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"content": "\u003cp>The world’s most prolific banned filmmaker, Jafar Panahi has made three features since 2010, when the Iranian government officially prohibited him from working. The latest, \u003cem>Taxi\u003c/em>, is the friskiest and most expansive. Its relative sweep, though, must be understood in terms of Iranian art cinema, which has always emphasized the things it \u003cem>can’t\u003c/em> show.\u003c/p>\n\u003cp>After co-directing \u003cem>This Is Not a Film\u003c/em> and \u003cem>Closed Curtain\u003c/em>, which riffed on being under house arrest, Panahi takes to the street with \u003cem>Taxi\u003c/em>, in which he tools around Tehran, picking up passengers. Two cameras are mounted on the dashboard, a setup that initially suggests we’ll see random encounters. But it soon becomes clear that the passengers are playing roles scripted, or at least suggested, by the man who’s driving the narrative.\u003c/p>\n\u003cp>The movie is, in part, a playful tour of Panahi’s previous work. One of the film’s motifs is crime and punishment, recalling \u003cem>Crimson Gold\u003c/em>. Two older women enter the cab with a cargo of ritual goldfish, much like the younger protagonist of \u003cem>The White Balloon\u003c/em>. A human rights lawyer hops in, on her way to visit a woman who was arrested for attending a men’s athletic event, as did the heroine of \u003cem>Offside\u003c/em>. And Panahi gives a ride to a 10-year-old who is identified as his niece, Hana, and who resembles the willful little girls at the center of both \u003cem>The White Balloon\u003c/em> and \u003cem>The Mirror\u003c/em>.\u003c/p>\n\u003cp>Clearly, \u003cem>Taxi\u003c/em> was not designed for viewers unfamiliar with Panahi’s films. It also includes a few references that may mystify non-Iranians who’ve seen all the director’s movies. What’s the significance of the women’s urgent quest to release goldfish in a local spring before noon? It is, presumably, a tradition that Iranian viewers will recognize.\u003c/p>\n\u003cp>The movie’s other concerns are easier to understand, although of more interest to art-film devotees than action-flick fans. Panahi and mentor Abbas Kiarostami — who pioneered the car-bound tale with \u003cem>Ten\u003c/em> and \u003cem>A Taste Of Cherry\u003c/em>–— have always been careful to stage their stories in public places, where the constraints on Iranian women are evident. Privacy and intimacy are avoided, since they can’t be depicted authentically under Islamic censorship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Taxi\u003c/em> visualizes such restrictions through the use of fixed-position cameras. Panahi sometimes leaves the cab, but the image doesn’t follow him; viewers are left behind, stuck in the passenger seat.\u003c/p>\n\u003cp>Yet the director toys with this limitation by offering other perspectives. His cellphone includes a camera, which Panahi uses to record the last will and testament of a crash victim who fears he’s dying. (He clearly isn’t.) Hana also carries a camera, which she’s using to make a “distributable” short film. (Of Panahi’s movies, only \u003cem>The White Balloon\u003c/em> was approved for distribution in Iran.)\u003c/p>\n\u003cp>Hana reads the list of qualities, provided by her teacher, that make for an acceptable film, as her uncle grins. Among the requirements is to avoid portraying “sordid reality,” Hana explains — shortly before pointing her camera out the widow and capturing a boy’s small, but clearly sordid, act.\u003c/p>\n\u003cp>Another of \u003cem>Taxi\u003c/em>‘s passengers is a movie bootlegger who has all the latest American TV series and Asian art films. His vocation, he boasts, is “a cultural activity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the bootlegger’s clients, a film student, enters the cab and asks which illicit DVDs he should buy. “I think all movies are worth watching,” Panahi replies simply. What he doesn’t add is that’s because every movie is an insurrection, however small, against the authorities that would control what people are allowed to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world’s most prolific banned filmmaker, Jafar Panahi has made three features since 2010, when the Iranian government officially prohibited him from working. The latest, \u003cem>Taxi\u003c/em>, is the friskiest and most expansive. Its relative sweep, though, must be understood in terms of Iranian art cinema, which has always emphasized the things it \u003cem>can’t\u003c/em> show.\u003c/p>\n\u003cp>After co-directing \u003cem>This Is Not a Film\u003c/em> and \u003cem>Closed Curtain\u003c/em>, which riffed on being under house arrest, Panahi takes to the street with \u003cem>Taxi\u003c/em>, in which he tools around Tehran, picking up passengers. Two cameras are mounted on the dashboard, a setup that initially suggests we’ll see random encounters. But it soon becomes clear that the passengers are playing roles scripted, or at least suggested, by the man who’s driving the narrative.\u003c/p>\n\u003cp>The movie is, in part, a playful tour of Panahi’s previous work. One of the film’s motifs is crime and punishment, recalling \u003cem>Crimson Gold\u003c/em>. Two older women enter the cab with a cargo of ritual goldfish, much like the younger protagonist of \u003cem>The White Balloon\u003c/em>. A human rights lawyer hops in, on her way to visit a woman who was arrested for attending a men’s athletic event, as did the heroine of \u003cem>Offside\u003c/em>. And Panahi gives a ride to a 10-year-old who is identified as his niece, Hana, and who resembles the willful little girls at the center of both \u003cem>The White Balloon\u003c/em> and \u003cem>The Mirror\u003c/em>.\u003c/p>\n\u003cp>Clearly, \u003cem>Taxi\u003c/em> was not designed for viewers unfamiliar with Panahi’s films. It also includes a few references that may mystify non-Iranians who’ve seen all the director’s movies. What’s the significance of the women’s urgent quest to release goldfish in a local spring before noon? It is, presumably, a tradition that Iranian viewers will recognize.\u003c/p>\n\u003cp>The movie’s other concerns are easier to understand, although of more interest to art-film devotees than action-flick fans. Panahi and mentor Abbas Kiarostami — who pioneered the car-bound tale with \u003cem>Ten\u003c/em> and \u003cem>A Taste Of Cherry\u003c/em>–— have always been careful to stage their stories in public places, where the constraints on Iranian women are evident. Privacy and intimacy are avoided, since they can’t be depicted authentically under Islamic censorship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Taxi\u003c/em> visualizes such restrictions through the use of fixed-position cameras. Panahi sometimes leaves the cab, but the image doesn’t follow him; viewers are left behind, stuck in the passenger seat.\u003c/p>\n\u003cp>Yet the director toys with this limitation by offering other perspectives. His cellphone includes a camera, which Panahi uses to record the last will and testament of a crash victim who fears he’s dying. (He clearly isn’t.) Hana also carries a camera, which she’s using to make a “distributable” short film. (Of Panahi’s movies, only \u003cem>The White Balloon\u003c/em> was approved for distribution in Iran.)\u003c/p>\n\u003cp>Hana reads the list of qualities, provided by her teacher, that make for an acceptable film, as her uncle grins. Among the requirements is to avoid portraying “sordid reality,” Hana explains — shortly before pointing her camera out the widow and capturing a boy’s small, but clearly sordid, act.\u003c/p>\n\u003cp>Another of \u003cem>Taxi\u003c/em>‘s passengers is a movie bootlegger who has all the latest American TV series and Asian art films. His vocation, he boasts, is “a cultural activity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the bootlegger’s clients, a film student, enters the cab and asks which illicit DVDs he should buy. “I think all movies are worth watching,” Panahi replies simply. What he doesn’t add is that’s because every movie is an insurrection, however small, against the authorities that would control what people are allowed to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan>As a die-hard horror fan, my cinematic tastes are usually best described as “the scarier the better.” But really, Halloween is the time for that most underrated (and accessible) of genres: the comedy-horror movie. \u003c/span>\u003c/p>\n\u003cp>\u003cspan>This is the season when you’re never sure whether to laugh or scream. So you want \u003ca href=\"http://ww2.kqed.org/pop/this-is-my-boomstick\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/this-is-my-boomstick\" target=\"_blank\" title=\"6 Perfect Comedy-Horror Movies to Watch This Halloween\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A guide on avoiding problematic costumes, a map of most popular candy by state, and a Goosebumps / Fear Street quiz!\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/10/TheCoolerEpisode8.mp3\" title=\"This Is Halloween\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we're celebrating Halloween with only the spookiest topics, starting with a convo about how those inappropriate costumes you see all over the Internet are nothing more than a marketing ploy:\u003c/p>\n\u003cp>http://www.bloomberg.com/news/articles/2015-10-22/the-people-behind-sexy-pizza-rat-know-you-won-t-buy-their-costume\u003c/p>\n\u003cp>We're also figuring out where in the USA we should live based on our favorite candy:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://www.businessinsider.com/favorite-halloween-candy-by-state-2015-10\u003c/p>\n\u003cp>We're talking about the first movie that scarred us as children:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/giphy.gif\">\u003cimg class=\"size-full wp-image-18783 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/giphy.gif\" alt=\"giphy\" width=\"500\" height=\"348\">\u003c/a>\u003c/p>\n\u003cp>We test our teen horror knowledge with a \u003cem>Goosebumps \u003c/em>/ \u003cem>Fear Street\u003c/em> quiz:\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2015/10/29/quiz-match-the-goosebumps-fear-street-title-with-its-teaser/\u003c/p>\n\u003cp>And we celebrate director Henry Selick's admission that \u003cem>The Nightmare Before Christmas\u003c/em> is, in fact, a Halloween film, not a Christmas one, by riding out to \"This Is Halloween:\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpvdAJYvofI\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>And we celebrate director Henry Selick's admission that \u003cem>The Nightmare Before Christmas\u003c/em> is, in fact, a Halloween film, not a Christmas one, by riding out to \"This Is Halloween:\"\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/xpvdAJYvofI'\n title='//www.youtube.com/embed/xpvdAJYvofI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As Halloween nears and TV networks and online giants do their annual dive into the archives for even tangentially ghost- and ghoul-related programming, you're likely to catch some reliable old standbys: \u003cem>Halloween\u003c/em>, of course, and \u003cem>Friday the 13th\u003c/em>. Classics like \u003cem>The Exorcist\u003c/em> and \u003cem>The Shining\u003c/em>, as well as the '90s golden age of slasher franchises (\u003cem>Scream, I Know What You Did Last Summer\u003c/em>).\u003c/p>\n\u003cp>What the networks are missing, though, is perhaps the most glorious category of scary media: Those shows, movies, and characters that weren't necessarily designed to be frightening but for some reason \u003cem>scare the crap out of children. \u003c/em>\u003c/p>\n\u003cp>Everyone has an example of this: A visceral phobia that, in retrospect, might not make all that much sense. For instance, I was terrified of Ed Grimley, a hyperactive manchild portrayed by Martin Short on both \u003cem>SCTV\u003c/em> and \u003cem>Saturday Night Live.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mmFVLbuyUBc\u003c/p>\n\u003cp>Note: There is nothing remotely scary about Ed Grimley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other vague childhood terror I've been carrying around in the back of my mind for at least two decades while not quite knowing if it was warranted and/or real is a film called \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0089789/\" target=\"_blank\">The Peanut Butter Solution\u003c/a>\u003c/em>, which, thanks to the magic of The Internets, I recently discovered did in fact exist. It was released in December 1985 and appears to be Canadian, which I guess explains some things, but still -- this movie does \u003cem>not \u003c/em>belong in the family/comedy/fantasy genre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I2Cm4Cy3rxs\u003c/p>\n\u003cp>The plot is that a boy gets scared and loses all his hair, and then all the other kids make fun of him, and then ghosts appear and give him a recipe for some peanut butter-based formula that will make hair grow. Then it works too well and his hair won't stop growing. I don't remember how it ends so I couldn't spoil it for you even if I wanted to, but please know that every adult in this film is horrible and the children inhabit an inescapably dreary suburban hell where evil is basically waiting to burst out from every seam.\u003c/p>\n\u003cp>Finding the IMDb message boards for this film helped me to feel less alone.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/peanutbutter-e1446071756609.png\">\u003cimg class=\"aligncenter wp-image-18763\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/peanutbutter-e1446071756609.png\" alt=\"peanutbutter\" width=\"518\" height=\"199\">\u003c/a>\u003c/p>\n\u003cp>In any event: It was with Ed Grimley and this weird Canadian nightmare in mind that I decided to poll my friends and colleagues about their Weird Thing That Scared The Crap Out of Them. Here are a few excerpts from their responses.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"The most terrifying viewing experience from my childhood is hands down \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Unicorn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003cspan style=\"font-weight: 400\"> The movie revolves around \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2f38.media.tumblr.com%2ff59e4329e573441ecfd81c1d5721f1e4%2ftumblr_mur9lgu0cc1qco8kzo1_500.gif\">\u003cspan style=\"font-weight: 400\">a massive, flaming Red Bull\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> who herds all the unicorns \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2f24.media.tumblr.com%2f39aee500c2affaf8c42f0e9add44d7cc%2ftumblr_mgigp8WMjI1qbhmovo18_r1_400.gif\">\u003cspan style=\"font-weight: 400\">into the ocean\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> where they all die. As if that isn’t enough, there’s also a terrifying \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2fak-hdl.buzzfed.com%2fstatic%2f2014-04%2fenhanced%2fwebdr06%2f14%2f13%2fanigif_enhanced-22813-1397496915-14.gif\">\u003cspan style=\"font-weight: 400\">blood-thirsty harpy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a spooky enterprising carnival woman with a piece of bark on her head, a tree that \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2fak-hdl.buzzfed.com%2fstatic%2f2014-04%2fenhanced%2fwebdr07%2f14%2f12%2fanigif_enhanced-3128-1397492560-6.gif\">\u003cspan style=\"font-weight: 400\">smothers cute-enough wizards with her boobs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2fak-hdl.buzzfed.com%2fstatic%2f2014-04%2fenhanced%2fwebdr02%2f14%2f13%2fanigif_enhanced-11131-1397497817-5.gif\">\u003cspan style=\"font-weight: 400\">a skeleton\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> who has a drinking problem and anger management issues. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"But perhaps the most frightening piece of this not-safe-for-children puzzle is when the Last Unicorn is turned into a human woman and immediately delivers some existential real talk: '\u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=https%3a%2f%2f33.media.tumblr.com%2fc580694d9bbbcca4521518a0b4d667bc%2ftumblr_nhue6slN1c1rv0qwso1_500.gif\">\u003cspan style=\"font-weight: 400\">I can feel this body dying all around me\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">!' The slow, but assured decline and obliteration of one’s body is something we should all come to terms with eventually…but maybe not when we’re still finger painting and tasting Play-Doh.\" -- \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel Hapsis\u003c/a>, who discusses this horror and more on \u003ca href=\"http://ww2.kqed.org/pop/2015/10/29/8-this-is-halloween/\" target=\"_blank\">this week's Cooler podcast\u003c/a> (which, if you're not already \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499\" target=\"_blank\">subscribed on iTunes\u003c/a> and whatnot, well I don't even know what to tell you). \u003c/em>\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OkAbmWrqtC0\u003c/p>\n\u003cp>\"The year was 1983, and it was Christmas Eve. For some reason, my parents decided this was a good time – after the ceremonial reading of the Christmas story in the Bible, mind you – to show us kids Michael Jackson's new video, for “Thriller.” Now, “Thriller” is a campy video, to be sure, but c'mon, I was only eight years old. When Michael Jackson lurched to the ground, turned his yellow eyes toward his girlfriend and growled “GO AWAY” through his werewolf fangs, I instantly jumped out of my jammies. Remember, “Thriller” was the prevailing pop culture moment of 1983, so I can't be alone in this pick, nor could I have been the only one who obsessively watched and re-watched \u003cem>The Making of Thriller\u003c/em> basically to hear director Jon Landis explain that the scene wasn't actually real.\" -- \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\" target=\"_blank\">Gabe Meline\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4E0vu6TorHA\u003c/p>\n\u003cp>\"The 'monsters' of \u003cem>Where the Wild Things Are\u003c/em> reportedly gave me nightmares when I was little. When I woke up crying, it was because 'Mommy, there's cows in my bed.'\" -- the perfectly reasonable \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\">Sarah Hotchkiss \u003c/a>\u003c/p>\n\u003cp>\"Though it's obvious they were trying be scary, how scary can a Saturday morning cartoon get? \u003cem>The Real Ghostbusters\u003c/em> \u003ca href=\"http://www.adventuresinpoortaste.com/2012/01/27/5-most-terrifying-therealghostbusters-episodes/\" target=\"_blank\">tested the limits back in the '90s, for real\u003c/a>. This episode was when the show went from being a crazy Ghostbusters cartoon to literally being too scary to watch -- and it still gives me the chills!!\" -- \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\" target=\"_blank\">Kevin L. Jones\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rtrBBLiAQYo\u003c/p>\n\u003cp>\u003cstrong>And a few anonymous contributions:\u003c/strong>\u003c/p>\n\u003cp>\"I was very scared of the Teenage Mutant Ninja Turtles when I was a kid. Being told they were good guys was no comfort. They were GIANT TURTLES that LIVED IN THE SEWER with a GIANT RAT FRIEND. And they were teenage boys, the scariest kind of person.\"\u003c/p>\n\u003cp>\"Roseanne's laugh.\"\u003c/p>\n\u003cp>\"Roseanne's house \u003cem>[ed. note -- these were different people]\u003c/em>.\"\u003c/p>\n\u003cp>\"Everything in \u003cem>The Neverending Story\u003c/em>.\"\u003c/p>\n\u003cp>\"Alf.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iSE51IAUZ3M\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Et tu, dear readers? What sent you crawling under the covers? Let us know in the comments.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Halloween nears and TV networks and online giants do their annual dive into the archives for even tangentially ghost- and ghoul-related programming, you're likely to catch some reliable old standbys: \u003cem>Halloween\u003c/em>, of course, and \u003cem>Friday the 13th\u003c/em>. Classics like \u003cem>The Exorcist\u003c/em> and \u003cem>The Shining\u003c/em>, as well as the '90s golden age of slasher franchises (\u003cem>Scream, I Know What You Did Last Summer\u003c/em>).\u003c/p>\n\u003cp>What the networks are missing, though, is perhaps the most glorious category of scary media: Those shows, movies, and characters that weren't necessarily designed to be frightening but for some reason \u003cem>scare the crap out of children. \u003c/em>\u003c/p>\n\u003cp>Everyone has an example of this: A visceral phobia that, in retrospect, might not make all that much sense. For instance, I was terrified of Ed Grimley, a hyperactive manchild portrayed by Martin Short on both \u003cem>SCTV\u003c/em> and \u003cem>Saturday Night Live.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mmFVLbuyUBc'\n title='//www.youtube.com/embed/mmFVLbuyUBc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Note: There is nothing remotely scary about Ed Grimley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other vague childhood terror I've been carrying around in the back of my mind for at least two decades while not quite knowing if it was warranted and/or real is a film called \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0089789/\" target=\"_blank\">The Peanut Butter Solution\u003c/a>\u003c/em>, which, thanks to the magic of The Internets, I recently discovered did in fact exist. It was released in December 1985 and appears to be Canadian, which I guess explains some things, but still -- this movie does \u003cem>not \u003c/em>belong in the family/comedy/fantasy genre.\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/I2Cm4Cy3rxs'\n title='//www.youtube.com/embed/I2Cm4Cy3rxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The plot is that a boy gets scared and loses all his hair, and then all the other kids make fun of him, and then ghosts appear and give him a recipe for some peanut butter-based formula that will make hair grow. Then it works too well and his hair won't stop growing. I don't remember how it ends so I couldn't spoil it for you even if I wanted to, but please know that every adult in this film is horrible and the children inhabit an inescapably dreary suburban hell where evil is basically waiting to burst out from every seam.\u003c/p>\n\u003cp>Finding the IMDb message boards for this film helped me to feel less alone.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/peanutbutter-e1446071756609.png\">\u003cimg class=\"aligncenter wp-image-18763\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/peanutbutter-e1446071756609.png\" alt=\"peanutbutter\" width=\"518\" height=\"199\">\u003c/a>\u003c/p>\n\u003cp>In any event: It was with Ed Grimley and this weird Canadian nightmare in mind that I decided to poll my friends and colleagues about their Weird Thing That Scared The Crap Out of Them. Here are a few excerpts from their responses.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"The most terrifying viewing experience from my childhood is hands down \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Unicorn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003cspan style=\"font-weight: 400\"> The movie revolves around \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2f38.media.tumblr.com%2ff59e4329e573441ecfd81c1d5721f1e4%2ftumblr_mur9lgu0cc1qco8kzo1_500.gif\">\u003cspan style=\"font-weight: 400\">a massive, flaming Red Bull\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> who herds all the unicorns \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2f24.media.tumblr.com%2f39aee500c2affaf8c42f0e9add44d7cc%2ftumblr_mgigp8WMjI1qbhmovo18_r1_400.gif\">\u003cspan style=\"font-weight: 400\">into the ocean\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> where they all die. As if that isn’t enough, there’s also a terrifying \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2fak-hdl.buzzfed.com%2fstatic%2f2014-04%2fenhanced%2fwebdr06%2f14%2f13%2fanigif_enhanced-22813-1397496915-14.gif\">\u003cspan style=\"font-weight: 400\">blood-thirsty harpy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a spooky enterprising carnival woman with a piece of bark on her head, a tree that \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2fak-hdl.buzzfed.com%2fstatic%2f2014-04%2fenhanced%2fwebdr07%2f14%2f12%2fanigif_enhanced-3128-1397492560-6.gif\">\u003cspan style=\"font-weight: 400\">smothers cute-enough wizards with her boobs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=http%3a%2f%2fak-hdl.buzzfed.com%2fstatic%2f2014-04%2fenhanced%2fwebdr02%2f14%2f13%2fanigif_enhanced-11131-1397497817-5.gif\">\u003cspan style=\"font-weight: 400\">a skeleton\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> who has a drinking problem and anger management issues. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"But perhaps the most frightening piece of this not-safe-for-children puzzle is when the Last Unicorn is turned into a human woman and immediately delivers some existential real talk: '\u003c/span>\u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=421442f729484aea9096afda8a1981c0&URL=https%3a%2f%2f33.media.tumblr.com%2fc580694d9bbbcca4521518a0b4d667bc%2ftumblr_nhue6slN1c1rv0qwso1_500.gif\">\u003cspan style=\"font-weight: 400\">I can feel this body dying all around me\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">!' The slow, but assured decline and obliteration of one’s body is something we should all come to terms with eventually…but maybe not when we’re still finger painting and tasting Play-Doh.\" -- \u003cem>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel Hapsis\u003c/a>, who discusses this horror and more on \u003ca href=\"http://ww2.kqed.org/pop/2015/10/29/8-this-is-halloween/\" target=\"_blank\">this week's Cooler podcast\u003c/a> (which, if you're not already \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499\" target=\"_blank\">subscribed on iTunes\u003c/a> and whatnot, well I don't even know what to tell you). \u003c/em>\u003c/span>\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/OkAbmWrqtC0'\n title='//www.youtube.com/embed/OkAbmWrqtC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"The year was 1983, and it was Christmas Eve. For some reason, my parents decided this was a good time – after the ceremonial reading of the Christmas story in the Bible, mind you – to show us kids Michael Jackson's new video, for “Thriller.” Now, “Thriller” is a campy video, to be sure, but c'mon, I was only eight years old. When Michael Jackson lurched to the ground, turned his yellow eyes toward his girlfriend and growled “GO AWAY” through his werewolf fangs, I instantly jumped out of my jammies. Remember, “Thriller” was the prevailing pop culture moment of 1983, so I can't be alone in this pick, nor could I have been the only one who obsessively watched and re-watched \u003cem>The Making of Thriller\u003c/em> basically to hear director Jon Landis explain that the scene wasn't actually real.\" -- \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\" target=\"_blank\">Gabe Meline\u003c/a>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4E0vu6TorHA'\n title='//www.youtube.com/embed/4E0vu6TorHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"The 'monsters' of \u003cem>Where the Wild Things Are\u003c/em> reportedly gave me nightmares when I was little. When I woke up crying, it was because 'Mommy, there's cows in my bed.'\" -- the perfectly reasonable \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\">Sarah Hotchkiss \u003c/a>\u003c/p>\n\u003cp>\"Though it's obvious they were trying be scary, how scary can a Saturday morning cartoon get? \u003cem>The Real Ghostbusters\u003c/em> \u003ca href=\"http://www.adventuresinpoortaste.com/2012/01/27/5-most-terrifying-therealghostbusters-episodes/\" target=\"_blank\">tested the limits back in the '90s, for real\u003c/a>. This episode was when the show went from being a crazy Ghostbusters cartoon to literally being too scary to watch -- and it still gives me the chills!!\" -- \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\" target=\"_blank\">Kevin L. Jones\u003c/a>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rtrBBLiAQYo'\n title='//www.youtube.com/embed/rtrBBLiAQYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>And a few anonymous contributions:\u003c/strong>\u003c/p>\n\u003cp>\"I was very scared of the Teenage Mutant Ninja Turtles when I was a kid. Being told they were good guys was no comfort. They were GIANT TURTLES that LIVED IN THE SEWER with a GIANT RAT FRIEND. And they were teenage boys, the scariest kind of person.\"\u003c/p>\n\u003cp>\"Roseanne's laugh.\"\u003c/p>\n\u003cp>\"Roseanne's house \u003cem>[ed. note -- these were different people]\u003c/em>.\"\u003c/p>\n\u003cp>\"Everything in \u003cem>The Neverending Story\u003c/em>.\"\u003c/p>\n\u003cp>\"Alf.\"\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/iSE51IAUZ3M'\n title='//www.youtube.com/embed/iSE51IAUZ3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Et tu, dear readers? What sent you crawling under the covers? Let us know in the comments.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>It’s time to celebrate the animated moving image! In 2002, Oct. 28, ASIFA proclaimed International Animation Day as the primary global event to celebrate the art of animation. Fun Fact: this commemorates the first public animation performances of \u003ca target=\"_blank\" href=\"https://youtu.be/TAUA6pg_EXk\" rel=\"noopener\">Émile Reynaud’s \u003c/a>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/28/6-shorts-to-celebrate-international-animation-day/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/28/6-shorts-to-celebrate-international-animation-day/\" target=\"_blank\" title=\"6 Shorts to Celebrate International Animation Day!\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Heed the ‘Suffragette’ Rally Cry and Vote, Damn It",
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"content": "\u003cp>It’s not often that representations of early 20th century English suffragettes, women agitating for the right to vote, make their way into pop culture. The most memorable may be Mrs. Winifred Banks, cheerfully oblivious mother of the five Banks children in Disney’s 1964 movie musical \u003ci>Mary Poppins\u003c/i>. Tellingly, when Mrs. Banks joyfully sings “\u003ca href=\"https://www.youtube.com/watch?v=Kvk1NZDFvZU\" target=\"_blank\" rel=\"noopener\">cast off the shackles of yesterday\u003c/a>,” she does so to the group of servants who do the actual labor of housework and childcare in her upper class home.\u003c/p>\n\u003cp>The suffrage movement depicted in the movie \u003ci>Suffragette\u003c/i>, opening in the Bay Area this Friday, is a far cry from Mrs. Banks’ fine hats and bloomer-wearing privilege. Set in London’s East End in 1912, the film, written by Abi Morgan (responsible for the Margaret Thatcher biopic \u003ci>The Iron Lady\u003c/i>) and directed by Sarah Gavron (who brought us \u003ci>Brick Lane\u003c/i>, the story of an arranged marriage in post-9/11 London), focuses on the radicalization of working class mother Maud Watts, played by the eminently sympathetic Carey Mulligan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y4jBXQM7mIk\u003c/p>\n\u003cp>Caught up in the “deeds, not words” of suffragette leader Emmeline Pankhurst’s Women’s Social and Political Union (WSPU), Watts’ sense of justice is awakened when given the opportunity to speak before a room of dark-suited Members of Parliament. When this honest testimony yields no political change, Watts tries out her pent-up voice of contempt, yelling, “Shame on you!”\u003c/p>\n\u003cp>\u003ci>Suffragette\u003c/i> grittily documents the myriad inequalities Watts witnesses and endures on a daily basis: sexual harassment at work in an already-dangerous industrial laundry, abusive husbands, police brutality, her total lack of parental rights over her young son. In contrast to these bleak realities, we watch Watts slowly enter the sisterhood of suffragettes, who provide support and empathy even as their methods grow increasingly destructive — both towards themselves and the symbols of a government that denies them the right to vote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The question of whether the WSPU’s tactics in response to the suffragettes’ treatment were warranted — one scene of force-feeding in prison is particularly brutal — is glossed over for the excitement of righteous rebellion. Under the leadership of Helena Bonham Carter’s Edith Ellyn, Watts and her companions break shop windows, detonate mailboxes and even blast an MP’s unoccupied home to smithereens.\u003c/p>\n\u003cfigure id=\"attachment_11039061\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11039061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Mulligan640.jpg\" alt=\"Carey Mulligan as Maud Watts in 'Suffragette.'\" width=\"426\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Mulligan640.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Mulligan640-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Mulligan640-399x600.jpg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Maud Watts in ‘Suffragette.’ \u003ccite>(Photo: Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One-liners of pointed dialogue fly like bits of masonry throughout the film, most often directed by Watts at her foil, the grudgingly-admiring Inspector Steed (played by Brendan Gleeson.) “You want me to respect the law, then make the law respectable,” she says. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not often that representations of early 20th century English suffragettes, women agitating for the right to vote, make their way into pop culture. The most memorable may be Mrs. Winifred Banks, cheerfully oblivious mother of the five Banks children in Disney’s 1964 movie musical \u003ci>Mary Poppins\u003c/i>. Tellingly, when Mrs. Banks joyfully sings “\u003ca href=\"https://www.youtube.com/watch?v=Kvk1NZDFvZU\" target=\"_blank\" rel=\"noopener\">cast off the shackles of yesterday\u003c/a>,” she does so to the group of servants who do the actual labor of housework and childcare in her upper class home.\u003c/p>\n\u003cp>The suffrage movement depicted in the movie \u003ci>Suffragette\u003c/i>, opening in the Bay Area this Friday, is a far cry from Mrs. Banks’ fine hats and bloomer-wearing privilege. Set in London’s East End in 1912, the film, written by Abi Morgan (responsible for the Margaret Thatcher biopic \u003ci>The Iron Lady\u003c/i>) and directed by Sarah Gavron (who brought us \u003ci>Brick Lane\u003c/i>, the story of an arranged marriage in post-9/11 London), focuses on the radicalization of working class mother Maud Watts, played by the eminently sympathetic Carey Mulligan.\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/Y4jBXQM7mIk'\n title='//www.youtube.com/embed/Y4jBXQM7mIk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Caught up in the “deeds, not words” of suffragette leader Emmeline Pankhurst’s Women’s Social and Political Union (WSPU), Watts’ sense of justice is awakened when given the opportunity to speak before a room of dark-suited Members of Parliament. When this honest testimony yields no political change, Watts tries out her pent-up voice of contempt, yelling, “Shame on you!”\u003c/p>\n\u003cp>\u003ci>Suffragette\u003c/i> grittily documents the myriad inequalities Watts witnesses and endures on a daily basis: sexual harassment at work in an already-dangerous industrial laundry, abusive husbands, police brutality, her total lack of parental rights over her young son. In contrast to these bleak realities, we watch Watts slowly enter the sisterhood of suffragettes, who provide support and empathy even as their methods grow increasingly destructive — both towards themselves and the symbols of a government that denies them the right to vote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The question of whether the WSPU’s tactics in response to the suffragettes’ treatment were warranted — one scene of force-feeding in prison is particularly brutal — is glossed over for the excitement of righteous rebellion. Under the leadership of Helena Bonham Carter’s Edith Ellyn, Watts and her companions break shop windows, detonate mailboxes and even blast an MP’s unoccupied home to smithereens.\u003c/p>\n\u003cfigure id=\"attachment_11039061\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11039061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Mulligan640.jpg\" alt=\"Carey Mulligan as Maud Watts in 'Suffragette.'\" width=\"426\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Mulligan640.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Mulligan640-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Mulligan640-399x600.jpg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Maud Watts in ‘Suffragette.’ \u003ccite>(Photo: Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One-liners of pointed dialogue fly like bits of masonry throughout the film, most often directed by Watts at her foil, the grudgingly-admiring Inspector Steed (played by Brendan Gleeson.) “You want me to respect the law, then make the law respectable,” she says. Zing! “We’re half the human race. You can’t stop us all.” Zing! Zing!\u003c/p>\n\u003cp>Earnest and at times strident, \u003ci>Suffragette\u003c/i> does best when focused on its working class everywoman. Mulligan makes Watts real, even though she’s an invention of narrative fiction, and of the class of women who didn’t warrant mention in the annals of history to boot.\u003c/p>\n\u003cp>Yet the self-seriousness with which \u003ci>Suffragette\u003c/i> represents its historical lessons doesn’t detract from its relevance today — not just for the women who will see too much of their own daily lives echoed in Watts’ struggles over 100 years ago.\u003c/p>\n\u003cp>Before the credits roll on \u003ci>Suffragette\u003c/i>, a timeline appears, showing the years women were fully given the right to vote in countries around the world. (A few for taste: Italy in 1945, Egypt in 1956, Switzerland in 1990 and in Saudi Arabia, women will be allowed to vote and run in elections this year.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film throws into sharp relief the act of voting — an amazing democratic principle that we too often take for granted. If the shock of seeing equal political voice denied to anyone, anywhere, doesn’t galvanize San Franciscans to \u003ca href=\"http://sfgov2.org/index.aspx?page=4702\" target=\"_blank\" rel=\"noopener\">visit the ballot boxes on Nov. 3\u003c/a>, I don’t know what will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fellow broke humans of the Bay Area! How’s your week going so far? Still trying to choose a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/26/dress-up-time-six-costume-ideas-from-the-twisted-minds-of-kqed/\" target=\"_blank\" rel=\"noopener\">Halloween costume\u003c/a>? Stuck in limbo deciding between “\u003ca href=\"http://www.yandy.com/What-Is-The-Color-Dress-Costume.php\" target=\"_blank\" rel=\"noopener\">The Dress\u003c/a>” and “\u003ca href=\"http://www.costumeish.com/products/costumes?utm_medium=cpc&utm_source=googlepla&variant=6464838019\" target=\"_blank\" rel=\"noopener\">Lion Killer Dentist\u003c/a>’’? (Please. Please listen. You’re better than either of those things.)\u003c/p>\n\u003cp>If you are, however, among those choosing to blow this week’s lunch money on, um, a \u003ca href=\"http://www.costumeish.com/collections/adult-costumes/products/deez-nuts-for-president-2016-costume?variant=6693338819\" target=\"_blank\" rel=\"noopener\">Deez Nuts costume\u003c/a>, never fear — here are some places to be this week that won’t break your piggy bank even further.\u003c/p>\n\u003cp>You know the rules: Nothing over $20. BYO fun-sized candy bars (or find a kid and go trick-or-treating, the finest of all penny-pinching holiday traditions). Here’s this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Oct. 28: \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Sugar Skull Decorating for Dia de Los Muertos\u003c/a>, Mountain View. \u003c/strong>Celebrate Day of the Dead by practicing the delicate art of the \u003cem>calavera\u003c/em>, or sugar skull decoration. Young people ages 16 and up are welcome. All you need is a shoebox (or some other way to cart your work of art home) — the Mountain View Public Library will have the rest. \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Free; details \u003c/a>\u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">KALW Presents Kamau Right Now!\u003c/a> at Freight & Salvage, Berkeley. \u003c/strong>The Berkeley comedian known for his whip-smart takes on politics, race relations, and more — all of which he offered to uproarious laughter at The Cooler’s launch party last month — takes the stage in his hometown for a live radio broadcast. \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">$20; details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">Peaches Christ hosts ‘Creatures of the Nightlife’ at the Cal Academy of Sciences\u003c/a>, SF. \u003c/strong>What do you get when you cross San Francisco’s queen of all queens with the spooky side of science? Well, a drag show and costume contest, for one, along with a “haunted hall” of curiosities (like skulls), squid dissection, and monster makeovers. This one’s 21+. $10–$12; \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">Total Trash Halloween Bash at 924 Gilman\u003c/a>, Berkeley. \u003c/strong>If the Bay Area’s seemingly ever-increasing number of squares in suits is getting you down, a solid weekend of punk, rockabilly, and undefinable yet loud-and-screamy retro weirdness is the antidote. Luckily, that’s what Total Trash Productions puts on every year: This kickoff night stars SoCal vets Redd Kross and New Jersey pizza-punk OGs (yes) Personal and the Pizzas. $15; \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">Scissors for Lefty and Fritz Montana\u003c/a> at Bottom of the Hill, SF. \u003c/strong>A night of sweaty, dancey, blues-inflected indie rock from two staples of the local scene, at one of the last pretension-free live music rooms in the city. What’s not to like? $10 – $12; \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">Mystery \u003cem>Mystery Science Theater 3000\u003c/em>\u003c/a> at the New Parkway, Oakland. \u003c/strong>Grab your best pals — be they human or lo-fi, early ’90s robot — and head downtown for a night of riffing, one-liners and sometimes sophomoric, always hilarious commentary, aka the stuff MST3K dreams are made of. Trivia (with prizes!) will reward your knowledge of all things Tom, Crow, and Joel and/or Mike ahead of the episode, which is TBD. (Fingers crossed for\u003ca href=\"https://www.youtube.com/watch?v=7EGwvwX2X44\" target=\"_blank\" rel=\"noopener\"> Rowsdower\u003c/a>.) $8; \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beetlejuice!\u003c/em> Halloween Party\u003c/a> at Virgil’s Sea Room, SF.\u003c/strong> Yes, the sequel’s actually happening — \u003ca href=\"http://variety.com/2015/film/news/beetlejuice-2-sequel-winona-ryder-tim-burton-michael-keaton-1201567607/\" target=\"_blank\" rel=\"noopener\">Winona said so!\u003c/a> — but if you can’t wait that long, put on some Harry Belafonte and calypso-groove your way on over to the patio of this laid-back bar. Costume contest at midnight — bonus points, we’re guessing, for pulling off \u003ca href=\"https://www.youtube.com/watch?v=Fj_inlzsDhQ\" target=\"_blank\" rel=\"noopener\">Shrunken Head Guy\u003c/a>. $3 – $5; \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Nov. 1 – Monday, Nov. 2: Day of the Dead, all over the Bay Area. \u003c/strong>Nurse your post-Halloween hangover with one of the fine processionals and parties taking place in \u003ca href=\"http://www.dayofthedeadsf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a>, \u003ca href=\"http://www.santarosadiadelosmuertos.org/events\" target=\"_blank\" rel=\"noopener\">Santa Rosa\u003c/a> and beyond. Remember, though, this is a holy holiday — traditional Mexican face paint very welcome. Please leave the \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">sexy pizza rat\u003c/a> at home.\u003c/p>\n\n",
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"excerpt": "Pizza punks, 'Beetlejuice' bonanzas, and more frugal frollicking for pricey times.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fellow broke humans of the Bay Area! How’s your week going so far? Still trying to choose a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/26/dress-up-time-six-costume-ideas-from-the-twisted-minds-of-kqed/\" target=\"_blank\" rel=\"noopener\">Halloween costume\u003c/a>? Stuck in limbo deciding between “\u003ca href=\"http://www.yandy.com/What-Is-The-Color-Dress-Costume.php\" target=\"_blank\" rel=\"noopener\">The Dress\u003c/a>” and “\u003ca href=\"http://www.costumeish.com/products/costumes?utm_medium=cpc&utm_source=googlepla&variant=6464838019\" target=\"_blank\" rel=\"noopener\">Lion Killer Dentist\u003c/a>’’? (Please. Please listen. You’re better than either of those things.)\u003c/p>\n\u003cp>If you are, however, among those choosing to blow this week’s lunch money on, um, a \u003ca href=\"http://www.costumeish.com/collections/adult-costumes/products/deez-nuts-for-president-2016-costume?variant=6693338819\" target=\"_blank\" rel=\"noopener\">Deez Nuts costume\u003c/a>, never fear — here are some places to be this week that won’t break your piggy bank even further.\u003c/p>\n\u003cp>You know the rules: Nothing over $20. BYO fun-sized candy bars (or find a kid and go trick-or-treating, the finest of all penny-pinching holiday traditions). Here’s this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Oct. 28: \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Sugar Skull Decorating for Dia de Los Muertos\u003c/a>, Mountain View. \u003c/strong>Celebrate Day of the Dead by practicing the delicate art of the \u003cem>calavera\u003c/em>, or sugar skull decoration. Young people ages 16 and up are welcome. All you need is a shoebox (or some other way to cart your work of art home) — the Mountain View Public Library will have the rest. \u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">Free; details \u003c/a>\u003ca href=\"https://ca.evanced.info/mountainview/lib/eventsignup.asp?ID=11748\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">KALW Presents Kamau Right Now!\u003c/a> at Freight & Salvage, Berkeley. \u003c/strong>The Berkeley comedian known for his whip-smart takes on politics, race relations, and more — all of which he offered to uproarious laughter at The Cooler’s launch party last month — takes the stage in his hometown for a live radio broadcast. \u003ca href=\"http://www.freightandsalvage.org/kamau-bell\" target=\"_blank\" rel=\"noopener\">$20; details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 29: \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">Peaches Christ hosts ‘Creatures of the Nightlife’ at the Cal Academy of Sciences\u003c/a>, SF. \u003c/strong>What do you get when you cross San Francisco’s queen of all queens with the spooky side of science? Well, a drag show and costume contest, for one, along with a “haunted hall” of curiosities (like skulls), squid dissection, and monster makeovers. This one’s 21+. $10–$12; \u003ca href=\"https://www.calacademy.org/nightlife/creatures-of-the-nightlife-0\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">Total Trash Halloween Bash at 924 Gilman\u003c/a>, Berkeley. \u003c/strong>If the Bay Area’s seemingly ever-increasing number of squares in suits is getting you down, a solid weekend of punk, rockabilly, and undefinable yet loud-and-screamy retro weirdness is the antidote. Luckily, that’s what Total Trash Productions puts on every year: This kickoff night stars SoCal vets Redd Kross and New Jersey pizza-punk OGs (yes) Personal and the Pizzas. $15; \u003ca href=\"https://www.ticketfly.com/purchase/event/935089\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 30: \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">Scissors for Lefty and Fritz Montana\u003c/a> at Bottom of the Hill, SF. \u003c/strong>A night of sweaty, dancey, blues-inflected indie rock from two staples of the local scene, at one of the last pretension-free live music rooms in the city. What’s not to like? $10 – $12; \u003ca href=\"http://www.bottomofthehill.com/20151030.html#.VjALtH6rTIU\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">Mystery \u003cem>Mystery Science Theater 3000\u003c/em>\u003c/a> at the New Parkway, Oakland. \u003c/strong>Grab your best pals — be they human or lo-fi, early ’90s robot — and head downtown for a night of riffing, one-liners and sometimes sophomoric, always hilarious commentary, aka the stuff MST3K dreams are made of. Trivia (with prizes!) will reward your knowledge of all things Tom, Crow, and Joel and/or Mike ahead of the episode, which is TBD. (Fingers crossed for\u003ca href=\"https://www.youtube.com/watch?v=7EGwvwX2X44\" target=\"_blank\" rel=\"noopener\"> Rowsdower\u003c/a>.) $8; \u003ca href=\"http://brownpapertickets.com/event/2359394\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 31: \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beetlejuice!\u003c/em> Halloween Party\u003c/a> at Virgil’s Sea Room, SF.\u003c/strong> Yes, the sequel’s actually happening — \u003ca href=\"http://variety.com/2015/film/news/beetlejuice-2-sequel-winona-ryder-tim-burton-michael-keaton-1201567607/\" target=\"_blank\" rel=\"noopener\">Winona said so!\u003c/a> — but if you can’t wait that long, put on some Harry Belafonte and calypso-groove your way on over to the patio of this laid-back bar. Costume contest at midnight — bonus points, we’re guessing, for pulling off \u003ca href=\"https://www.youtube.com/watch?v=Fj_inlzsDhQ\" target=\"_blank\" rel=\"noopener\">Shrunken Head Guy\u003c/a>. $3 – $5; \u003ca href=\"https://www.facebook.com/events/141008396251169/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Nov. 1 – Monday, Nov. 2: Day of the Dead, all over the Bay Area. \u003c/strong>Nurse your post-Halloween hangover with one of the fine processionals and parties taking place in \u003ca href=\"http://www.dayofthedeadsf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco\u003c/a>, \u003ca href=\"http://www.santarosadiadelosmuertos.org/events\" target=\"_blank\" rel=\"noopener\">Santa Rosa\u003c/a> and beyond. Remember, though, this is a holy holiday — traditional Mexican face paint very welcome. Please leave the \u003ca href=\"http://gothamist.com/2015/10/05/vermin_commodified.php\" target=\"_blank\" rel=\"noopener\">sexy pizza rat\u003c/a> at home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Reality, as Robin Williams observed through the haze of 1970s smoke and fame, is a heckuva concept. On its bad days, reality bites (to cite another pop-culture reference), and on its good days it’s stranger than fiction. It’s the inspiration for reality TV, though that relationship has devolved into a barely nodding acquaintance.\u003c/p>\n\u003cp>Documentary filmmakers likewise start with real life, then massage and manipulate it into a story for our edification and entertainment. (It frequently comes with a chaser of social activism.) One of the strongest aspects of \u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>, KQED’s long-running series of nonfiction works by and about Golden State characters, is that it presents an array of cinematic approaches and strategies that gently forces viewers to recognize the pervasiveness of subjective truth — the product of each filmmaker’s multitude of choices — in what is still perceived by some as an objective medium.\u003c/p>\n\u003cfigure id=\"attachment_11035275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/LDOF640.jpg\" alt=\"Still from 'Last Day of Freedom.'\" width=\"640\" height=\"361\" class=\"size-full wp-image-11035275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640-400x226.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom.’ \u003ccite>(Courtesy: Dee Hibbert-Jones and Nomi Talisman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now you may be attracted to documentaries for their content rather than their form, for the story rather than the storytelling, but experienced viewers recognize that one informs the other. Dee Hibbert-Jones and Nomi Talisman’s extraordinary \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/last-day-of-freedom/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, which began the Truly CA season on Oct. 25, uses spare animation and Fred Frith’s solo guitar to convey Bill Babbitt’s haunted memories of his brother Manny, a Vietnam vet tormented by PTSD. “They never got around to patching up that wound in his head,” Babbitt recalls in the course of a deeply personal and altogether riveting 27 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=seOHk4rCMZQ\u003c/p>\n\u003cp>The short documentary is generally underappreciated, although it operates from the irresistible premise that everybody possesses sufficient uniqueness and substance to sustain a five-minute film (at the very least). You’ll have your favorites among the five shorts airing Nov. 1 under the inviting rubric “State of Discovery,” though the hands-down creepiest is Yael Bridge and Helen Hood Scheer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/reborning/\" target=\"_blank\" rel=\"noopener\">Reborning\u003c/a>\u003c/em>, an open-ended introduction to a woman who handcrafts incredibly lifelike dolls for collectors. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scheer’s equally non-judgmental \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/full-time-ministry/\" target=\"_blank\" rel=\"noopener\">Full-time Ministry\u003c/a>\u003c/em> sketches a former ministry student (now a Fresno high school teacher) who infuses his ice sculptures with the gospel.\u003c/p>\n\u003cp>A great deal of skill and craft is brought to bear in \u003ca href=\"http://ww2.kqed.org/trulyca/slomo/\" target=\"_blank\" rel=\"noopener\">\u003cem>SLOMO\u003c/em>\u003c/a>, a 16-minute profile of a wealthy North Carolina doctor who chucked the rat race and took up rollerblading in Southern California nearly two decades ago. But filmmaker Josh Izenberg’s hubris — a heavy-handed shot of a hamster on a wheel is one of several offenses — overwhelms his subject’s humility.\u003c/p>\n\u003cp>Nick Brandestini’s hour-long \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/darwin/\" target=\"_blank\" rel=\"noopener\">Darwin\u003c/a>\u003c/em> (Nov. 8), unseen by your otherwise-diligent correspondent, camps out with the tiny populace of an isolated Death Valley town (if that’s not too grandiose a word for this dwindling outpost of civilization).\u003c/p>\n\u003cfigure id=\"attachment_11035280\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg\" alt=\"Still from 'Big Joy.'\" width=\"640\" height=\"461\" class=\"size-full wp-image-11035280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Big Joy.’ \u003ccite>(Credit: Dawn Lagsdon and Eric Slade/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Closer to home, Dawn Lodgson, Eric Slade and Stephen Silha’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/big-joy/\" target=\"_blank\" rel=\"noopener\">Big Joy: The Adventures of James Broughton\u003c/a>\u003c/em> (Nov. 15) revives the spirit and philosophy of the late, great Bay Area experimental filmmaker, poet and inspiration. A hit at the 2013 Frameline festival, the film is an exuberantly offbeat portrait of a free spirit who brushed off the prejudices of the day against homosexuality and bisexuality. \u003c/p>\n\u003cfigure id=\"attachment_11035283\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg\" alt=\"Still from 'First Friday.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-11035283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘First Friday.’ \u003ccite>(Courtesy: Mario Furloni and N’Jeri Eaton/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bouncing a poet’s sensibility against the crashing reality of present-day Oakland, N’Jeri Eaton and Mario Furloni’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a>\u003c/em> closes the season on Nov. 22 with a rush. Shot on the streets, and shot through with optimism, this vibrant, pulsing film uses First Friday — a social event intended to build community and promote the local arts scene — as a hub for the many residents working toward a better future for Oakland. What a concept, eh?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season 11 of Truly CA runs Oct. 25 – Nov. 22 on KQED.\u003c/p>\n\n",
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"title": "Savory Slices of Real Life, Courtesy of Truly CA | KQED",
"description": "One of the strongest aspects of Truly CA is that it questions the pervasiveness of subjective truth.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reality, as Robin Williams observed through the haze of 1970s smoke and fame, is a heckuva concept. On its bad days, reality bites (to cite another pop-culture reference), and on its good days it’s stranger than fiction. It’s the inspiration for reality TV, though that relationship has devolved into a barely nodding acquaintance.\u003c/p>\n\u003cp>Documentary filmmakers likewise start with real life, then massage and manipulate it into a story for our edification and entertainment. (It frequently comes with a chaser of social activism.) One of the strongest aspects of \u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>, KQED’s long-running series of nonfiction works by and about Golden State characters, is that it presents an array of cinematic approaches and strategies that gently forces viewers to recognize the pervasiveness of subjective truth — the product of each filmmaker’s multitude of choices — in what is still perceived by some as an objective medium.\u003c/p>\n\u003cfigure id=\"attachment_11035275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/LDOF640.jpg\" alt=\"Still from 'Last Day of Freedom.'\" width=\"640\" height=\"361\" class=\"size-full wp-image-11035275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/LDOF640-400x226.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom.’ \u003ccite>(Courtesy: Dee Hibbert-Jones and Nomi Talisman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now you may be attracted to documentaries for their content rather than their form, for the story rather than the storytelling, but experienced viewers recognize that one informs the other. Dee Hibbert-Jones and Nomi Talisman’s extraordinary \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/last-day-of-freedom/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, which began the Truly CA season on Oct. 25, uses spare animation and Fred Frith’s solo guitar to convey Bill Babbitt’s haunted memories of his brother Manny, a Vietnam vet tormented by PTSD. “They never got around to patching up that wound in his head,” Babbitt recalls in the course of a deeply personal and altogether riveting 27 minutes.\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/seOHk4rCMZQ'\n title='//www.youtube.com/embed/seOHk4rCMZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The short documentary is generally underappreciated, although it operates from the irresistible premise that everybody possesses sufficient uniqueness and substance to sustain a five-minute film (at the very least). You’ll have your favorites among the five shorts airing Nov. 1 under the inviting rubric “State of Discovery,” though the hands-down creepiest is Yael Bridge and Helen Hood Scheer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/reborning/\" target=\"_blank\" rel=\"noopener\">Reborning\u003c/a>\u003c/em>, an open-ended introduction to a woman who handcrafts incredibly lifelike dolls for collectors. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scheer’s equally non-judgmental \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/full-time-ministry/\" target=\"_blank\" rel=\"noopener\">Full-time Ministry\u003c/a>\u003c/em> sketches a former ministry student (now a Fresno high school teacher) who infuses his ice sculptures with the gospel.\u003c/p>\n\u003cp>A great deal of skill and craft is brought to bear in \u003ca href=\"http://ww2.kqed.org/trulyca/slomo/\" target=\"_blank\" rel=\"noopener\">\u003cem>SLOMO\u003c/em>\u003c/a>, a 16-minute profile of a wealthy North Carolina doctor who chucked the rat race and took up rollerblading in Southern California nearly two decades ago. But filmmaker Josh Izenberg’s hubris — a heavy-handed shot of a hamster on a wheel is one of several offenses — overwhelms his subject’s humility.\u003c/p>\n\u003cp>Nick Brandestini’s hour-long \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/darwin/\" target=\"_blank\" rel=\"noopener\">Darwin\u003c/a>\u003c/em> (Nov. 8), unseen by your otherwise-diligent correspondent, camps out with the tiny populace of an isolated Death Valley town (if that’s not too grandiose a word for this dwindling outpost of civilization).\u003c/p>\n\u003cfigure id=\"attachment_11035280\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg\" alt=\"Still from 'Big Joy.'\" width=\"640\" height=\"461\" class=\"size-full wp-image-11035280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/BIGJOY640-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Big Joy.’ \u003ccite>(Credit: Dawn Lagsdon and Eric Slade/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Closer to home, Dawn Lodgson, Eric Slade and Stephen Silha’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/big-joy/\" target=\"_blank\" rel=\"noopener\">Big Joy: The Adventures of James Broughton\u003c/a>\u003c/em> (Nov. 15) revives the spirit and philosophy of the late, great Bay Area experimental filmmaker, poet and inspiration. A hit at the 2013 Frameline festival, the film is an exuberantly offbeat portrait of a free spirit who brushed off the prejudices of the day against homosexuality and bisexuality. \u003c/p>\n\u003cfigure id=\"attachment_11035283\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg\" alt=\"Still from 'First Friday.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-11035283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FirstFriday40-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘First Friday.’ \u003ccite>(Courtesy: Mario Furloni and N’Jeri Eaton/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bouncing a poet’s sensibility against the crashing reality of present-day Oakland, N’Jeri Eaton and Mario Furloni’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a>\u003c/em> closes the season on Nov. 22 with a rush. Shot on the streets, and shot through with optimism, this vibrant, pulsing film uses First Friday — a social event intended to build community and promote the local arts scene — as a hub for the many residents working toward a better future for Oakland. What a concept, eh?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season 11 of Truly CA runs Oct. 25 – Nov. 22 on KQED.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Reasons to See This Year's South Asian Film Festival",
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"content": "\u003cp>One of the first and most intense film festivals I ever attended was the Kerala International Film Festival in Kerala, India. Ten days, over sixty films and way too many screenings later, I couldn’t even remember a plot line, let alone a cinematic style.\u003c/p>\n\u003cp>Luckily, the \u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco South Asian International Film Festival\u003c/a> (SFSAIFF), running Oct. 22-25 in San Francisco and Nov. 1 in Palo Alto, doesn’t try to do it all. Instead, festival co-directors Anuj Vaidya and Ivan Jaigirdir curate a manageable tasting menu for both the novice South Asian film-goer and the experienced viewer. But even tasting menus benefit from suggestions. Here’s what I’m most looking forward to:\u003c/p>\n\u003ch3>Stereotype-Exploding Narratives\u003c/h3>\n\u003cp>Seeing the same representatives of the South Asian community over and over gets old. The SFSAIFF offers a chance to combat stereotypes in the media and redefine what it means to be South Asian. Vaidya and Jaigirdir aim to include people usually on the periphery as well as films that are subversive and thought provoking.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0qB8_Q9oTuw\u003c/p>\n\u003cp>On Oct. 23, \u003cem>\u003ca href=\"http://www.thirdi.org/event/dheepan/\" target=\"_blank\" rel=\"noopener\">Dheepan\u003c/a>\u003c/em>, the winner of the Palme d’Or honor at the Cannes Film Festival this year, shows at New People Cinema. The film details the lives of three Sri Lankan immigrants, former Tamil Tigers, as they resettle in the Parisian suburbs — not your traditional model minority trope.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>M. Manikandan’s \u003cem>\u003ca href=\"http://www.thirdi.org/event/the-crows-egg-kaaka-muttai/\" target=\"_blank\" rel=\"noopener\">The Crow’s Egg\u003c/a>\u003c/em>, showing Oct. 24 at the Castro, tells the story of two brothers in search of pizza. “It’s like the Indian \u003cem>Slumdog Millionaire\u003c/em> in some senses. It is really empowering in an odd way,” Jaigirdir says.\u003c/p>\n\u003cp>And it is Tanuj Chopra’s \u003cem>\u003ca href=\"http://www.thirdi.org/event/brown-girl-stoner-film/\" target=\"_blank\" rel=\"noopener\">Brown Girl Stoner Film\u003c/a>\u003c/em>, a work in progress screening Oct. 24 at New People Cinema, that I am most looking forward to, not only because it’s described as a “smart and sassy comedy.” It’s the story of two young women stuck in a park with a big bag of weed. What more could you want?\u003c/p>\n\u003ch3>Nuances of Gender Dynamics\u003c/h3>\n\u003cp>South Asian gender issues are complex. In some ways India is progressive, providing the option (at least on many official forms) to self-identify beyond a male/female binary. However, violence against women and unequal power dynamics between genders undermine such gestures of egalitarianism. In separate discussions with Vaidya and Jaigirdir, they both named a number of films addressing gender.\u003c/p>\n\u003cp>These are: the Sri Lankan documentary \u003cem>\u003ca href=\"http://www.thirdi.org/event/silence-of-the-courts/\" target=\"_blank\" rel=\"noopener\">Silence in the Courts\u003c/a>\u003c/em>, showing Oct. 25 at New People Cinema, the story of two women in search for justice after being raped by a court judge; the short \u003cem>\u003ca href=\"http://www.thirdi.org/event/coast-to-coast-mumbai-to-the-mission-3/\" target=\"_blank\" rel=\"noopener\">Mardistan/Macholand\u003c/a>\u003c/em>, also screening Oct. 25 at New People, exploring masculinity through the voices of four men from Punjab; and \u003cem>\u003ca href=\"http://www.thirdi.org/event/petals-in-the-dust/\" target=\"_blank\" rel=\"noopener\">Petals in the Dust\u003c/a>\u003c/em>, showing Nov. 1 at CineArts in Palo Alto, which takes on issues of infanticide, sex-selective abortions and medical neglect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EJ16hle9EiM\u003c/p>\n\u003cp>“The issue does not just effect women,” says Vaidya. “I think these films do break stereotypes of Indian masculinity.”\u003c/p>\n\u003cp>[Disclaimer: Two short films by KQED Arts video producer Abhi Singh are also showing as part of the shorts program \u003ci>\u003ca href=\"http://www.thirdi.org/event/coast-to-coast-mumbai-to-the-mission-3/\" target=\"_blank\" rel=\"noopener\">Coast to Coast: Mumbai to the Mission\u003c/a>\u003c/i>, Oct. 25 at New People Cinema.]\u003c/p>\n\u003cfigure id=\"attachment_10971693\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10971693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SAsian640.jpg\" alt=\"Still from 'PK.' (Photo: 3rd i South Asian International Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘PK.’ (Photo: 3rd i South Asian International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>An Evolving Look at Film\u003c/h3>\n\u003cp>The origins of what is now the SFSAIFF date back to 2002, when it consisted of a series of monthly screenings. It evolved into a platform for South Asian cinema that is open to both emerging filmmakers and the occasional Bollywood film. This year that film is \u003cem>\u003ca href=\"http://www.thirdi.org/event/pk/\" target=\"_blank\" rel=\"noopener\">PK\u003c/a>\u003c/em>, showing Oct. 24 at the Castro. While it’s a bit over the top in terms of drama, as many Bollywood films are, the comedy still contains subtle lessons, and questions of religion and humanity.\u003c/p>\n\u003ch3>All the Voices, or at Least Many\u003c/h3>\n\u003cp>“The festival from the beginning has been about presenting voices from the various communities,” says Vaidya. The co-directors pride themselves in being open and inclusive to a wide range of stories and backgrounds. “It wouldn’t be a South Asian film festival if we didn’t have queer voices, Hindu voices, Muslims voices. Part of our mission is to have a variety of voices,” he says.\u003c/p>\n\u003cp>Though it’s admittedly impossible to keep track of all the films coming out of the South Asian region, Vaidya and Jaigirdir do their best. There’s only one short film I saw in India over the summer that I wish were included in this year’s program: \u003cem>Invisible Wings\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GdDl_YFfhwc\u003c/p>\n\u003cp>It’s a beautifully-shot story of a chai tea seller in southern India who travels around the world. Perhaps next year, it will grace the screens of the festival. For now, the short is being translated into multiple languages and screened in rural areas of India to spark discussion.\u003c/p>\n\u003ch3>Community\u003c/h3>\n\u003cp>As a bi-racial member of the South Asian community, it’s always nice to see events welcoming to a wide range of people while also nailing the nuances of what it means to be South Asian. There is no singular narrative.\u003c/p>\n\u003cp>Vaidya and Jaigirdir are sensitive to the changing demographics of the Bay Area and hope to entice older audiences who have moved further south along the peninsula. Hence the full program on Nov. 1 in Palo Alto.\u003c/p>\n\u003cp>“As much as we are a South Asian film festival it is about transcending those identities as well,” Vaidya says. “At the end of the day it is important that we all connect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cstrong>San Francisco South Asian International Film Festival\u003c/strong> takes place Oct. 22-25 and Nov. 1 at various Bay Area theaters. For tickets and more information, visit \u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">thirdi.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the first and most intense film festivals I ever attended was the Kerala International Film Festival in Kerala, India. Ten days, over sixty films and way too many screenings later, I couldn’t even remember a plot line, let alone a cinematic style.\u003c/p>\n\u003cp>Luckily, the \u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco South Asian International Film Festival\u003c/a> (SFSAIFF), running Oct. 22-25 in San Francisco and Nov. 1 in Palo Alto, doesn’t try to do it all. Instead, festival co-directors Anuj Vaidya and Ivan Jaigirdir curate a manageable tasting menu for both the novice South Asian film-goer and the experienced viewer. But even tasting menus benefit from suggestions. Here’s what I’m most looking forward to:\u003c/p>\n\u003ch3>Stereotype-Exploding Narratives\u003c/h3>\n\u003cp>Seeing the same representatives of the South Asian community over and over gets old. The SFSAIFF offers a chance to combat stereotypes in the media and redefine what it means to be South Asian. Vaidya and Jaigirdir aim to include people usually on the periphery as well as films that are subversive and thought provoking.\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/0qB8_Q9oTuw'\n title='//www.youtube.com/embed/0qB8_Q9oTuw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On Oct. 23, \u003cem>\u003ca href=\"http://www.thirdi.org/event/dheepan/\" target=\"_blank\" rel=\"noopener\">Dheepan\u003c/a>\u003c/em>, the winner of the Palme d’Or honor at the Cannes Film Festival this year, shows at New People Cinema. The film details the lives of three Sri Lankan immigrants, former Tamil Tigers, as they resettle in the Parisian suburbs — not your traditional model minority trope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>M. Manikandan’s \u003cem>\u003ca href=\"http://www.thirdi.org/event/the-crows-egg-kaaka-muttai/\" target=\"_blank\" rel=\"noopener\">The Crow’s Egg\u003c/a>\u003c/em>, showing Oct. 24 at the Castro, tells the story of two brothers in search of pizza. “It’s like the Indian \u003cem>Slumdog Millionaire\u003c/em> in some senses. It is really empowering in an odd way,” Jaigirdir says.\u003c/p>\n\u003cp>And it is Tanuj Chopra’s \u003cem>\u003ca href=\"http://www.thirdi.org/event/brown-girl-stoner-film/\" target=\"_blank\" rel=\"noopener\">Brown Girl Stoner Film\u003c/a>\u003c/em>, a work in progress screening Oct. 24 at New People Cinema, that I am most looking forward to, not only because it’s described as a “smart and sassy comedy.” It’s the story of two young women stuck in a park with a big bag of weed. What more could you want?\u003c/p>\n\u003ch3>Nuances of Gender Dynamics\u003c/h3>\n\u003cp>South Asian gender issues are complex. In some ways India is progressive, providing the option (at least on many official forms) to self-identify beyond a male/female binary. However, violence against women and unequal power dynamics between genders undermine such gestures of egalitarianism. In separate discussions with Vaidya and Jaigirdir, they both named a number of films addressing gender.\u003c/p>\n\u003cp>These are: the Sri Lankan documentary \u003cem>\u003ca href=\"http://www.thirdi.org/event/silence-of-the-courts/\" target=\"_blank\" rel=\"noopener\">Silence in the Courts\u003c/a>\u003c/em>, showing Oct. 25 at New People Cinema, the story of two women in search for justice after being raped by a court judge; the short \u003cem>\u003ca href=\"http://www.thirdi.org/event/coast-to-coast-mumbai-to-the-mission-3/\" target=\"_blank\" rel=\"noopener\">Mardistan/Macholand\u003c/a>\u003c/em>, also screening Oct. 25 at New People, exploring masculinity through the voices of four men from Punjab; and \u003cem>\u003ca href=\"http://www.thirdi.org/event/petals-in-the-dust/\" target=\"_blank\" rel=\"noopener\">Petals in the Dust\u003c/a>\u003c/em>, showing Nov. 1 at CineArts in Palo Alto, which takes on issues of infanticide, sex-selective abortions and medical neglect.\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/EJ16hle9EiM'\n title='//www.youtube.com/embed/EJ16hle9EiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The issue does not just effect women,” says Vaidya. “I think these films do break stereotypes of Indian masculinity.”\u003c/p>\n\u003cp>[Disclaimer: Two short films by KQED Arts video producer Abhi Singh are also showing as part of the shorts program \u003ci>\u003ca href=\"http://www.thirdi.org/event/coast-to-coast-mumbai-to-the-mission-3/\" target=\"_blank\" rel=\"noopener\">Coast to Coast: Mumbai to the Mission\u003c/a>\u003c/i>, Oct. 25 at New People Cinema.]\u003c/p>\n\u003cfigure id=\"attachment_10971693\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10971693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SAsian640.jpg\" alt=\"Still from 'PK.' (Photo: 3rd i South Asian International Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SAsian640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘PK.’ (Photo: 3rd i South Asian International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>An Evolving Look at Film\u003c/h3>\n\u003cp>The origins of what is now the SFSAIFF date back to 2002, when it consisted of a series of monthly screenings. It evolved into a platform for South Asian cinema that is open to both emerging filmmakers and the occasional Bollywood film. This year that film is \u003cem>\u003ca href=\"http://www.thirdi.org/event/pk/\" target=\"_blank\" rel=\"noopener\">PK\u003c/a>\u003c/em>, showing Oct. 24 at the Castro. While it’s a bit over the top in terms of drama, as many Bollywood films are, the comedy still contains subtle lessons, and questions of religion and humanity.\u003c/p>\n\u003ch3>All the Voices, or at Least Many\u003c/h3>\n\u003cp>“The festival from the beginning has been about presenting voices from the various communities,” says Vaidya. The co-directors pride themselves in being open and inclusive to a wide range of stories and backgrounds. “It wouldn’t be a South Asian film festival if we didn’t have queer voices, Hindu voices, Muslims voices. Part of our mission is to have a variety of voices,” he says.\u003c/p>\n\u003cp>Though it’s admittedly impossible to keep track of all the films coming out of the South Asian region, Vaidya and Jaigirdir do their best. There’s only one short film I saw in India over the summer that I wish were included in this year’s program: \u003cem>Invisible Wings\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GdDl_YFfhwc'\n title='//www.youtube.com/embed/GdDl_YFfhwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a beautifully-shot story of a chai tea seller in southern India who travels around the world. Perhaps next year, it will grace the screens of the festival. For now, the short is being translated into multiple languages and screened in rural areas of India to spark discussion.\u003c/p>\n\u003ch3>Community\u003c/h3>\n\u003cp>As a bi-racial member of the South Asian community, it’s always nice to see events welcoming to a wide range of people while also nailing the nuances of what it means to be South Asian. There is no singular narrative.\u003c/p>\n\u003cp>Vaidya and Jaigirdir are sensitive to the changing demographics of the Bay Area and hope to entice older audiences who have moved further south along the peninsula. Hence the full program on Nov. 1 in Palo Alto.\u003c/p>\n\u003cp>“As much as we are a South Asian film festival it is about transcending those identities as well,” Vaidya says. “At the end of the day it is important that we all connect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cstrong>San Francisco South Asian International Film Festival\u003c/strong> takes place Oct. 22-25 and Nov. 1 at various Bay Area theaters. For tickets and more information, visit \u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">thirdi.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Something’s happening on the internet,” yelps Kimber to her shy older sister Jerrica Benton, the instant pop sensation known as “Jem,” in the live-action version of Christy Marx’s mid-’80s cartoon staple \u003cem>Jem and the Holograms\u003c/em>. Kimber is delighting over an acoustic video gone viral, but the line aptly describes the modus operandi of the filmmakers, who are desperate to tap into the preteen zeitgeist but haven’t got a clue how to do it. From what they can gather, the internet is \u003ca href=\"https://en.wikipedia.org/wiki/Series_of_tubes\">a series of tubes\u003c/a>, connected by hashtag-dealing vloggers who will surely love the movie if they feel validated by it. The film is a cynical marketing plan set to music, as if director John M. Chu and his (all-male) producers and writer came away from \u003cem>Josie and the Pussycats\u003c/em> thinking Parker Posey’s music-biz CEO was the hero.\u003c/p>\n\u003cp>That’s not all \u003cem>Jem\u003c/em> takes from \u003cem>Josie\u003c/em>. Ryan Landels’ script lifts the premise almost beat for beat — teen musician becomes overnight sensation, signs a Faustian deal with a slick-talking label executive (Juliette Lewis in the Posey role), and loses her bandmates in a bid for solo stardom. But the film loses the catchy soundtrack, the candy-colored production design, and the satire on a culture geared toward turning kids into consumerist zombies. Few critics gave \u003cem>Josie\u003c/em> enough credit for cleverly subverting the teen-pop musical, but \u003cem>Jem\u003c/em> preys so rapaciously on its target demographic that it holds the virtues of the earlier film in sharp relief. \u003cem>Jem and the Holograms\u003c/em> is \u003cem>Mac and Me\u003c/em> to \u003cem>Josie and the Pussycats\u003c/em>‘ \u003cem>E.T.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pifhszsZKg4\u003c/p>\n\u003cp>Yet another in a \u003ca href=\"http://www.npr.org/2015/10/08/446354289/pan-asks-the-odd-question-what-happened-before-the-fun-started\">regrettable trend\u003c/a> of franchise-starting origin stories, \u003cem>Jem\u003c/em> follows Jerrica/Jem, her Instagram/YouTube-crazy sister Kimber, and their foster sisters Aja (Hayley Kiyoko) and Shana (Aurora Perrineau) on the fast track to musical fame. After Jerrica records a heartfelt song in her room — hiding her face under a pink wig and her identity under the \u003cem>nom de rock\u003c/em> Jem — Kimber secretly posts it online and it immediately attracts interest from Starlight Enterprises honcho Erica Raymond (Lewis). With Jerrica eager to make money to save her aunt and the quartet’s adoptive mother (Molly Ringwald) from foreclosure, she gets coerced into Raymond’s plan to make her a solo act.\u003c/p>\n\u003cp>That’s plenty of intrigue for one 90-minute confection, but \u003cem>Jem and the Holograms\u003c/em> is a full two hours and has much more tedious narrative business on the agenda. It would seem that Jerrica’s late father, an inventor, bequeathed to her a hologram-projecting robot named Synergy who won’t work until Jerrica finds three missing pieces, each hidden in a hard-to-access location. Her mission, should she choose to accept it, is to waste an hour of screen time following clues so her dad can appear like Obi-Wan Kenobi (or \u003ca href=\"https://www.youtube.com/watch?v=deoOTqT-SMI\">Will.I.Am\u003c/a>). Synergy has a critical role in Marx’s show — as does the rival band The Misfits, who are only teased for the wildly optimistic prospect of a sequel — but the bleeping robot does nothing that a simple letter couldn’t do. It’s just something to keep Jerrica and her friends busy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chu directed the Justin Bieber doc \u003cem>Never Say Never \u003c/em>— Bieber management svengali Scooter Braun co-produces here, too — and made the second and third \u003cem>Step Up\u003c/em> movies, and he attempts to find a choreography between Jem’s music and the homemade sounds of YouTube artists. But the overall effect is to sell teenagers on the lie that they’re creatively invested in this boondoggle — that they are “Jem” just as much as Jerrica is. In fact, \u003cem>Jem and the Holograms\u003c/em> is so committed to the concept that it \u003cem>looks\u003c/em> like an online video, washed out in a low-resolution gray that exposes its exceptionally modest $5 million budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something will definitely happen on the internet when the film hits theaters. Useful advice to the filmmakers: Don’t read the comments.\u003c/p>\n\n",
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"content": "\u003cp>When you Google “possession movies,” an exhaustive list of exorcism films clogs your search results. Apparently, the devil is the only thing inhabiting our humble human forms in recent years. However, many movies past, and a few present, have tackled spiritual habitation of not only people, but often the mundane \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/21/6-tales-of-possession-from-the-silver-screen/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/10/21/6-tales-of-possession-from-the-silver-screen/\" target=\"_blank\" title=\"6 Tales of Possession from the Silver Screen\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Grindhouse martial arts meets art-house “slow cinema” — that’s one quick and dirty way to summarize acclaimed director Hou Hsiao-Hsien’s new film, \u003cem>The Assassin\u003c/em>, his first venture into the gravity-defying heroic terrain of \u003ca href=\"https://en.wikipedia.org/wiki/Wuxia\" target=\"_blank\" rel=\"noopener\">wuxia\u003c/a>.\u003c/p>\n\u003cp>Yet make no mistake: \u003cem>The Assassin\u003c/em> is worlds away from your average assembly-line effort. Instead, think of other masters of world cinema and their forays into genre moviemaking — like Stanley Kubrick stalking then elevating the pulp of Stephen King’s \u003cem>The Shining\u003c/em> and Andrei Tarkovsky grappling with Stanislaw Lem’s outer space specters in \u003cem>Solaris\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_11026036\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, Hou — a critical part of the “second new wave” of Taiwanese cinema and often credited with putting his country’s films on the map with 1989’s powerful \u003cem>A City of Sadness\u003c/em> — bends the form to the shape of his imagination rather buckling to formula demands. \u003c/p>\n\u003cp>After a seven-year absence from feature filmmaking, \u003cem>The Assassin\u003c/em> marks the return of if not a director’s killer’s instincts then his indelible signature: an unmistakable sense of time marked by long takes and discreet camera movement, a feeling for naturalistic movement within the frame of very formal, arresting compositions.\u003c/p>\n\u003cp>So instead of flying fighters and over-the-top physical one-upmanship, we find a thinking, observing and independent-minded bladeswoman played by Hou’s three-time leading lady Shu Qi. Instead of standard battlegrounds and set pieces, Hou gives us a soundscape of birdsong and breathtaking images straight out of classical Chinese landscape paintings.\u003c/p>\n\u003cfigure id=\"attachment_11026037\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this, \u003cem>The Assassin\u003c/em> earned Hou the best director award at this year’s Cannes Film Festival. In San Francisco for the Mill Valley Film Festival and Taiwan Film Days earlier this month, the 68-year-old director sat down for an interview with the help of interpreter Ginger Wei.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The action in \u003cem>The Assassin\u003c/em> is so unusual — naturalistic, offhand and a seamless part of the natural landscape, as if the character is a force of nature. What did you want to accomplish with those scenes, which are usually so important in martial arts films?\u003c/strong> \u003c/p>\n\u003cp>I am more focused on a more realistic approach even if it’s a martial arts film. With natural lights and wind, we wanted to create a different sense of space and time for the audience. \u003c/p>\n\u003cp>As far as fighting sequences go, I didn’t want to shoot anything ridiculous. There’s still gravity. You can’t go against gravity. That’s my basic principle. In fact when we consulted a couple of martial arts trainers, they suggested, for instance, you can have this scene where you hit a cup, the water in slow motion starts coming out of the cup, and in the meantime the assassin approaches the target and kills the target and the cup has not dropped to the floor yet. To me, that’s a bit… too much. \u003c/p>\n\u003cfigure id=\"attachment_11026038\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11026038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The movie is set during the Tang Dynasty — what were the challenges of trying to re-create a time period or was it a matter of getting to a kind of emotional truth? What did you find interesting about it?\u003c/strong> \u003c/p>\n\u003cp>I don’t think the film portrayed precisely what the Tang Dynasty was like. Impossible. \u003c/p>\n\u003cp>But there is a large volume of literature written about the Tang Dynasty. We researched a great deal. I’m intrigued by many elements I came across in my own reading. There were women who were strong willed and officers who were allowed to have one wife and several concubines. Little things that I find quite interesting and also have relevance to today’s society. An assassin that didn’t just go blindly to assassinate kind of tells a message — that violence is for revenge or whatever reason but it shouldn’t be without solid ground or purpose. That’s something I like to tell through the film. \u003c/p>\n\u003cp>\u003cstrong>The images of nature — shot in Mongolia and Hubei — were so striking. The contrast between the luxurious interior and natural exterior shots stay with you.\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11026039\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was hard to find the type of scenery that I wanted in Taiwan — it’s a smaller place, so we went to Mainland China and thankfully there are still remote areas that are not so developed. For instance, there’s a lake and a farmer’s hut in the film — it’s all natural. It’s all there. Nothing has touched it because civilization has not reached that far.\u003c/p>\n\u003cp>\u003cstrong>In 1988, you were called “the future of cinema” — how do you see it unfolding today, with the many screens surrounding us. Today you can watch a movie on your phone, yet \u003cem>The Assassin\u003c/em> seems like it’s going in a very different direction.\u003c/strong>\u003c/p>\n\u003cp>I feel the digital world is here. It’s inevitable, even though I shot this film with actual film. \u003c/p>\n\u003cp>The digital world, I think, creates more dynamics, but it will alter the way stories will be told… It creates more freedom and space for filmmakers. I think for my next project, I will attempt to use the digital method. \u003c/p>\n\u003cp>I think the change of media will maybe affect the movies. They have to be shorter, they have to be more simple, and they have to be quick, because people’s attention span has become shorter.\u003c/p>\n\u003cp>\u003cstrong>It sounds like your next project will be set in contemporary times? \u003c/strong>\u003c/p>\n\u003cp>The next project, one in process, is about the underground water pipe network in Taipei that was left from the time of the Japanese occupation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Assassin\u003c/em> opens Friday, Oct. 23, 2015 in the Bay Area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grindhouse martial arts meets art-house “slow cinema” — that’s one quick and dirty way to summarize acclaimed director Hou Hsiao-Hsien’s new film, \u003cem>The Assassin\u003c/em>, his first venture into the gravity-defying heroic terrain of \u003ca href=\"https://en.wikipedia.org/wiki/Wuxia\" target=\"_blank\" rel=\"noopener\">wuxia\u003c/a>.\u003c/p>\n\u003cp>Yet make no mistake: \u003cem>The Assassin\u003c/em> is worlds away from your average assembly-line effort. Instead, think of other masters of world cinema and their forays into genre moviemaking — like Stanley Kubrick stalking then elevating the pulp of Stephen King’s \u003cem>The Shining\u003c/em> and Andrei Tarkovsky grappling with Stanislaw Lem’s outer space specters in \u003cem>Solaris\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_11026036\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, Hou — a critical part of the “second new wave” of Taiwanese cinema and often credited with putting his country’s films on the map with 1989’s powerful \u003cem>A City of Sadness\u003c/em> — bends the form to the shape of his imagination rather buckling to formula demands. \u003c/p>\n\u003cp>After a seven-year absence from feature filmmaking, \u003cem>The Assassin\u003c/em> marks the return of if not a director’s killer’s instincts then his indelible signature: an unmistakable sense of time marked by long takes and discreet camera movement, a feeling for naturalistic movement within the frame of very formal, arresting compositions.\u003c/p>\n\u003cp>So instead of flying fighters and over-the-top physical one-upmanship, we find a thinking, observing and independent-minded bladeswoman played by Hou’s three-time leading lady Shu Qi. Instead of standard battlegrounds and set pieces, Hou gives us a soundscape of birdsong and breathtaking images straight out of classical Chinese landscape paintings.\u003c/p>\n\u003cfigure id=\"attachment_11026037\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this, \u003cem>The Assassin\u003c/em> earned Hou the best director award at this year’s Cannes Film Festival. In San Francisco for the Mill Valley Film Festival and Taiwan Film Days earlier this month, the 68-year-old director sat down for an interview with the help of interpreter Ginger Wei.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The action in \u003cem>The Assassin\u003c/em> is so unusual — naturalistic, offhand and a seamless part of the natural landscape, as if the character is a force of nature. What did you want to accomplish with those scenes, which are usually so important in martial arts films?\u003c/strong> \u003c/p>\n\u003cp>I am more focused on a more realistic approach even if it’s a martial arts film. With natural lights and wind, we wanted to create a different sense of space and time for the audience. \u003c/p>\n\u003cp>As far as fighting sequences go, I didn’t want to shoot anything ridiculous. There’s still gravity. You can’t go against gravity. That’s my basic principle. In fact when we consulted a couple of martial arts trainers, they suggested, for instance, you can have this scene where you hit a cup, the water in slow motion starts coming out of the cup, and in the meantime the assassin approaches the target and kills the target and the cup has not dropped to the floor yet. To me, that’s a bit… too much. \u003c/p>\n\u003cfigure id=\"attachment_11026038\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11026038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The movie is set during the Tang Dynasty — what were the challenges of trying to re-create a time period or was it a matter of getting to a kind of emotional truth? What did you find interesting about it?\u003c/strong> \u003c/p>\n\u003cp>I don’t think the film portrayed precisely what the Tang Dynasty was like. Impossible. \u003c/p>\n\u003cp>But there is a large volume of literature written about the Tang Dynasty. We researched a great deal. I’m intrigued by many elements I came across in my own reading. There were women who were strong willed and officers who were allowed to have one wife and several concubines. Little things that I find quite interesting and also have relevance to today’s society. An assassin that didn’t just go blindly to assassinate kind of tells a message — that violence is for revenge or whatever reason but it shouldn’t be without solid ground or purpose. That’s something I like to tell through the film. \u003c/p>\n\u003cp>\u003cstrong>The images of nature — shot in Mongolia and Hubei — were so striking. The contrast between the luxurious interior and natural exterior shots stay with you.\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11026039\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was hard to find the type of scenery that I wanted in Taiwan — it’s a smaller place, so we went to Mainland China and thankfully there are still remote areas that are not so developed. For instance, there’s a lake and a farmer’s hut in the film — it’s all natural. It’s all there. Nothing has touched it because civilization has not reached that far.\u003c/p>\n\u003cp>\u003cstrong>In 1988, you were called “the future of cinema” — how do you see it unfolding today, with the many screens surrounding us. Today you can watch a movie on your phone, yet \u003cem>The Assassin\u003c/em> seems like it’s going in a very different direction.\u003c/strong>\u003c/p>\n\u003cp>I feel the digital world is here. It’s inevitable, even though I shot this film with actual film. \u003c/p>\n\u003cp>The digital world, I think, creates more dynamics, but it will alter the way stories will be told… It creates more freedom and space for filmmakers. I think for my next project, I will attempt to use the digital method. \u003c/p>\n\u003cp>I think the change of media will maybe affect the movies. They have to be shorter, they have to be more simple, and they have to be quick, because people’s attention span has become shorter.\u003c/p>\n\u003cp>\u003cstrong>It sounds like your next project will be set in contemporary times? \u003c/strong>\u003c/p>\n\u003cp>The next project, one in process, is about the underground water pipe network in Taipei that was left from the time of the Japanese occupation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Assassin\u003c/em> opens Friday, Oct. 23, 2015 in the Bay Area.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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