\u003c/p>\n\u003cp>\u003cem>Freaky\u003c/em> fans know what happens next. The four awaken the next morning, each inhabiting someone else. Anna is Harper. Tess is Lily. Harper is Anna. Lily is Tess. We’ll be testing you on this later!\u003c/p>\n\u003cfigure id=\"attachment_13979667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2.png\" alt=\"A white girl with scruffy blond hair and a taller, slender multiracial girl with long brown hair stand indoors together looking unimpressed. They are both covered with paint spatters. \" width=\"2000\" height=\"1251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/freakier-2-1536x961.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Butters (L) and Sophia Hammons in a scene from ‘Freakier Friday.’ \u003ccite>(Glen Wilson/Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seriously, it’s easy to lose the thread. Also, one wonders: why doesn’t Lily’s British accent travel with her to Tess’s body? If Curtis suddenly had a British accent, the pairing would make a lot more sense.\u003c/p>\n\u003cp>Anyway, they go about their days. Lily, in Tess’ body, plays pickleball awkwardly with husband Ryan (Mark Harmon is back, in a thankless part). Harper, in Anna’s body, goes to a pre-wedding tango lesson with Eric, with disastrous results. Meanwhile Anna and Tess, in their teen bodies, feast on junk food with impunity. “I haven’t eaten real dairy since the Bush administration,” one says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Curtis, aka Lily, gets her best moment in a drugstore, when her hubby asks her to get supplies from the “senior” aisle, and she stockpiles everything from adult diapers to enemas. Lohan’s at her comic best when, as Harper, she tries to flirt the way she thinks her mother would. She’s flirting with Jake (Chad Michael Murray) — yes, the hunky guy from the original — and her flirting is so weird, Jake thinks she’s having a stroke.\u003c/p>\n\u003cp>It all barrels toward a conclusion that we won’t spoil. Will the wedding be derailed by the efforts of Lily and Harper? Will that derailment be temporary? Will the sisters-to-be reach an understanding? Will Lohan get to play the electric guitar? Will everyone grow to appreciate each other?\u003c/p>\n\u003cp>That last question, we can answer. Of course they will. Whoever they are, and whatever they just did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Freakier Friday’ is released nationwide on Aug. 8, 2025\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tragedy, Sorcery and Gore: ‘Weapons’ Is a Forboding Thriller",
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"content": "\u003cp>An enduring image from the new movie \u003cem>Weapons\u003c/em> comes early: The sight of elementary school students running out of their homes and onto the suburban grass, moving like flying birds with their arms out, to a song by \u003ca href=\"https://video.kqed.org/show/concert-george/\">George Harrison\u003c/a>.\u003c/p>\n\u003cp>Except this is happening at night — at 2:17 a.m., to be precise — and there’s no glee from the kids. Just running. And the Harrison song being played isn’t the cheerful “Here Comes the Sun.” It’s “Beware the Darkness.” Welcome back to another outing by director-writer Zach Cregger, a modern thriller master.\u003c/p>\n\u003cp>[aside postid='arts_13977694']\u003cem>Weapons\u003c/em> is his sophomore effort and it’s more ambitious than his first, \u003cem>Barbarian\u003c/em>. It’s told in chapters from the perspective of various interweaving characters — like a horror version of \u003ca href=\"https://freshairarchive.org/segments/paul-thomas-anderson-discusses-magnolia\">Paul Thomas Anderson’s \u003cem>Magnolia\u003c/em>\u003c/a> — and explores the ripple effects from a tragic event. But it often lags and slackens on its way to a gruesome end, with a reliance on sorcery that seems like a cop-out.\u003c/p>\n\u003cp>“This is a true story,” says a child narrator at the start of the movie, only for that technique to disappear shortly afterward. “A lot of people die in a lot of weird ways.” Indeed: There’s some fork stabbings, an assault with a vegetable peeler and one victim takes so many headbutts that his skull caves in.\u003c/p>\n\u003cp>The event at the movie’s heart is the disappearance of 17 third-graders from a single class in the middle of the night in the leafy town of Maybrook, Illinois. Ring cameras catch them opening their front doors and rushing out, not to be seen again. Only one child from the class showed up the next day at school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everyone is baffled and frustrated. Did the kids plan it together? Were they sent a coded message via a video game or social media? Why was one child from the class seemingly spared? And does the teacher know more than what she’s letting on?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OpThntO9ixc\u003c/p>\n\u003cp>Julia Garner, who plays the teacher, offers us a fascinating, spiky character, prone to pity parties and self-righteous outbursts. She’s also seductive and manipulative and growing reliant on booze to cope with the suspicions leveled at her. At one point, someone scrawls the word “witch” on her Toyota. The town will soon know what that word really means.\u003c/p>\n\u003cp>Garner — who is doing double duty this summer as the Silver Surfer in \u003cem>Fantastic Four: First Steps\u003c/em>, wow, quite a range — is warned to stay away from the case but refuses, doing her own stakeouts and trying to speak to the only surviving classmate. “We are the only ones left,” she says.\u003c/p>\n\u003cp>Cregger being Cregger, there are lots of misdirections, paranoia and an almost existential sense of humor, usually mocking horror movie conventions (and, in this case, the movie \u003cem>Willow\u003c/em>). In \u003cem>Weapons\u003c/em>, he also nicely shows the quiet resilience of kids and their ability to face daily horrors and keep going, trying to help those they love despite creepy awfulness.\u003c/p>\n\u003cp>[aside postid='arts_13979297']The upset parents are represented by Josh Brolin’s broken father, whose son was one of the 17 who fled. He sleeps in his son’s room, wracked by guilt that he couldn’t protect someone so dear. He soon will join forces with the teacher to uncover the secret of what made the children run.\u003c/p>\n\u003cp>They will also collide into a local drug user/low-level criminal, played superbly by \u003ca href=\"https://www.kqed.org/arts/13809270/a-college-bound-lad-and-his-unbound-dad-in-brads-status\">Austin Abrams\u003c/a>, whose bumbling, comic relief is welcome. Amy Madigan is unrecognizable and utterly mesmerizing as an oddball aunt of the surviving boy, a splendid Cary Christopher.\u003c/p>\n\u003cp>\u003cem>Weapons\u003c/em> is best before the final third, when we learn of an outside force that may have triggered all this misery. Cregger seemed to be on more solid footing mocking suburban life, showing the savagery below the mowed grass pleasantries, the quiet desperation inside marriages and the corruption of small-town police departments.\u003c/p>\n\u003cp>If \u003cem>Barbarian\u003c/em> came out of left field three years ago and heralded an exciting new voice in filmmaking, \u003cem>Weapons\u003c/em> doesn’t disappoint but it doesn’t have the advantage of surprise. It will, at the very least, make you feel a little dread when the clock hits 2:17 a.m.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Weapons’ is released nationwide on Aug. 8, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An enduring image from the new movie \u003cem>Weapons\u003c/em> comes early: The sight of elementary school students running out of their homes and onto the suburban grass, moving like flying birds with their arms out, to a song by \u003ca href=\"https://video.kqed.org/show/concert-george/\">George Harrison\u003c/a>.\u003c/p>\n\u003cp>Except this is happening at night — at 2:17 a.m., to be precise — and there’s no glee from the kids. Just running. And the Harrison song being played isn’t the cheerful “Here Comes the Sun.” It’s “Beware the Darkness.” Welcome back to another outing by director-writer Zach Cregger, a modern thriller master.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Weapons\u003c/em> is his sophomore effort and it’s more ambitious than his first, \u003cem>Barbarian\u003c/em>. It’s told in chapters from the perspective of various interweaving characters — like a horror version of \u003ca href=\"https://freshairarchive.org/segments/paul-thomas-anderson-discusses-magnolia\">Paul Thomas Anderson’s \u003cem>Magnolia\u003c/em>\u003c/a> — and explores the ripple effects from a tragic event. But it often lags and slackens on its way to a gruesome end, with a reliance on sorcery that seems like a cop-out.\u003c/p>\n\u003cp>“This is a true story,” says a child narrator at the start of the movie, only for that technique to disappear shortly afterward. “A lot of people die in a lot of weird ways.” Indeed: There’s some fork stabbings, an assault with a vegetable peeler and one victim takes so many headbutts that his skull caves in.\u003c/p>\n\u003cp>The event at the movie’s heart is the disappearance of 17 third-graders from a single class in the middle of the night in the leafy town of Maybrook, Illinois. Ring cameras catch them opening their front doors and rushing out, not to be seen again. Only one child from the class showed up the next day at school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everyone is baffled and frustrated. Did the kids plan it together? Were they sent a coded message via a video game or social media? Why was one child from the class seemingly spared? And does the teacher know more than what she’s letting on?\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/OpThntO9ixc'\n title='//www.youtube.com/embed/OpThntO9ixc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Julia Garner, who plays the teacher, offers us a fascinating, spiky character, prone to pity parties and self-righteous outbursts. She’s also seductive and manipulative and growing reliant on booze to cope with the suspicions leveled at her. At one point, someone scrawls the word “witch” on her Toyota. The town will soon know what that word really means.\u003c/p>\n\u003cp>Garner — who is doing double duty this summer as the Silver Surfer in \u003cem>Fantastic Four: First Steps\u003c/em>, wow, quite a range — is warned to stay away from the case but refuses, doing her own stakeouts and trying to speak to the only surviving classmate. “We are the only ones left,” she says.\u003c/p>\n\u003cp>Cregger being Cregger, there are lots of misdirections, paranoia and an almost existential sense of humor, usually mocking horror movie conventions (and, in this case, the movie \u003cem>Willow\u003c/em>). In \u003cem>Weapons\u003c/em>, he also nicely shows the quiet resilience of kids and their ability to face daily horrors and keep going, trying to help those they love despite creepy awfulness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The upset parents are represented by Josh Brolin’s broken father, whose son was one of the 17 who fled. He sleeps in his son’s room, wracked by guilt that he couldn’t protect someone so dear. He soon will join forces with the teacher to uncover the secret of what made the children run.\u003c/p>\n\u003cp>They will also collide into a local drug user/low-level criminal, played superbly by \u003ca href=\"https://www.kqed.org/arts/13809270/a-college-bound-lad-and-his-unbound-dad-in-brads-status\">Austin Abrams\u003c/a>, whose bumbling, comic relief is welcome. Amy Madigan is unrecognizable and utterly mesmerizing as an oddball aunt of the surviving boy, a splendid Cary Christopher.\u003c/p>\n\u003cp>\u003cem>Weapons\u003c/em> is best before the final third, when we learn of an outside force that may have triggered all this misery. Cregger seemed to be on more solid footing mocking suburban life, showing the savagery below the mowed grass pleasantries, the quiet desperation inside marriages and the corruption of small-town police departments.\u003c/p>\n\u003cp>If \u003cem>Barbarian\u003c/em> came out of left field three years ago and heralded an exciting new voice in filmmaking, \u003cem>Weapons\u003c/em> doesn’t disappoint but it doesn’t have the advantage of surprise. It will, at the very least, make you feel a little dread when the clock hits 2:17 a.m.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Weapons’ is released nationwide on Aug. 8, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The perils of the dating scene are vast, but there are horrors in long-term relationships too. With intimacy and commitment, there can also come codependency and even convergence. Once individuals, some couples start to dress alike, act alike and even, terrifyingly, look alike.\u003c/p>\n\u003cp>On the comedic end, there’s the smug marrieds table of \u003ca href=\"https://www.kqed.org/arts/13251856/bridget-jones-author-wins-comic-fiction-prize-and-a-pig\">\u003cem>Bridget Jones\u003c/em>\u003c/a>. And then there’s the scary end in \u003cem>Together\u003c/em>, in which convergence is rendered more literally and where the \u003ca href=\"https://www.kqed.org/pop/tag/spice-girls\">Spice Girls\u003c/a> anthem “2 Become 1” takes on a whole new, horrifying meaning.\u003c/p>\n\u003cp>[aside postid='arts_13977694']\u003cem>Together\u003c/em>, written and directed by Australian filmmaker Michael Shanks in his feature debut, stars Alison Brie and Dave Franco as the converging couple Millie and Tim. Brie and Franco bring some authenticity to the roles — in real life, they’ve been together for nearly 15 years and married for eight. When they’re calling one another “babe” on-screen or reacting to the other’s light flirting with someone else, the lived-in comfort and easy rapport is evident. That’s not to say this film doesn’t require them to stretch or act, but the base credibility established by that off-screen fact goes a long way in selling the wild things that transpire down the line.\u003c/p>\n\u003cp>When we meet them, at a farewell party with friends in \u003ca href=\"https://www.kqed.org/arts/tag/new-york\">New York\u003c/a>, they don’t seem particularly happy together as they prepare to embark on a big life step: moving to the country for Millie’s teaching job. Tim is embarrassed when he’s made aware of the fact that they’re dressed similarly and immediately changes. The mood overall is a little less than joyous — both seem hesitant and their friends aren’t exactly supportive either. We learn early that their physical relationship has been lacking for some time. But it’s already set in motion and Tim and Millie seem destined, or perhaps doomed, to stay together whether they like it or not.\u003c/p>\n\u003cp>There are a lot of strange things happening in the country before the body horror enters the picture. Tim is haunted by the memory of discovering his parents dead — a frightening image that we’re faced with several times. And he’s having a visceral reaction to some of the smells in the old home. A warning: Food does not pair well with \u003cem>Together\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UJ0mygAig8Y\u003c/p>\n\u003cp>Things start to go really downhill when the city couple goes for a little hike in the woods and ends up spending the night in a cavernous hole they’ve fallen into. In the morning, they discover their legs are stuck together by a gooey film. It’s immensely painful for them to separate. This is among the most minor of the disturbing images to come, so brace yourself. It might not be Cronenberg, but it’s effective.\u003c/p>\n\u003cp>We moviegoers can take the art of body horror for granted, but the makeup, prosthetics and effects teams deserve a lot of credit for making this work. Shanks has a command of the tone and pacing, which isn’t without moments of humor and lightness along with the trauma and gore. Tim, in this transformation, is suddenly very hot for Millie, which results in one particularly intense encounter that is at turns awkward, comedic, heartbreaking and utterly disgusting. It’s an impressive combination.\u003c/p>\n\u003cp>[aside postid='arts_13979097']I’ll respectfully stay out of the debate about whether \u003cem>Together\u003c/em> is the best or worst date-night movie ever (depends on the relationship, I’d say), but it could make for a fun double feature with its Sundance companion \u003cem>\u003ca href=\"https://www.kqed.org/arts/13979097/oh-hi-logan-lerman-molly-gordon-dark-comedy-dating\">Oh, Hi!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are times when \u003cem>Together\u003c/em> does start to feel a bit redundant in the wait for the crescendo and conclusion. And like many horror movies, there might be a little too much explanation given for why these things are occurring. Perhaps the alternative would be equally frustrating.\u003c/p>\n\u003cp>Still, it’s an impressive work of independent cinema that stays shockingly grounded thanks to its two leads and their fearless performances. If Shanks can do \u003cem>Together\u003c/em> with a limited budget, it’s exciting to think what he might dream up with a bigger canvas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Together’ is released nationwide on July 30, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The perils of the dating scene are vast, but there are horrors in long-term relationships too. With intimacy and commitment, there can also come codependency and even convergence. Once individuals, some couples start to dress alike, act alike and even, terrifyingly, look alike.\u003c/p>\n\u003cp>On the comedic end, there’s the smug marrieds table of \u003ca href=\"https://www.kqed.org/arts/13251856/bridget-jones-author-wins-comic-fiction-prize-and-a-pig\">\u003cem>Bridget Jones\u003c/em>\u003c/a>. And then there’s the scary end in \u003cem>Together\u003c/em>, in which convergence is rendered more literally and where the \u003ca href=\"https://www.kqed.org/pop/tag/spice-girls\">Spice Girls\u003c/a> anthem “2 Become 1” takes on a whole new, horrifying meaning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Together\u003c/em>, written and directed by Australian filmmaker Michael Shanks in his feature debut, stars Alison Brie and Dave Franco as the converging couple Millie and Tim. Brie and Franco bring some authenticity to the roles — in real life, they’ve been together for nearly 15 years and married for eight. When they’re calling one another “babe” on-screen or reacting to the other’s light flirting with someone else, the lived-in comfort and easy rapport is evident. That’s not to say this film doesn’t require them to stretch or act, but the base credibility established by that off-screen fact goes a long way in selling the wild things that transpire down the line.\u003c/p>\n\u003cp>When we meet them, at a farewell party with friends in \u003ca href=\"https://www.kqed.org/arts/tag/new-york\">New York\u003c/a>, they don’t seem particularly happy together as they prepare to embark on a big life step: moving to the country for Millie’s teaching job. Tim is embarrassed when he’s made aware of the fact that they’re dressed similarly and immediately changes. The mood overall is a little less than joyous — both seem hesitant and their friends aren’t exactly supportive either. We learn early that their physical relationship has been lacking for some time. But it’s already set in motion and Tim and Millie seem destined, or perhaps doomed, to stay together whether they like it or not.\u003c/p>\n\u003cp>There are a lot of strange things happening in the country before the body horror enters the picture. Tim is haunted by the memory of discovering his parents dead — a frightening image that we’re faced with several times. And he’s having a visceral reaction to some of the smells in the old home. A warning: Food does not pair well with \u003cem>Together\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’ll respectfully stay out of the debate about whether \u003cem>Together\u003c/em> is the best or worst date-night movie ever (depends on the relationship, I’d say), but it could make for a fun double feature with its Sundance companion \u003cem>\u003ca href=\"https://www.kqed.org/arts/13979097/oh-hi-logan-lerman-molly-gordon-dark-comedy-dating\">Oh, Hi!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are times when \u003cem>Together\u003c/em> does start to feel a bit redundant in the wait for the crescendo and conclusion. And like many horror movies, there might be a little too much explanation given for why these things are occurring. Perhaps the alternative would be equally frustrating.\u003c/p>\n\u003cp>Still, it’s an impressive work of independent cinema that stays shockingly grounded thanks to its two leads and their fearless performances. If Shanks can do \u003cem>Together\u003c/em> with a limited budget, it’s exciting to think what he might dream up with a bigger canvas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Together’ is released nationwide on July 30, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nothing about \u003cem>\u003ca href=\"https://jfi.org/sfjff-2025/film-guide/my-underground-mother\">My Underground Mother\u003c/a>\u003c/em> is easy to watch. Violence is ever-present in journalist Marisa Fox’s investigation into her Jewish mother’s concealed life during and after World War II. And over the course of the film, Fox’s mother Hela Hocherman emerges as both a victim and a perpetrator of that violence.\u003c/p>\n\u003cp>[aside postid='arts_13978098']The majority of the film reveals the harrowing fates of thousands of Jewish girls who spent World War II imprisoned in forced-labor camps. Viewing the Holocaust from the perspectives of teen girls feels starkly revelatory, as Fox depicts how sexual violence is weaponized during war.\u003c/p>\n\u003cp>The final 15 minutes of \u003cem>My Underground Mother\u003c/em> is an examination of Hocherman’s postwar life. She became a militant Zionist operating in Palestine with Haganah, a paramilitary organization that attacked and disrupted the British forces charged with keeping Jewish refugees out of Palestine until 1948. While Hocherman’s activities are neither held up as heroic nor vilified in the film, it also does not mention the hundreds of thousands of Palestinian people caught up in that postwar conflict and ultimately displaced by the founding of Israel. At best, this is a frustrating omission. At worst, it feels pointedly neglectful.\u003c/p>\n\u003cp>That’s not to say \u003cem>My Underground Mother\u003c/em> isn’t worth your time. In many ways, the film’s value is born directly from its challenging subject matter.\u003c/p>\n\u003cp>The documentary begins with Fox’s journey into Europe to find out who her mother really was. After moving to the U.S. at the age of 30, Hocherman spent her life hiding who she had been before, using an entirely different name and even lying to her Brooklyn-born husband about her past. Hocherman’s reasons were, in Fox’s estimation, likely an attempt to conceal “how dehumanizing part of her life was.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13977502']Hocherman told her American family that she spent the war safe in Palestine, and that she escaped from Poland before German forces invaded. The truth, Fox discovers, is that her mother was forcibly taken from her Polish apartment building at the age of 14, separated from her family, and transported to Gabersdorf, a forced-labor camp. Hocherman remained there with hundreds of other teenage girls for four and a half years while her mother languished in Auschwitz. (Tragically, Fox’s grandmother died from typhus shortly after she was liberated.)\u003c/p>\n\u003cp>At Gabersdorf, Hocherman endured 12-hour work days with no breaks, in silence, under threat of severe beatings. At night, she slept in lice- and bedbug-infested barracks with 41 other girls. And as the teens aged, they came under increasingly invasive threats of sexual exploitation and violence. After Gabersdorf was finally liberated, the ever-present threat of rape remained — even from their liberators.\u003c/p>\n\u003cp>“We knew what it is to be a Jew,” one survivor says in the film, “but we didn’t feel it on our bodies until Hitler came.”\u003c/p>\n\u003cp>Hocherman’s story is relayed to Fox by friends who knew her mother, both inside Gabersdorf and outside the camp’s barbed-wire fences. Further details are revealed by historical documents, secret camp diaries, and the German women who were paid to work alongside the Gabersdorf prisoners, but forbidden to talk to them. It’s tempting in 2025 to assume we’ve heard every possible narrative about the Holocaust. \u003cem>My Underground Mother\u003c/em> proves otherwise.\u003c/p>\n\u003cp>Hocherman’s wartime experience turned her militant. Fox learns that her mother was involved in many clandestine Haganah actions against British troops in Palestine, including blowing up trains. One interviewee tells Fox that her mother killed at least one British officer during the Zionists’ fight.\u003c/p>\n\u003cp>Hanna Armoni, a former member of the Lehi Underground, another Zionist group, says Hocherman once told her, “After what I saw, what the Germans did to us, how the British treated us, I wanted to fight for my country.”\u003c/p>\n\u003cp>“My mother’s way of rejecting shame,” Fox says, “was to reinvent herself a freedom fighter.”\u003c/p>\n\u003cp>Throughout, the film does not acknowledge the experience of Palestinians past or present. Viewers in 2025 may find this uncomfortable, especially as \u003ca href=\"https://www.npr.org/2025/07/29/g-s1-79039/gaza-children-starvation-health-risks\">Palestinians starve\u003c/a> and the \u003ca href=\"https://www.haaretz.com/israel-news/2025-07-28/ty-article/netanyahu-proposes-to-annex-gaza-in-attempt-to-appease-far-right-minister/00000198-525a-dc50-a9bf-ff7ba06f0000\">Gaza Strip is under threat of annexation\u003c/a>.\u003c/p>\n\u003cp>Though the portion of \u003cem>My Underground Mother\u003c/em> that concerns Gabersdorf feels very different in tone to the chapter about Hocherman’s postwar militancy, there is one overarching theme that connects the two: Humankind is capable of incredible cruelty.\u003c/p>\n\u003cp>As Fox realizes everything her mother went through and concealed, the filmmaker’s raw emotions are what makes this film so compelling. “Wherever you are, Mom,” Fox says in the film, “I wish you didn’t feel you had to be alone with this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://jfi.org/sfjff-2025/film-guide/my-underground-mother\">My Underground Mother\u003c/a>’ premieres at Oakland’s Landmark Piedmont Theatre on Aug. 2, 2025 at 8:30 p.m., as part of the \u003ca href=\"https://jfi.org/sfjff-2025\">45th San Francisco Jewish Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing about \u003cem>\u003ca href=\"https://jfi.org/sfjff-2025/film-guide/my-underground-mother\">My Underground Mother\u003c/a>\u003c/em> is easy to watch. Violence is ever-present in journalist Marisa Fox’s investigation into her Jewish mother’s concealed life during and after World War II. And over the course of the film, Fox’s mother Hela Hocherman emerges as both a victim and a perpetrator of that violence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The majority of the film reveals the harrowing fates of thousands of Jewish girls who spent World War II imprisoned in forced-labor camps. Viewing the Holocaust from the perspectives of teen girls feels starkly revelatory, as Fox depicts how sexual violence is weaponized during war.\u003c/p>\n\u003cp>The final 15 minutes of \u003cem>My Underground Mother\u003c/em> is an examination of Hocherman’s postwar life. She became a militant Zionist operating in Palestine with Haganah, a paramilitary organization that attacked and disrupted the British forces charged with keeping Jewish refugees out of Palestine until 1948. While Hocherman’s activities are neither held up as heroic nor vilified in the film, it also does not mention the hundreds of thousands of Palestinian people caught up in that postwar conflict and ultimately displaced by the founding of Israel. At best, this is a frustrating omission. At worst, it feels pointedly neglectful.\u003c/p>\n\u003cp>That’s not to say \u003cem>My Underground Mother\u003c/em> isn’t worth your time. In many ways, the film’s value is born directly from its challenging subject matter.\u003c/p>\n\u003cp>The documentary begins with Fox’s journey into Europe to find out who her mother really was. After moving to the U.S. at the age of 30, Hocherman spent her life hiding who she had been before, using an entirely different name and even lying to her Brooklyn-born husband about her past. Hocherman’s reasons were, in Fox’s estimation, likely an attempt to conceal “how dehumanizing part of her life was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hocherman told her American family that she spent the war safe in Palestine, and that she escaped from Poland before German forces invaded. The truth, Fox discovers, is that her mother was forcibly taken from her Polish apartment building at the age of 14, separated from her family, and transported to Gabersdorf, a forced-labor camp. Hocherman remained there with hundreds of other teenage girls for four and a half years while her mother languished in Auschwitz. (Tragically, Fox’s grandmother died from typhus shortly after she was liberated.)\u003c/p>\n\u003cp>At Gabersdorf, Hocherman endured 12-hour work days with no breaks, in silence, under threat of severe beatings. At night, she slept in lice- and bedbug-infested barracks with 41 other girls. And as the teens aged, they came under increasingly invasive threats of sexual exploitation and violence. After Gabersdorf was finally liberated, the ever-present threat of rape remained — even from their liberators.\u003c/p>\n\u003cp>“We knew what it is to be a Jew,” one survivor says in the film, “but we didn’t feel it on our bodies until Hitler came.”\u003c/p>\n\u003cp>Hocherman’s story is relayed to Fox by friends who knew her mother, both inside Gabersdorf and outside the camp’s barbed-wire fences. Further details are revealed by historical documents, secret camp diaries, and the German women who were paid to work alongside the Gabersdorf prisoners, but forbidden to talk to them. It’s tempting in 2025 to assume we’ve heard every possible narrative about the Holocaust. \u003cem>My Underground Mother\u003c/em> proves otherwise.\u003c/p>\n\u003cp>Hocherman’s wartime experience turned her militant. Fox learns that her mother was involved in many clandestine Haganah actions against British troops in Palestine, including blowing up trains. One interviewee tells Fox that her mother killed at least one British officer during the Zionists’ fight.\u003c/p>\n\u003cp>Hanna Armoni, a former member of the Lehi Underground, another Zionist group, says Hocherman once told her, “After what I saw, what the Germans did to us, how the British treated us, I wanted to fight for my country.”\u003c/p>\n\u003cp>“My mother’s way of rejecting shame,” Fox says, “was to reinvent herself a freedom fighter.”\u003c/p>\n\u003cp>Throughout, the film does not acknowledge the experience of Palestinians past or present. Viewers in 2025 may find this uncomfortable, especially as \u003ca href=\"https://www.npr.org/2025/07/29/g-s1-79039/gaza-children-starvation-health-risks\">Palestinians starve\u003c/a> and the \u003ca href=\"https://www.haaretz.com/israel-news/2025-07-28/ty-article/netanyahu-proposes-to-annex-gaza-in-attempt-to-appease-far-right-minister/00000198-525a-dc50-a9bf-ff7ba06f0000\">Gaza Strip is under threat of annexation\u003c/a>.\u003c/p>\n\u003cp>Though the portion of \u003cem>My Underground Mother\u003c/em> that concerns Gabersdorf feels very different in tone to the chapter about Hocherman’s postwar militancy, there is one overarching theme that connects the two: Humankind is capable of incredible cruelty.\u003c/p>\n\u003cp>As Fox realizes everything her mother went through and concealed, the filmmaker’s raw emotions are what makes this film so compelling. “Wherever you are, Mom,” Fox says in the film, “I wish you didn’t feel you had to be alone with this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://jfi.org/sfjff-2025/film-guide/my-underground-mother\">My Underground Mother\u003c/a>’ premieres at Oakland’s Landmark Piedmont Theatre on Aug. 2, 2025 at 8:30 p.m., as part of the \u003ca href=\"https://jfi.org/sfjff-2025\">45th San Francisco Jewish Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over 30 years ago, Octavia Butler pretty much predicted our present moment with her science-fiction opus, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon\">Parable of the Sower\u003c/a>\u003c/i>. The novel opens in California in 2024, and to many of today’s readers, Butler’s prescient depictions of a state ravaged by fires, extreme inequality, rising authoritarianism and corporate greed feel uncanny. It’s no wonder that countless activists and thinkers turn to Butler as a beacon as they figure out how to navigate this era of political upheaval and manmade environmental disasters.\u003c/p>\n\u003cp>[aside postID='arts_13979110']\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 30 years ago, Octavia Butler pretty much predicted our present moment with her science-fiction opus, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon\">Parable of the Sower\u003c/a>\u003c/i>. The novel opens in California in 2024, and to many of today’s readers, Butler’s prescient depictions of a state ravaged by fires, extreme inequality, rising authoritarianism and corporate greed feel uncanny. It’s no wonder that countless activists and thinkers turn to Butler as a beacon as they figure out how to navigate this era of political upheaval and manmade environmental disasters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The modern dating scene is not a healthy one. Perhaps it never really was and everyone is nostalgic for something that didn’t exist. But you don’t need to be on the apps to sense the anxiety around. Just open the New York Times Magazine site and scroll through the 1,200 comments on Jean Garnett’s “The Trouble With Wanting Men,” in which she examines unfulfilled desire and the idea of “heterofatalism.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13977516']\u003c/span>We wonder what happened to the romantic comedy. Maybe we’re all to blame. How can we have fun with stories about romance when it is so bleak out there? But thank goodness for the filmmakers who are trying to, if not make sense of it all, talk about it. Celine Song did it in her own way with \u003ca href=\"https://www.kqed.org/arts/13977516/materialists-movie-review-pedro-pascal-dakota-johnson-chris-evans-love-triangle\">\u003cem>Materialists\u003c/em>\u003c/a>. And now comes Sophie Brooks’ \u003cem>Oh, Hi!\u003c/em> about a new-ish couple on their first weekend away together. These movies are not at all similar, and yet both speak to the current mood in valuable ways.\u003c/p>\n\u003cp>In \u003cem>Oh, Hi!\u003c/em> Iris (Molly Gordon) and Isaac (Logan Lerman) seem to be very much in sync as a pair, singing in the car together, laughing about a little accident that results in the purchase of hundreds of strawberries and excitedly exploring the very nice house they’ve rented for this romantic getaway. The chemistry is there: There’s humor, wit, conversation and attraction. They’re even on the same page on more intimate matters. It is a terrific opening — nothing is really happening, and yet it’s pleasant to just be in the moment with them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s_IEVF0GQPk\u003c/p>\n\u003cp>But then things take a turn. We know they’re headed south from the first frame, when a distraught Iris greets her friend Max (Geraldine Viswanathan) at the country home late one night. We’re trained to expect that it’s all leading to a fight, or a breakup. \u003cem>Oh, Hi!\u003c/em>, however, has other things up its sleeve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Note to new couples: Best not to define a relationship while one is chained to the bed after a bit of experimentation. Granted, neither thought they needed to have this conversation, but it quickly becomes clear that they both heard things differently. Iris thought they were exclusive. Isaac thought it was perfectly clear that they weren’t and aren’t. But why, Iris asks, are they doing this at all after four months? Why are they on this trip? Why did he make her scallops? It’s enough to make anyone go a little mad, which Iris does, deciding that she’s going to keep Isaac chained up until they talk it through to her satisfaction.\u003c/p>\n\u003cp>It’s a kind of over-the-top, \u003cem>Misery\u003c/em>-styled meditation on entrenched gender cliches in heterosexual dating. The women are crazy and needy. The men are jerks and aloof. And no amount of rational discussion on either side will end the stalemate. Iris believes that if he just gets to know her a little better, perhaps he’ll change his mind. She goes long on her biography in a funny little sequence, but the monologuing doesn’t help Isaac figure out how to escape. It just goes on.\u003c/p>\n\u003cfigure id=\"attachment_13979099\" class=\"wp-caption aligncenter\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979099\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg\" alt=\"\" width=\"710\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35-160x108.jpg 160w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">John Reynolds and Geraldine Viswanathan play Kenny and Max in the movie. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Oh, Hi!\u003c/em> follows this path to extreme ends as Iris involves Max and her boyfriend Kenny (John Reynolds), who are all trying to figure out how to get out of the situation without going to jail. It’s admirable how ardently they commit to making this outlandish premise as realistic as possible.\u003c/p>\n\u003cp>The film loses the plot a bit when Max and Kenny get involved and things get extra silly. It might have been better had it stayed with Iris and Isaac to the bitter end. Gordon, who co-wrote the story with Brooks, is a huge reason it works at all. She somehow keeps Iris grounded and relatable throughout, which is no small feat after she makes her big mistake. At times, that epic misstep made me think that \u003cem>Oh, Hi!\u003c/em> might be the female \u003ca href=\"https://www.kqed.org/arts/13975887/friendship-movie-review-paul-rudd-tim-robinson\">\u003cem>Friendship\u003c/em>\u003c/a>. And while Lerman gets substantially less to do, you come out feeling for both characters, trapped in anxieties of their own making and a social structure in which neither romance nor commitment seems to be a priority. At least this film lets us laugh about it a little bit.\u003c/p>\n\u003cp>And lest you think people in relationships have it easier, just wait until \u003cem>Together\u003c/em> arrives next week.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oh, Hi!’ is released in theaters on July 25, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The modern dating scene is not a healthy one. Perhaps it never really was and everyone is nostalgic for something that didn’t exist. But you don’t need to be on the apps to sense the anxiety around. Just open the New York Times Magazine site and scroll through the 1,200 comments on Jean Garnett’s “The Trouble With Wanting Men,” in which she examines unfulfilled desire and the idea of “heterofatalism.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>We wonder what happened to the romantic comedy. Maybe we’re all to blame. How can we have fun with stories about romance when it is so bleak out there? But thank goodness for the filmmakers who are trying to, if not make sense of it all, talk about it. Celine Song did it in her own way with \u003ca href=\"https://www.kqed.org/arts/13977516/materialists-movie-review-pedro-pascal-dakota-johnson-chris-evans-love-triangle\">\u003cem>Materialists\u003c/em>\u003c/a>. And now comes Sophie Brooks’ \u003cem>Oh, Hi!\u003c/em> about a new-ish couple on their first weekend away together. These movies are not at all similar, and yet both speak to the current mood in valuable ways.\u003c/p>\n\u003cp>In \u003cem>Oh, Hi!\u003c/em> Iris (Molly Gordon) and Isaac (Logan Lerman) seem to be very much in sync as a pair, singing in the car together, laughing about a little accident that results in the purchase of hundreds of strawberries and excitedly exploring the very nice house they’ve rented for this romantic getaway. The chemistry is there: There’s humor, wit, conversation and attraction. They’re even on the same page on more intimate matters. It is a terrific opening — nothing is really happening, and yet it’s pleasant to just be in the moment with them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s_IEVF0GQPk'\n title='//www.youtube.com/embed/s_IEVF0GQPk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But then things take a turn. We know they’re headed south from the first frame, when a distraught Iris greets her friend Max (Geraldine Viswanathan) at the country home late one night. We’re trained to expect that it’s all leading to a fight, or a breakup. \u003cem>Oh, Hi!\u003c/em>, however, has other things up its sleeve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Note to new couples: Best not to define a relationship while one is chained to the bed after a bit of experimentation. Granted, neither thought they needed to have this conversation, but it quickly becomes clear that they both heard things differently. Iris thought they were exclusive. Isaac thought it was perfectly clear that they weren’t and aren’t. But why, Iris asks, are they doing this at all after four months? Why are they on this trip? Why did he make her scallops? It’s enough to make anyone go a little mad, which Iris does, deciding that she’s going to keep Isaac chained up until they talk it through to her satisfaction.\u003c/p>\n\u003cp>It’s a kind of over-the-top, \u003cem>Misery\u003c/em>-styled meditation on entrenched gender cliches in heterosexual dating. The women are crazy and needy. The men are jerks and aloof. And no amount of rational discussion on either side will end the stalemate. Iris believes that if he just gets to know her a little better, perhaps he’ll change his mind. She goes long on her biography in a funny little sequence, but the monologuing doesn’t help Isaac figure out how to escape. It just goes on.\u003c/p>\n\u003cfigure id=\"attachment_13979099\" class=\"wp-caption aligncenter\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979099\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg\" alt=\"\" width=\"710\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35-160x108.jpg 160w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">John Reynolds and Geraldine Viswanathan play Kenny and Max in the movie. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Oh, Hi!\u003c/em> follows this path to extreme ends as Iris involves Max and her boyfriend Kenny (John Reynolds), who are all trying to figure out how to get out of the situation without going to jail. It’s admirable how ardently they commit to making this outlandish premise as realistic as possible.\u003c/p>\n\u003cp>The film loses the plot a bit when Max and Kenny get involved and things get extra silly. It might have been better had it stayed with Iris and Isaac to the bitter end. Gordon, who co-wrote the story with Brooks, is a huge reason it works at all. She somehow keeps Iris grounded and relatable throughout, which is no small feat after she makes her big mistake. At times, that epic misstep made me think that \u003cem>Oh, Hi!\u003c/em> might be the female \u003ca href=\"https://www.kqed.org/arts/13975887/friendship-movie-review-paul-rudd-tim-robinson\">\u003cem>Friendship\u003c/em>\u003c/a>. And while Lerman gets substantially less to do, you come out feeling for both characters, trapped in anxieties of their own making and a social structure in which neither romance nor commitment seems to be a priority. At least this film lets us laugh about it a little bit.\u003c/p>\n\u003cp>And lest you think people in relationships have it easier, just wait until \u003cem>Together\u003c/em> arrives next week.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oh, Hi!’ is released in theaters on July 25, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Don’t Let’s Go to the Dogs Tonight’ Shows War Through the Eyes of a Half-Wild Child",
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"content": "\u003cp>“Are we racists?” That’s the blunt question posed by Bobo, a white girl living on a farm in Africa, to her horrified (and defensive) mother.\u003c/p>\n\u003cp>There are so many ways this three-word line reading could land wrongly — or just seem forced or mannered. But it feels thoroughly organic when voiced by Lexi Venter, an extraordinary first-time actor who gives, at age 7, one of the more compelling child performances in recent memory in \u003cem>Don’t Let’s Go to the Dogs Tonight.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13978477']It’s a performance that was seeded, watered and nurtured by Embeth Davidtz, an extraordinary actor herself who wrote, directed and stars in this adaptation of Alexandra Fuller’s admired 2001 memoir. One imagines Davidtz, in her triple role (and as a first-time director), had hundreds upon hundreds of decisions to make. Her most important, though, was finding and casting this youngster possessed of a wild nature, a mop of unruly hair and a face like a broad canvas waiting to be painted.\u003c/p>\n\u003cp>The movie, which chronicles one family’s life in the turbulent, waning days of white rule in Zimbabwe (formerly Rhodesia), was not always going to be narrated by a child. Davidtz’s first attempt at adapting the memoir, told in third person, was too remote, she herself has said. Then she zoomed in on the idea of telling the tale uniquely from Bobo’s perspective.\u003c/p>\n\u003cp>Davidtz, who spent much of her childhood in South Africa, was drawn to the project because it recalled her own experience growing up in a world where racial inequality and violence were everywhere, but none of the adult explanations made much sense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director’s own family life also included, like the Fuller family’s, mental illness and alcoholism; she has said that neither the outside world nor home life felt safe.\u003c/p>\n\u003cp>And that’s how it is for Bobo, 8 years old when we meet her, the younger of two daughters of Nicola and Tim Fuller. We will soon learn that another daughter died as a toddler in a tragic drowning — one of the reasons Nicola (Davidtz) is so emotionally tied to the family farm, as conveyed in one particularly brutal scene brimming with rage. She may not be native to the land, but her offspring is buried in its soil.\u003c/p>\n\u003cp>[aside postid='arts_13978372']We begin with Bobo explaining how she’s afraid to go alone to pee in the night. “Terrorists,” as they’ve been described by the adults, might lurk anywhere, even on the way to the bathroom, carrying a gun or knife or spear.\u003c/p>\n\u003cp>But imaginary threats are accompanied by real ones. During the day, a trip into town with her mother necessitates an escort vehicle. “I really hope we don’t die in an ambush today,” Bobo says casually to an armed guard. This is a child who helps her Dad pack his ammo at breakfast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WoDuyG6jLyA\u003c/p>\n\u003cp>The film, shot in South Africa, is set in the days before and after the 1980 parliamentary election — a crucial vote that will bring the Black majority to power in Zimbabwe under Robert Mugabe. Visiting her parents’ home, Nicola patronizingly instructs their Black servants which candidate to support.\u003c/p>\n\u003cp>At home, Nicola’s desperation rages. She drinks bourbon by the bottle and sleeps with a huge gun. She doesn’t spend much time with her daughters, which leaves Bobo plenty of time to hang out with the animals, ride her motorbike, and smoke cigarettes.\u003c/p>\n\u003cp>Such habits earn Bobo the disapproval of her most valued friend, Sarah (Zikhona Bali, in a warm and nuanced performance), one of two adult servants who work on the farm. The other is Jacob (Fumani N. Shilubana), who warns Sarah that her relationship with Bobo is too publicly affectionate in these precarious times. Besides, he tells her, Bobo thinks of her as a “stupid village girl.”\u003c/p>\n\u003cp>[aside postid='arts_13978260']But there is real affection between the two. Privately, they laugh and share stories. And Sarah, conscious of the risks, tries to be the attentive parent Bobo lacks. When she catches the girl, messy-haired and smudgy-faced, smoking — at age 7! — she scolds her. “There’s nothing wrong with me, I’m perfect!” Bobo replies, with the self-belief that comes from a childhood spent bossing around people like Sarah.\u003c/p>\n\u003cp>You can direct moments like this, as Davidtz does expertly while somehow turning in a heartbreaking and increasingly unhinged performance of her own. But you can’t manufacture lightning in a bottle — for example, the infectious joy Venter exudes, even while family is losing everything, singing a rowdy song about a stripper.\u003c/p>\n\u003cp>Davidtz has said she searched far and wide to find her star, interviewing experienced child actors but not finding the “feral” girl she needed. A Facebook search yielded Venter. Davidtz knew she was right before even meeting her in person. Working with the girl three hours a day, she did not give her a script, but rather provided guidance and let her improvise.\u003c/p>\n\u003cp>Nobody’s perfect, though Bobo may think she is. But in Venter’s performance, Davidtz has found something pretty close: a child actor who can carry an entire film and never seem like she’s acting. Bobo’s story has now been told; let’s hope we see young Venter telling many more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Let’s Go to the Dogs Tonight’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Are we racists?” That’s the blunt question posed by Bobo, a white girl living on a farm in Africa, to her horrified (and defensive) mother.\u003c/p>\n\u003cp>There are so many ways this three-word line reading could land wrongly — or just seem forced or mannered. But it feels thoroughly organic when voiced by Lexi Venter, an extraordinary first-time actor who gives, at age 7, one of the more compelling child performances in recent memory in \u003cem>Don’t Let’s Go to the Dogs Tonight.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a performance that was seeded, watered and nurtured by Embeth Davidtz, an extraordinary actor herself who wrote, directed and stars in this adaptation of Alexandra Fuller’s admired 2001 memoir. One imagines Davidtz, in her triple role (and as a first-time director), had hundreds upon hundreds of decisions to make. Her most important, though, was finding and casting this youngster possessed of a wild nature, a mop of unruly hair and a face like a broad canvas waiting to be painted.\u003c/p>\n\u003cp>The movie, which chronicles one family’s life in the turbulent, waning days of white rule in Zimbabwe (formerly Rhodesia), was not always going to be narrated by a child. Davidtz’s first attempt at adapting the memoir, told in third person, was too remote, she herself has said. Then she zoomed in on the idea of telling the tale uniquely from Bobo’s perspective.\u003c/p>\n\u003cp>Davidtz, who spent much of her childhood in South Africa, was drawn to the project because it recalled her own experience growing up in a world where racial inequality and violence were everywhere, but none of the adult explanations made much sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director’s own family life also included, like the Fuller family’s, mental illness and alcoholism; she has said that neither the outside world nor home life felt safe.\u003c/p>\n\u003cp>And that’s how it is for Bobo, 8 years old when we meet her, the younger of two daughters of Nicola and Tim Fuller. We will soon learn that another daughter died as a toddler in a tragic drowning — one of the reasons Nicola (Davidtz) is so emotionally tied to the family farm, as conveyed in one particularly brutal scene brimming with rage. She may not be native to the land, but her offspring is buried in its soil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We begin with Bobo explaining how she’s afraid to go alone to pee in the night. “Terrorists,” as they’ve been described by the adults, might lurk anywhere, even on the way to the bathroom, carrying a gun or knife or spear.\u003c/p>\n\u003cp>But imaginary threats are accompanied by real ones. During the day, a trip into town with her mother necessitates an escort vehicle. “I really hope we don’t die in an ambush today,” Bobo says casually to an armed guard. This is a child who helps her Dad pack his ammo at breakfast.\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/WoDuyG6jLyA'\n title='//www.youtube.com/embed/WoDuyG6jLyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film, shot in South Africa, is set in the days before and after the 1980 parliamentary election — a crucial vote that will bring the Black majority to power in Zimbabwe under Robert Mugabe. Visiting her parents’ home, Nicola patronizingly instructs their Black servants which candidate to support.\u003c/p>\n\u003cp>At home, Nicola’s desperation rages. She drinks bourbon by the bottle and sleeps with a huge gun. She doesn’t spend much time with her daughters, which leaves Bobo plenty of time to hang out with the animals, ride her motorbike, and smoke cigarettes.\u003c/p>\n\u003cp>Such habits earn Bobo the disapproval of her most valued friend, Sarah (Zikhona Bali, in a warm and nuanced performance), one of two adult servants who work on the farm. The other is Jacob (Fumani N. Shilubana), who warns Sarah that her relationship with Bobo is too publicly affectionate in these precarious times. Besides, he tells her, Bobo thinks of her as a “stupid village girl.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there is real affection between the two. Privately, they laugh and share stories. And Sarah, conscious of the risks, tries to be the attentive parent Bobo lacks. When she catches the girl, messy-haired and smudgy-faced, smoking — at age 7! — she scolds her. “There’s nothing wrong with me, I’m perfect!” Bobo replies, with the self-belief that comes from a childhood spent bossing around people like Sarah.\u003c/p>\n\u003cp>You can direct moments like this, as Davidtz does expertly while somehow turning in a heartbreaking and increasingly unhinged performance of her own. But you can’t manufacture lightning in a bottle — for example, the infectious joy Venter exudes, even while family is losing everything, singing a rowdy song about a stripper.\u003c/p>\n\u003cp>Davidtz has said she searched far and wide to find her star, interviewing experienced child actors but not finding the “feral” girl she needed. A Facebook search yielded Venter. Davidtz knew she was right before even meeting her in person. Working with the girl three hours a day, she did not give her a script, but rather provided guidance and let her improvise.\u003c/p>\n\u003cp>Nobody’s perfect, though Bobo may think she is. But in Venter’s performance, Davidtz has found something pretty close: a child actor who can carry an entire film and never seem like she’s acting. Bobo’s story has now been told; let’s hope we see young Venter telling many more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Let’s Go to the Dogs Tonight’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mikio-naruse-bampfa-japanese-film-berkeley-series",
"title": "Mikio Naruse’s Women, and a World That Betrays Them, at BAMPFA",
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"content": "\u003cp>The title of the stunning \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">BAMPFA\u003c/a> retrospective \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">\u003cem>Mikio Naruse: The Auteur as Salaryman\u003c/em>\u003c/a>, continuing through Dec. 21, neatly captures the artistic and pragmatic duality of the great 20th century Japanese director. In a career that spanned four decades and 89 films, Naruse refined his unflinching perspective on the plight of women while meeting the bottom-line demands of his studio bosses.\u003c/p>\n\u003cp>It’s fascinating to revisit Naruse’s films, especially the haunting landmarks \u003cem>Floating Clouds\u003c/em> and \u003cem>Yearning\u003c/em>, from a post-post-feminist perspective. The director mostly worked in the shomin-geki genre — set among the lower middle classes — where women, in particular, struggled with limited economic opportunities (if they weren’t “fortunate” enough to marry a well-off man). \u003c/p>\n\u003cp>A fatalist by nature, Naruse (1905-69) didn’t soft-soap his female characters’ endless sacrifices and thwarted dreams with dime-store hope and sentimentality. And yet while his movies depict the ritualistic inflexibility of pre-war Japanese society, and the postwar cracks and corruption that unmoored the system (with the loss of a generation of young men complicating women’s plans and prospects), Naruse’s women are persistently proactive in the face of every obstacle and constraint.\u003c/p>\n\u003cfigure id=\"attachment_13978501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg\" alt=\"\" width=\"2000\" height=\"1424\" class=\"size-full wp-image-13978501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-1536x1094.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘When a Woman Ascends the Stairs’ (1960). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late in his career, which wrapped in 1967, Naruse said of his characters, “If they move even a little, they quickly hit the wall. From the youngest age, I have thought that the world we live in betrays us; this thought still remains with me.”\u003c/p>\n\u003cp>Melodrama often entails tragedy, but Nakuse-style shomin-geki is worlds away from, say, the nihilistic doom of film noir. His female protagonists are generally moral, sincere and direct, not to mention valiant. Determined to gain a small measure of happiness, they don’t give up. The stakes are great; respect must be paid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A contemporary of pantheon directors Kenji Mizoguchi and Yasujirō Ozu, Naruse used every filmmaking technique in the book when he finally got his shot at the director’s chair in 1930 after a decade as a prop man and set assistant. He gradually abandoned his experimentalism as the Silent Era gave way to the talkies and the ’30s became the ’40s, opting for a classical visual language that situated his characters in their domestic settings and highlighted their emotional lives.\u003c/p>\n\u003cfigure id=\"attachment_13978498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg\" alt=\"\" width=\"2000\" height=\"1420\" class=\"size-full wp-image-13978498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-1536x1091.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Floating Clouds’ (1955). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naruse’s essential 1955 film \u003cem>Floating Clouds\u003c/em> (screening July 16 and Sept. 14) employs enough exterior shots to convey the destruction and shock of Japan’s defeat in WWII, and to create a dismal contrast with the sun-dappled Indochina woods where Forestry Service newbie Yukiko (frequent Naruse star Hideko Takamine) had a wartime affair with her married older boss Kengo (Masayuki Mori). As Yukiko seeks to create a postwar life amid the ruins with her manipulative, self-pitying flame, the timelessly profound drama unfolds mostly indoors, in various homes, bars and inns that, paradoxically, provide no refuge for the erstwhile lovers.\u003c/p>\n\u003cp>A year later, Takamine played a slightly less desperate character in the mesmerizing women-in-the-workplace saga \u003cem>Flowing\u003c/em> (July 19 and Sept. 12). The office space, ahem, is a waning geisha house; cash-strapped proprietor Otsuta (Isuzu Yamada) is holding on amid changing times while daughter Katsuyo (Takamine) tries to plot a future involving neither the family business nor a husband. \u003c/p>\n\u003cp>Takamine is a sublime actress, able to communicate to the audience with her face and the smallest movement the opposite of whatever her character has just said. Naruse’s 1964 masterpiece \u003cem>Yearning\u003c/em> (Aug. 15 and Sept. 21) centers her as Reiko, the hardworking, late-30s proprietor of a family grocery store. Reiko was married to the family’s oldest son for all of six months before he was killed in the war, and she has remained a widow all these years.\u003c/p>\n\u003cfigure id=\"attachment_13978499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13978499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-1536x1014.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Yearning’ (1964). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her status in the family, her sweat equity in the store and her identity are all jeopardized by the supermarkets that have invaded her Tokyo suburb. The other factor upsetting the longstanding status quo is her ne’er-do-well brother-in-law, Koji (Yuzo Kayama, doing a credible Montgomery Clift), who was a young boy when Reiko came into his world.\u003c/p>\n\u003cp>Filmed in glorious widescreen black-and-white, \u003cem>Yearning\u003c/em> is fantastic from start to finish. Reiko has mastered the art of self-sacrifice, up to a specific point: she bends but does not break. That’s a necessary quality when even those who love you, and want to help, don’t come through in a pinch.\u003c/p>\n\u003cp>For the women in Mikio Naruse’s world, even the limited opportunities come with strings attached. This is a distressing view of the world, but Naruse doesn’t leave the viewer hopeless. His judgment-free outlook and unfailing empathy provide the outline for a kinder society. He stands with the other great humanists of the cinema, Jean Renoir and especially Satyajit Ray, as a chronicler of our grace and dignity as well as our cruelty and selfishness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mikio Naruse: The Auteur as Salaryman’ runs through Dec. 21 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of the stunning \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">BAMPFA\u003c/a> retrospective \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">\u003cem>Mikio Naruse: The Auteur as Salaryman\u003c/em>\u003c/a>, continuing through Dec. 21, neatly captures the artistic and pragmatic duality of the great 20th century Japanese director. In a career that spanned four decades and 89 films, Naruse refined his unflinching perspective on the plight of women while meeting the bottom-line demands of his studio bosses.\u003c/p>\n\u003cp>It’s fascinating to revisit Naruse’s films, especially the haunting landmarks \u003cem>Floating Clouds\u003c/em> and \u003cem>Yearning\u003c/em>, from a post-post-feminist perspective. The director mostly worked in the shomin-geki genre — set among the lower middle classes — where women, in particular, struggled with limited economic opportunities (if they weren’t “fortunate” enough to marry a well-off man). \u003c/p>\n\u003cp>A fatalist by nature, Naruse (1905-69) didn’t soft-soap his female characters’ endless sacrifices and thwarted dreams with dime-store hope and sentimentality. And yet while his movies depict the ritualistic inflexibility of pre-war Japanese society, and the postwar cracks and corruption that unmoored the system (with the loss of a generation of young men complicating women’s plans and prospects), Naruse’s women are persistently proactive in the face of every obstacle and constraint.\u003c/p>\n\u003cfigure id=\"attachment_13978501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg\" alt=\"\" width=\"2000\" height=\"1424\" class=\"size-full wp-image-13978501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-1536x1094.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘When a Woman Ascends the Stairs’ (1960). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late in his career, which wrapped in 1967, Naruse said of his characters, “If they move even a little, they quickly hit the wall. From the youngest age, I have thought that the world we live in betrays us; this thought still remains with me.”\u003c/p>\n\u003cp>Melodrama often entails tragedy, but Nakuse-style shomin-geki is worlds away from, say, the nihilistic doom of film noir. His female protagonists are generally moral, sincere and direct, not to mention valiant. Determined to gain a small measure of happiness, they don’t give up. The stakes are great; respect must be paid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A contemporary of pantheon directors Kenji Mizoguchi and Yasujirō Ozu, Naruse used every filmmaking technique in the book when he finally got his shot at the director’s chair in 1930 after a decade as a prop man and set assistant. He gradually abandoned his experimentalism as the Silent Era gave way to the talkies and the ’30s became the ’40s, opting for a classical visual language that situated his characters in their domestic settings and highlighted their emotional lives.\u003c/p>\n\u003cfigure id=\"attachment_13978498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg\" alt=\"\" width=\"2000\" height=\"1420\" class=\"size-full wp-image-13978498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-1536x1091.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Floating Clouds’ (1955). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naruse’s essential 1955 film \u003cem>Floating Clouds\u003c/em> (screening July 16 and Sept. 14) employs enough exterior shots to convey the destruction and shock of Japan’s defeat in WWII, and to create a dismal contrast with the sun-dappled Indochina woods where Forestry Service newbie Yukiko (frequent Naruse star Hideko Takamine) had a wartime affair with her married older boss Kengo (Masayuki Mori). As Yukiko seeks to create a postwar life amid the ruins with her manipulative, self-pitying flame, the timelessly profound drama unfolds mostly indoors, in various homes, bars and inns that, paradoxically, provide no refuge for the erstwhile lovers.\u003c/p>\n\u003cp>A year later, Takamine played a slightly less desperate character in the mesmerizing women-in-the-workplace saga \u003cem>Flowing\u003c/em> (July 19 and Sept. 12). The office space, ahem, is a waning geisha house; cash-strapped proprietor Otsuta (Isuzu Yamada) is holding on amid changing times while daughter Katsuyo (Takamine) tries to plot a future involving neither the family business nor a husband. \u003c/p>\n\u003cp>Takamine is a sublime actress, able to communicate to the audience with her face and the smallest movement the opposite of whatever her character has just said. Naruse’s 1964 masterpiece \u003cem>Yearning\u003c/em> (Aug. 15 and Sept. 21) centers her as Reiko, the hardworking, late-30s proprietor of a family grocery store. Reiko was married to the family’s oldest son for all of six months before he was killed in the war, and she has remained a widow all these years.\u003c/p>\n\u003cfigure id=\"attachment_13978499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13978499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-1536x1014.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Yearning’ (1964). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her status in the family, her sweat equity in the store and her identity are all jeopardized by the supermarkets that have invaded her Tokyo suburb. The other factor upsetting the longstanding status quo is her ne’er-do-well brother-in-law, Koji (Yuzo Kayama, doing a credible Montgomery Clift), who was a young boy when Reiko came into his world.\u003c/p>\n\u003cp>Filmed in glorious widescreen black-and-white, \u003cem>Yearning\u003c/em> is fantastic from start to finish. Reiko has mastered the art of self-sacrifice, up to a specific point: she bends but does not break. That’s a necessary quality when even those who love you, and want to help, don’t come through in a pinch.\u003c/p>\n\u003cp>For the women in Mikio Naruse’s world, even the limited opportunities come with strings attached. This is a distressing view of the world, but Naruse doesn’t leave the viewer hopeless. His judgment-free outlook and unfailing empathy provide the outline for a kinder society. He stands with the other great humanists of the cinema, Jean Renoir and especially Satyajit Ray, as a chronicler of our grace and dignity as well as our cruelty and selfishness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mikio Naruse: The Auteur as Salaryman’ runs through Dec. 21 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "saaed-crumpler-oakland-bravemaker-film-festival",
"title": "An Oakland Rapper-Turned-Screenwriter Returns to the Bay Area",
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"content": "\u003cp>When Saeed Crumpler comes to the Bay Area this weekend for the \u003ca href=\"https://bravemaker.com/film-fest/\">BraveMaker \u003c/a>\u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">Film Festival\u003c/a>, he’ll be returning to the soil that launched an unlikely journey.\u003c/p>\n\u003cp>For 20 years, the Oakland-raised Crumpler rapped under the stage name \u003ca href=\"https://www.instagram.com/balance510/\">Balance\u003c/a>, making music with \u003ca href=\"https://open.spotify.com/track/1uWkVUZVqH5142GmIZvWWM#:~:text=Fa%20Sho%20(feat.,%2C%20Jay%20Rock%2C%20Freeway%20%7C%20Spotify\">Kendrick Lamar\u003c/a> and \u003ca href=\"https://open.spotify.com/track/4pU8UwbehBafBSAu4zFEeq?si=0e7f32df5d1e41a4\">Traxamillion\u003c/a> before flipping the script in 2021 to become a full-time television and film writer. \u003c/p>\n\u003cp>On Saturday, Crumpler appears alongside podcast host \u003ca href=\"https://www.instagram.com/hilliardguess/\" target=\"_blank\" rel=\"noopener\">Hilliard Guess\u003c/a> at the film festival’s \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836717aa36cd38e4e27ab56\" target=\"_blank\" rel=\"noopener\">Screenwriters’ Rant Room “Live” Roundtable\u003c/a> to discuss his unconventional path to Hollywood and unique approach to the industry.\u003c/p>\n\u003cp>[aside postID='arts_13978193']Running July 10–13 in Redwood City, the BraveMaker Film Festival includes more than 90 film screenings, a dozen workshops and multiple panel discussions ranging from lighting techniques to character development. Founded by Redwood City’s own Tony Gapastione, the festival brings together Bay Area writers, filmmakers and actors to showcase their talents.\u003c/p>\n\u003cp>Gapastione says such platforms are important, particularly now, as Hollywood makes \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\" target=\"_blank\" rel=\"noopener\">post-writers strike adjustments\u003c/a> and simultaneously recovers from \u003ca href=\"https://www.kqed.org/news/12020765/thousands-flee-los-angeles-area-as-wildfires-burn-out-of-control-destroying-homes\" target=\"_blank\" rel=\"noopener\">this year’s massive fires\u003c/a>. Those challenges have been echoed by Governor Newsom, who last week \u003ca href=\"https://www.gov.ca.gov/2025/07/02/governor-newsom-marks-historic-expansion-of-californias-film-and-television-tax-credit-program-announces-16-new-projects-to-film-in-the-golden-state/\" target=\"_blank\" rel=\"noopener\">signed a bill\u003c/a> more than doubling the annual funding of California’s film and television tax credit program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> for this year’s BraveMaker Film Festival includes a variety of films, including a handful from East Bay screenwriters, like Kristina Thomas (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836709e05fd0071757f4141\" target=\"_blank\" rel=\"noopener\">\u003cem>Saving All My Love\u003c/em>\u003c/a>), Nijla Mu’min (\u003cem>\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502a8\" target=\"_blank\" rel=\"noopener\">Noor\u003c/a>)\u003c/em> and D’Angelo “D’Lo” Louis (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502c5\" target=\"_blank\" rel=\"noopener\">\u003cem>Shoebox\u003c/em>\u003c/a>). Social events include a Saturday afternoon mixer hosted by Bay Area actor \u003ca href=\"https://www.eventbrite.com/e/latino-creatorsactorsfilmmakers-mixer-bravemaker-film-fest-tickets-1406816739739?msockid=170b5be2715564360361492870d165a9\" target=\"_blank\" rel=\"noopener\">Belgica Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978430\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978430 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-768x1152.jpg 768w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Saaed Crumpler, TV and film writer. \u003ccite>(Jerry Jerome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to his rap career, Crumpler studied film at San Francisco State, and a decade ago he took a screenwriting class. But he sincerely champions the fellowship route, which led to him working on the Starz series \u003cem>Blindspotting\u003c/em> and MTV’s \u003cem>Hip Hop Family Christmas\u003c/em>.\u003c/p>\n\u003cp>In 2021, while still rapping, Crumpler got accepted to the \u003ca href=\"https://writers.coverfly.com/competitions/view/nickelodeon-writing-program\" target=\"_blank\" rel=\"noopener\">Nickelodeon Writing Program\u003c/a>. He shadowed writers and worked across Paramount Pictures’ many subsidiaries. Once his foot was in the door, Crumpler went right in.\u003c/p>\n\u003cp>“I wrote an episode of a Nickelodeon show called \u003cem>Blaze and the Monster Machines\u003c/em>, which my nephew, he’s three, loves,” Crumpler says. Simultaneously, he wrote \u003cem>Flatbush Misdemeanors\u003c/em>, “an R-rated comedy that takes place in Flatbush, New York.” \u003c/p>\n\u003cp>[aside postID='arts_13978142']Within a year, Crumpler signed a first-look deal with \u003ca href=\"https://deadline.com/2022/09/saeed-crumpler-overall-deal-sony-pictures-television-1235112994/\">Sony Pictures Television,\u003c/a> where he’s currently at work on several projects. “I’ve got an animated show, got a comedy, and we’ve got like two dramas,” says Crumpler. “All of them take place pretty much in the Bay Area.”\u003c/p>\n\u003cp>The lack of Bay Area representation in TV and film pushed Crumpler to focus on hometown stories, he says, noting that he’s also written a number of unreleased movies, including a biopic on \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a>.\u003c/p>\n\u003cp>Ahead of Saturday’s conversation, Crumpler, who lives in Los Angeles, offered some advice to storytellers looking to get into the industry.\u003c/p>\n\u003cp>Hollywood is indeed in flux, he says. It’s not as easy to film in Southern California as it once was, but the industry hub is still there. And while he’s a proponent of the fellowship route, he sees potential for indie television and filmmakers. It’s not exactly the same as the independent rap game in the Bay Area — where artists both make and distribute their art — but there are some parallels, he says.\u003c/p>\n\u003cp>[aside postID='arts_13976029']“Instead of trying to make a movie for five thousand dollars,” Crumpler suggests, “try to make a three-minute trailer for the movie,” adding that filmmakers can take that as proof of concept to investors; it’s all about making a small iteration of an idea in order to show it to the world.\u003c/p>\n\u003cp>“As an independent creator, your benefit is, you don’t have anybody trying to change your ideas,” he says. “Being an independent creative, you can just create and put it out without a filter. And sometimes those things take off.”\u003c/p>\n\u003cp>This weekend, Redwood City will be full of creatives looking to launch their ideas into the world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BraveMaker Film Festival takes place July 10–13 at various venues in downtown Redwood City. \u003ca href=\"https://bravemaker.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Saeed Crumpler comes to the Bay Area this weekend for the \u003ca href=\"https://bravemaker.com/film-fest/\">BraveMaker \u003c/a>\u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">Film Festival\u003c/a>, he’ll be returning to the soil that launched an unlikely journey.\u003c/p>\n\u003cp>For 20 years, the Oakland-raised Crumpler rapped under the stage name \u003ca href=\"https://www.instagram.com/balance510/\">Balance\u003c/a>, making music with \u003ca href=\"https://open.spotify.com/track/1uWkVUZVqH5142GmIZvWWM#:~:text=Fa%20Sho%20(feat.,%2C%20Jay%20Rock%2C%20Freeway%20%7C%20Spotify\">Kendrick Lamar\u003c/a> and \u003ca href=\"https://open.spotify.com/track/4pU8UwbehBafBSAu4zFEeq?si=0e7f32df5d1e41a4\">Traxamillion\u003c/a> before flipping the script in 2021 to become a full-time television and film writer. \u003c/p>\n\u003cp>On Saturday, Crumpler appears alongside podcast host \u003ca href=\"https://www.instagram.com/hilliardguess/\" target=\"_blank\" rel=\"noopener\">Hilliard Guess\u003c/a> at the film festival’s \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836717aa36cd38e4e27ab56\" target=\"_blank\" rel=\"noopener\">Screenwriters’ Rant Room “Live” Roundtable\u003c/a> to discuss his unconventional path to Hollywood and unique approach to the industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Running July 10–13 in Redwood City, the BraveMaker Film Festival includes more than 90 film screenings, a dozen workshops and multiple panel discussions ranging from lighting techniques to character development. Founded by Redwood City’s own Tony Gapastione, the festival brings together Bay Area writers, filmmakers and actors to showcase their talents.\u003c/p>\n\u003cp>Gapastione says such platforms are important, particularly now, as Hollywood makes \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\" target=\"_blank\" rel=\"noopener\">post-writers strike adjustments\u003c/a> and simultaneously recovers from \u003ca href=\"https://www.kqed.org/news/12020765/thousands-flee-los-angeles-area-as-wildfires-burn-out-of-control-destroying-homes\" target=\"_blank\" rel=\"noopener\">this year’s massive fires\u003c/a>. Those challenges have been echoed by Governor Newsom, who last week \u003ca href=\"https://www.gov.ca.gov/2025/07/02/governor-newsom-marks-historic-expansion-of-californias-film-and-television-tax-credit-program-announces-16-new-projects-to-film-in-the-golden-state/\" target=\"_blank\" rel=\"noopener\">signed a bill\u003c/a> more than doubling the annual funding of California’s film and television tax credit program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> for this year’s BraveMaker Film Festival includes a variety of films, including a handful from East Bay screenwriters, like Kristina Thomas (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836709e05fd0071757f4141\" target=\"_blank\" rel=\"noopener\">\u003cem>Saving All My Love\u003c/em>\u003c/a>), Nijla Mu’min (\u003cem>\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502a8\" target=\"_blank\" rel=\"noopener\">Noor\u003c/a>)\u003c/em> and D’Angelo “D’Lo” Louis (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502c5\" target=\"_blank\" rel=\"noopener\">\u003cem>Shoebox\u003c/em>\u003c/a>). Social events include a Saturday afternoon mixer hosted by Bay Area actor \u003ca href=\"https://www.eventbrite.com/e/latino-creatorsactorsfilmmakers-mixer-bravemaker-film-fest-tickets-1406816739739?msockid=170b5be2715564360361492870d165a9\" target=\"_blank\" rel=\"noopener\">Belgica Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978430\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978430 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-768x1152.jpg 768w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Saaed Crumpler, TV and film writer. \u003ccite>(Jerry Jerome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to his rap career, Crumpler studied film at San Francisco State, and a decade ago he took a screenwriting class. But he sincerely champions the fellowship route, which led to him working on the Starz series \u003cem>Blindspotting\u003c/em> and MTV’s \u003cem>Hip Hop Family Christmas\u003c/em>.\u003c/p>\n\u003cp>In 2021, while still rapping, Crumpler got accepted to the \u003ca href=\"https://writers.coverfly.com/competitions/view/nickelodeon-writing-program\" target=\"_blank\" rel=\"noopener\">Nickelodeon Writing Program\u003c/a>. He shadowed writers and worked across Paramount Pictures’ many subsidiaries. Once his foot was in the door, Crumpler went right in.\u003c/p>\n\u003cp>“I wrote an episode of a Nickelodeon show called \u003cem>Blaze and the Monster Machines\u003c/em>, which my nephew, he’s three, loves,” Crumpler says. Simultaneously, he wrote \u003cem>Flatbush Misdemeanors\u003c/em>, “an R-rated comedy that takes place in Flatbush, New York.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Within a year, Crumpler signed a first-look deal with \u003ca href=\"https://deadline.com/2022/09/saeed-crumpler-overall-deal-sony-pictures-television-1235112994/\">Sony Pictures Television,\u003c/a> where he’s currently at work on several projects. “I’ve got an animated show, got a comedy, and we’ve got like two dramas,” says Crumpler. “All of them take place pretty much in the Bay Area.”\u003c/p>\n\u003cp>The lack of Bay Area representation in TV and film pushed Crumpler to focus on hometown stories, he says, noting that he’s also written a number of unreleased movies, including a biopic on \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a>.\u003c/p>\n\u003cp>Ahead of Saturday’s conversation, Crumpler, who lives in Los Angeles, offered some advice to storytellers looking to get into the industry.\u003c/p>\n\u003cp>Hollywood is indeed in flux, he says. It’s not as easy to film in Southern California as it once was, but the industry hub is still there. And while he’s a proponent of the fellowship route, he sees potential for indie television and filmmakers. It’s not exactly the same as the independent rap game in the Bay Area — where artists both make and distribute their art — but there are some parallels, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Instead of trying to make a movie for five thousand dollars,” Crumpler suggests, “try to make a three-minute trailer for the movie,” adding that filmmakers can take that as proof of concept to investors; it’s all about making a small iteration of an idea in order to show it to the world.\u003c/p>\n\u003cp>“As an independent creator, your benefit is, you don’t have anybody trying to change your ideas,” he says. “Being an independent creative, you can just create and put it out without a filter. And sometimes those things take off.”\u003c/p>\n\u003cp>This weekend, Redwood City will be full of creatives looking to launch their ideas into the world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BraveMaker Film Festival takes place July 10–13 at various venues in downtown Redwood City. \u003ca href=\"https://bravemaker.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a bird, it’s a plane, it’s a … a purple and orange shape-shifting chemical compound?\u003c/p>\n\u003cp>Writer-director James Gunn’s \u003ca href=\"https://www.kqed.org/pop/tag/superman\">\u003cem>Superman\u003c/em>\u003c/a> was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind \u003ca href=\"https://www.kqed.org/arts/13928607/all-creatures-great-and-small-in-guardians-3\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> and \u003cem>The Suicide Squad\u003c/em>, has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.\u003c/p>\n\u003cp>[aside postid='pop_101544']But you don’t get more mainstream than Superman. And let’s face it, unless \u003ca href=\"https://www.kqed.org/arts/13964034/super-man-documentary-review-christopher-reeve-dana-cnn-hbo\">Christopher Reeve\u003c/a> is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.\u003c/p>\n\u003cp>In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (\u003ca href=\"https://www.kqed.org/arts/13816633/zippy-and-delightful-the-marvelous-mrs-maisel-spotlights-an-unlikely-comic\">Rachel Brosnahan\u003c/a>) and Lex Luthor (\u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">Nicholas Hoult\u003c/a>) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (\u003ca href=\"https://www.kqed.org/arts/13927815/barry-season-four-hbo-what-to-expect-bill-hader-interview\">Anthony Carrigan\u003c/a>).\u003c/p>\n\u003cp>Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in \u003cem>Superman\u003c/em>. But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like \u003ca href=\"https://www.kqed.org/pop/tag/chris-pratt\">Chris Pratt\u003c/a>’s Star-Lord in \u003cem>Guardians of the Galaxy\u003c/em>. And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The heavy lift of \u003cem>Superman\u003c/em> is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.\u003c/p>\n\u003cp>Not everything works in \u003cem>Superman\u003c/em>. For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found \u003ca href=\"https://www.kqed.org/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good\">Zack Snyder\u003c/a>’s previous administration painfully ponderous, this \u003cem>Superman\u003c/em>, at least, has a pulse.\u003c/p>\n\u003cp>[aside postid='arts_13978110']It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s \u003cem>Superman\u003c/em> is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.\u003c/p>\n\u003cp>We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ox8ZLF6cGM0\u003c/p>\n\u003cp>Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.\u003c/p>\n\u003cp>[aside postid='arts_13978260']Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.\u003c/p>\n\u003cp>She and Kent are already an item in \u003cem>Superman\u003c/em>. When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if \u003cem>Superman\u003c/em> ought to have been \u003cem>Lois\u003c/em>, instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.\u003c/p>\n\u003cp>That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.\u003c/p>\n\u003cp>The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn’s juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that’s Krypto’s cue to fly back into the movie and run amok.\u003c/p>\n\u003cp>[aside postid='arts_13978142']Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien” by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, \u003cem>Superman\u003c/em> is an immigrant story.\u003c/p>\n\u003cp>Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect \u003cem>Superman\u003c/em> something quite rare in the assembly line-style of superhero moviemaking today: human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Superman’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a bird, it’s a plane, it’s a … a purple and orange shape-shifting chemical compound?\u003c/p>\n\u003cp>Writer-director James Gunn’s \u003ca href=\"https://www.kqed.org/pop/tag/superman\">\u003cem>Superman\u003c/em>\u003c/a> was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind \u003ca href=\"https://www.kqed.org/arts/13928607/all-creatures-great-and-small-in-guardians-3\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> and \u003cem>The Suicide Squad\u003c/em>, has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But you don’t get more mainstream than Superman. And let’s face it, unless \u003ca href=\"https://www.kqed.org/arts/13964034/super-man-documentary-review-christopher-reeve-dana-cnn-hbo\">Christopher Reeve\u003c/a> is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.\u003c/p>\n\u003cp>In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (\u003ca href=\"https://www.kqed.org/arts/13816633/zippy-and-delightful-the-marvelous-mrs-maisel-spotlights-an-unlikely-comic\">Rachel Brosnahan\u003c/a>) and Lex Luthor (\u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">Nicholas Hoult\u003c/a>) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (\u003ca href=\"https://www.kqed.org/arts/13927815/barry-season-four-hbo-what-to-expect-bill-hader-interview\">Anthony Carrigan\u003c/a>).\u003c/p>\n\u003cp>Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in \u003cem>Superman\u003c/em>. But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like \u003ca href=\"https://www.kqed.org/pop/tag/chris-pratt\">Chris Pratt\u003c/a>’s Star-Lord in \u003cem>Guardians of the Galaxy\u003c/em>. And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The heavy lift of \u003cem>Superman\u003c/em> is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.\u003c/p>\n\u003cp>Not everything works in \u003cem>Superman\u003c/em>. For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found \u003ca href=\"https://www.kqed.org/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good\">Zack Snyder\u003c/a>’s previous administration painfully ponderous, this \u003cem>Superman\u003c/em>, at least, has a pulse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s \u003cem>Superman\u003c/em> is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.\u003c/p>\n\u003cp>We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.\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/Ox8ZLF6cGM0'\n title='//www.youtube.com/embed/Ox8ZLF6cGM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.\u003c/p>\n\u003cp>She and Kent are already an item in \u003cem>Superman\u003c/em>. When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if \u003cem>Superman\u003c/em> ought to have been \u003cem>Lois\u003c/em>, instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.\u003c/p>\n\u003cp>That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.\u003c/p>\n\u003cp>The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn’s juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that’s Krypto’s cue to fly back into the movie and run amok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien” by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, \u003cem>Superman\u003c/em> is an immigrant story.\u003c/p>\n\u003cp>Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect \u003cem>Superman\u003c/em> something quite rare in the assembly line-style of superhero moviemaking today: human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Superman’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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