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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>East Bay dwellers: If you’re wary of those tired “Oakland is Brooklyn” comparisons, you’re not alone. The past few years of city folk landing in the East Bay after getting priced out of San Francisco has naturally led to more than a few breathless stories in the media about \u003cem>Oakland is hip now — check out all these new great bars and restaurants and happenings!\u003c/em>\u003c/p>\n\u003cp>In reality, as we East Bay natives know, our side of the Bay has always been cool. And, as September and October are the Bay Area’s real summer, it’s also hot — at least, about 10 degrees warmer than the city on a given day. Whether you’re on the lookout for thought-provoking theater, literary fetes, or live music that will keep you grooving into the wee hours, there’s something for you in the East Bay. Just keep it on the DL — we don’t need any more people to find out how good it is on this side.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917155\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg\" alt=\"Hiero Day 2012. (Photo courtesy Hieroglyphics)\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiero Day 2012. (Photo courtesy Hieroglyphics)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Hiero Day\u003c/b>\u003c/h3>\n\u003ch5>Sept. 7\u003cbr>\n3rd and Chestnut, Oakland, CA\u003cbr>\n\u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>What began as a humble, hip-hop-centric street party four years ago has grown into a behemoth — in the best possible way. Thrown by the guys from homegrown Oakland hip-hop label Hieroglyphics (home to Del the Funkee Homosapien and Souls of Mischief, among others), Hiero Day is one part daylong music festival, two parts celebration of all things Oakland. Family-friendly, with a lineup of independent artists espousing some very Bay Area values (The Coup, Zion I) in addition to national artists pushing the limits of what hip-hop can be (Chicago rapper Psalm One should be as big as Lauryn Hill), it all goes down around 3rd and Chestnut, with sponsor Linden Street Brewery as non-musical epicenter. Last year’s party drew more than 22,000 people — plus an unannounced Deltron set — so come armed with sunblock and ready for anything. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg\" alt=\"Edward Burtynsky.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10917322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover.jpg 850w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Edward Burtynsky. \u003ccite>((Courtesy Nicholas Metivier Gallery, Toronto / Rena Bransten Gallery, San Francisco))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Art/Act’: Edward Burtynsky\u003c/h3>\n\u003ch5>Opening Sept. 18\u003cbr>\nDavid Brower Center\u003cbr>\n\u003ca href=\"http://www.browercenter.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Photographer Edward Burtynsky, known for his arresting images of altered landscapes, is the recipient of the David Brower Center’s Art/Act Award, an honor bestowed upon established artists devoting their practice to activism through art. In this exhibition, Burtynsky presents aerial photos from his series \u003ci>Water\u003c/i>, images of once-wet areas rendered desolate and visually entrancing by drought. Included are photographs of the Colorado River Delta in Mexico, Shasta Lake Reservoir and the Salt River Pima-Maricopa Indian Reservation. Additional images from the series \u003ci>Shipbreaking\u003c/i>, \u003ci>Tailings and Oil\u003c/i> and \u003ci>Quarries\u003c/i> document the devastating effects of humankind’s activities on the natural world. (Sarah Hotchkiss) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917323\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png\" alt=\"Grace Jones performs at the Fox Theater Sept. 26.\" width=\"400\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png 665w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at the Fox Theater Sept. 26.\u003c/figcaption>\u003c/figure>\n\u003ch3>Grace Jones\u003c/h3>\n\u003ch5>Sept. 26\u003cbr>\nFox Theater\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Grace Jones burns in full androgynous Amazonian glory in \u003ca href=\"https://youtu.be/Wp5eCxlDWHo\">\u003cspan style=\"font-weight: 400\">this \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">1982 live neo- futuristic funk jam take on The Normal’s deadpan new wave classic “Warm Leatherette.” There’s the trademark glossy dark lipstick, the geometric flat-top, and those \u003c/span>\u003ca href=\"http://www.interviewmagazine.com/music/new-again-grace-jones/\">\u003cspan style=\"font-weight: 400\">eyes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hidden behind sunglasses. Whether as a model, new wave synth-head, \u003c/span>\u003ca href=\"https://youtu.be/GqJrhgX5ZtE\">\u003cspan style=\"font-weight: 400\">disco queen, \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">or lissome \u003c/span>\u003ca href=\"https://youtu.be/WPkhh5JytYE\">\u003cspan style=\"font-weight: 400\">foe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to Conan the Barbarian and James Bond, there’s no denying Miss Jones power. She’s written about her wildly stylish, iconoclastic, and influential life in a new memoir, out on September 29. Just before the book’s release, on Sept. 26, Jones brings her forceful presence to the Fox Theater. Latex, cigarettey monotone, and lasers shall ensue. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917153\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg\" alt=\"A still from 'Three to Infinity: Beyond Two Genders'\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Three to Infinity: Beyond Two Genders’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Three to Infinity: Beyond Two Genders\u003c/em>\u003c/h3>\n\u003ch5>Oct. 3\u003cbr>\nThe New Parkway\u003cbr>\n\u003ca href=\"http://thenewparkway.com/wp/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>With gay marriage finally legal in every state, it might seem that things are finally evening out for the LGBT community — until, of course, you consider the discrimination and dangers faced by trans people on a daily basis. Lonny Shavelson’s documentary explores the world of people who “identify as neither male nor female: agender, gender neutral, gender queer, and more.” At this screening, part of the New Parkway’s ongoing “Appreciating Diversity” film series, you might be surprised: viewers of all ages — and, naturally, all genders — will likely find someone in this film whose struggles feel all too familiar. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917426\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917426\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png\" alt=\"Gang of Four plays the New Parish in Oakland Oct. 17.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gang of Four plays the New Parish in Oakland Oct. 17.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gang of Four\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nThe New Parish\u003cbr>\n\u003ca href=\"http://thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>It’s amazing to think that at one time in our history, a band like Gang Of Four would sell enough records to be a hit today. Tagged with the purposefully non-descriptive genre of “post-punk,” Gang Of Four led the charge of bringing punk out of the rock world and made it more intellectual. Keeping the Do-It-Yourself mindset at the forefront, they incorporated funky bass lines, jagged guitar riffs and aggressively political lyrics into punk, paving the way for other noteworthy bands such as the Pop Group, Delta 5, and The Birthday Party. As angular and in your face as the Gang of Four was, they influenced musicians varying from Flea of the Red Hot Chili Peppers to R.E.M.’s Michael Stipe. They reunited back in 2004, though nowadays guitarist Andy Gill is the only original member still playing with them. But a quick look at \u003ca href=\"https://www.youtube.com/watch?v=-vtFxiGrlLc\" target=\"_blank\" rel=\"noopener\">recent performances on YouTube,\u003c/a> and it’s obvious that they can still tap into the anger and confidence of their youth. (Kevin L. Jones) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10923025\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10923025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg\" alt=\"Ayad Akhtar's Pulitzer Prize-winning 'Disgraced' is the highlight of the Fall season at the Berkeley Rep.\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar’s Pulitzer Prize-winning ‘Disgraced’ is the highlight of the Fall season at the Berkeley Rep.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Disgraced\u003c/em>\u003c/h3>\n\u003ch5>Opens Nov. 6\u003cbr>\nBerkeley Repertory Theatre\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>At a time when Republican presidential candidates like Sen. Ted Cruz seem intent on wielding the phrase “radical Islamic terrorism” like a cudgel, Ayad Akhtar’s Pulitzer Prize-winning one-act drama about identity, assimilation, and the Islamophobia hiding behind the comforts of the American Dream seems more relevant than ever. Amir Kapoor is a successful American-born Muslim mergers and acquisitions lawyer, his white wife Emily an artist whose art is touched by Islamic images and ideas. Distanced by his work from the religion he was raised in, Amir makes an unofficial court appearance in support of a local NYC imam who seems to be unjustly imprisoned for financing terrorist-supporting groups. It’s not exactly the stuff of silkily smooth dinner conversation when Amir invites an African American colleague home to dinner, along with her Jewish art dealer husband and the talk turns to racial profiling, faith, and trust in post-9/11 America. The hope, no doubt, is that the conversation continues beyond the confines of the stage when \u003ci>\u003cspan style=\"font-weight: 400\">Disgraced\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> makes its West Coast premiere at Berkeley Rep. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cp>\u003cb>Other fairs, fests, and events worth a look:\u003c/b>\u003c/p>\n\u003cp>Every Tuesday in September: The Seshen residency at Leo’s Music Club, Oakland\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opening Sept. 16: \u003c/span>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/public-works-artists-interventions-1970s-now/\">\u003cspan style=\"font-weight: 400\">Public Works: Artists’ Interventions 1970s–Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Mills College, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through Sept. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Shotgun Players present ‘Eurydice,’ \u003c/a>Berkeley\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 18 – 20: \u003ca href=\"http://eatrealfest.com/\" target=\"_blank\" rel=\"noopener\">Eat Real Festival\u003c/a>, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 26: \u003ca href=\"http://www.bayareabluesfestival.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival\u003c/a>, Martinez\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oct. 14: \u003ca href=\"http://thenewparish.com/event.cfm?id=216805\" target=\"_blank\" rel=\"noopener\">Todd Barry\u003c/a> performs at the New Parish, Oakland\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oct. 17: \u003ca href=\"http://www.apeconcerts.com/event/938997-neil-young-promise-real-berkeley/\" target=\"_blank\" rel=\"noopener\">Neil Young \u003c/a>performs at the Greek Theatre, Berkeley\u003c/span>\u003c/p>\n\n",
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"excerpt": "Whether you’re on the lookout for thought-provoking theater, literary fetes, or live music that will keep you grooving into the wee hours, there’s something for you in the East Bay this fall. ",
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"title": "Head East: Six Reasons Why Across the Bay is the Place to Be This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>East Bay dwellers: If you’re wary of those tired “Oakland is Brooklyn” comparisons, you’re not alone. The past few years of city folk landing in the East Bay after getting priced out of San Francisco has naturally led to more than a few breathless stories in the media about \u003cem>Oakland is hip now — check out all these new great bars and restaurants and happenings!\u003c/em>\u003c/p>\n\u003cp>In reality, as we East Bay natives know, our side of the Bay has always been cool. And, as September and October are the Bay Area’s real summer, it’s also hot — at least, about 10 degrees warmer than the city on a given day. Whether you’re on the lookout for thought-provoking theater, literary fetes, or live music that will keep you grooving into the wee hours, there’s something for you in the East Bay. Just keep it on the DL — we don’t need any more people to find out how good it is on this side.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917155\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg\" alt=\"Hiero Day 2012. (Photo courtesy Hieroglyphics)\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2_2869378617_hiero_day_9.3.12-423_web.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiero Day 2012. (Photo courtesy Hieroglyphics)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Hiero Day\u003c/b>\u003c/h3>\n\u003ch5>Sept. 7\u003cbr>\n3rd and Chestnut, Oakland, CA\u003cbr>\n\u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>What began as a humble, hip-hop-centric street party four years ago has grown into a behemoth — in the best possible way. Thrown by the guys from homegrown Oakland hip-hop label Hieroglyphics (home to Del the Funkee Homosapien and Souls of Mischief, among others), Hiero Day is one part daylong music festival, two parts celebration of all things Oakland. Family-friendly, with a lineup of independent artists espousing some very Bay Area values (The Coup, Zion I) in addition to national artists pushing the limits of what hip-hop can be (Chicago rapper Psalm One should be as big as Lauryn Hill), it all goes down around 3rd and Chestnut, with sponsor Linden Street Brewery as non-musical epicenter. Last year’s party drew more than 22,000 people — plus an unannounced Deltron set — so come armed with sunblock and ready for anything. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg\" alt=\"Edward Burtynsky.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10917322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BurtynskyCover.jpg 850w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Edward Burtynsky. \u003ccite>((Courtesy Nicholas Metivier Gallery, Toronto / Rena Bransten Gallery, San Francisco))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Art/Act’: Edward Burtynsky\u003c/h3>\n\u003ch5>Opening Sept. 18\u003cbr>\nDavid Brower Center\u003cbr>\n\u003ca href=\"http://www.browercenter.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Photographer Edward Burtynsky, known for his arresting images of altered landscapes, is the recipient of the David Brower Center’s Art/Act Award, an honor bestowed upon established artists devoting their practice to activism through art. In this exhibition, Burtynsky presents aerial photos from his series \u003ci>Water\u003c/i>, images of once-wet areas rendered desolate and visually entrancing by drought. Included are photographs of the Colorado River Delta in Mexico, Shasta Lake Reservoir and the Salt River Pima-Maricopa Indian Reservation. Additional images from the series \u003ci>Shipbreaking\u003c/i>, \u003ci>Tailings and Oil\u003c/i> and \u003ci>Quarries\u003c/i> document the devastating effects of humankind’s activities on the natural world. (Sarah Hotchkiss) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917323\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png\" alt=\"Grace Jones performs at the Fox Theater Sept. 26.\" width=\"400\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001-400x241.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/grace-jones-665x4001.png 665w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Jones performs at the Fox Theater Sept. 26.\u003c/figcaption>\u003c/figure>\n\u003ch3>Grace Jones\u003c/h3>\n\u003ch5>Sept. 26\u003cbr>\nFox Theater\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Grace Jones burns in full androgynous Amazonian glory in \u003ca href=\"https://youtu.be/Wp5eCxlDWHo\">\u003cspan style=\"font-weight: 400\">this \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">1982 live neo- futuristic funk jam take on The Normal’s deadpan new wave classic “Warm Leatherette.” There’s the trademark glossy dark lipstick, the geometric flat-top, and those \u003c/span>\u003ca href=\"http://www.interviewmagazine.com/music/new-again-grace-jones/\">\u003cspan style=\"font-weight: 400\">eyes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, hidden behind sunglasses. Whether as a model, new wave synth-head, \u003c/span>\u003ca href=\"https://youtu.be/GqJrhgX5ZtE\">\u003cspan style=\"font-weight: 400\">disco queen, \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">or lissome \u003c/span>\u003ca href=\"https://youtu.be/WPkhh5JytYE\">\u003cspan style=\"font-weight: 400\">foe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to Conan the Barbarian and James Bond, there’s no denying Miss Jones power. She’s written about her wildly stylish, iconoclastic, and influential life in a new memoir, out on September 29. Just before the book’s release, on Sept. 26, Jones brings her forceful presence to the Fox Theater. Latex, cigarettey monotone, and lasers shall ensue. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917153\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg\" alt=\"A still from 'Three to Infinity: Beyond Two Genders'\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/ProductionStill5-1-e1440531332401.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Three to Infinity: Beyond Two Genders’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Three to Infinity: Beyond Two Genders\u003c/em>\u003c/h3>\n\u003ch5>Oct. 3\u003cbr>\nThe New Parkway\u003cbr>\n\u003ca href=\"http://thenewparkway.com/wp/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>With gay marriage finally legal in every state, it might seem that things are finally evening out for the LGBT community — until, of course, you consider the discrimination and dangers faced by trans people on a daily basis. Lonny Shavelson’s documentary explores the world of people who “identify as neither male nor female: agender, gender neutral, gender queer, and more.” At this screening, part of the New Parkway’s ongoing “Appreciating Diversity” film series, you might be surprised: viewers of all ages — and, naturally, all genders — will likely find someone in this film whose struggles feel all too familiar. (Emma Silvers)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10917426\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10917426\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png\" alt=\"Gang of Four plays the New Parish in Oakland Oct. 17.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Gang-of-four3.png 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gang of Four plays the New Parish in Oakland Oct. 17.\u003c/figcaption>\u003c/figure>\n\u003ch3>Gang of Four\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nThe New Parish\u003cbr>\n\u003ca href=\"http://thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>It’s amazing to think that at one time in our history, a band like Gang Of Four would sell enough records to be a hit today. Tagged with the purposefully non-descriptive genre of “post-punk,” Gang Of Four led the charge of bringing punk out of the rock world and made it more intellectual. Keeping the Do-It-Yourself mindset at the forefront, they incorporated funky bass lines, jagged guitar riffs and aggressively political lyrics into punk, paving the way for other noteworthy bands such as the Pop Group, Delta 5, and The Birthday Party. As angular and in your face as the Gang of Four was, they influenced musicians varying from Flea of the Red Hot Chili Peppers to R.E.M.’s Michael Stipe. They reunited back in 2004, though nowadays guitarist Andy Gill is the only original member still playing with them. But a quick look at \u003ca href=\"https://www.youtube.com/watch?v=-vtFxiGrlLc\" target=\"_blank\" rel=\"noopener\">recent performances on YouTube,\u003c/a> and it’s obvious that they can still tap into the anger and confidence of their youth. (Kevin L. Jones) \n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10923025\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10923025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg\" alt=\"Ayad Akhtar's Pulitzer Prize-winning 'Disgraced' is the highlight of the Fall season at the Berkeley Rep.\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Berkeley_Rep_Akhtar-e1440805470734-1920x9571-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar’s Pulitzer Prize-winning ‘Disgraced’ is the highlight of the Fall season at the Berkeley Rep.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Disgraced\u003c/em>\u003c/h3>\n\u003ch5>Opens Nov. 6\u003cbr>\nBerkeley Repertory Theatre\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>At a time when Republican presidential candidates like Sen. Ted Cruz seem intent on wielding the phrase “radical Islamic terrorism” like a cudgel, Ayad Akhtar’s Pulitzer Prize-winning one-act drama about identity, assimilation, and the Islamophobia hiding behind the comforts of the American Dream seems more relevant than ever. Amir Kapoor is a successful American-born Muslim mergers and acquisitions lawyer, his white wife Emily an artist whose art is touched by Islamic images and ideas. Distanced by his work from the religion he was raised in, Amir makes an unofficial court appearance in support of a local NYC imam who seems to be unjustly imprisoned for financing terrorist-supporting groups. It’s not exactly the stuff of silkily smooth dinner conversation when Amir invites an African American colleague home to dinner, along with her Jewish art dealer husband and the talk turns to racial profiling, faith, and trust in post-9/11 America. The hope, no doubt, is that the conversation continues beyond the confines of the stage when \u003ci>\u003cspan style=\"font-weight: 400\">Disgraced\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> makes its West Coast premiere at Berkeley Rep. (Kimberly Chun) \u003c/span>\n\u003c/p>\u003c/div>\n\u003cp>\u003cb>Other fairs, fests, and events worth a look:\u003c/b>\u003c/p>\n\u003cp>Every Tuesday in September: The Seshen residency at Leo’s Music Club, Oakland\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opening Sept. 16: \u003c/span>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/public-works-artists-interventions-1970s-now/\">\u003cspan style=\"font-weight: 400\">Public Works: Artists’ Interventions 1970s–Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Mills College, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through Sept. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Shotgun Players present ‘Eurydice,’ \u003c/a>Berkeley\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 18 – 20: \u003ca href=\"http://eatrealfest.com/\" target=\"_blank\" rel=\"noopener\">Eat Real Festival\u003c/a>, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sept. 26: \u003ca href=\"http://www.bayareabluesfestival.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival\u003c/a>, Martinez\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oct. 14: \u003ca href=\"http://thenewparish.com/event.cfm?id=216805\" target=\"_blank\" rel=\"noopener\">Todd Barry\u003c/a> performs at the New Parish, Oakland\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dean Jones, Herbie's Driver in Disney Movies, Dies at Age 84",
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"content": "\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He later appeared in 1992’s big-dog flick \u003cem>Beethoven\u003c/em> and the 1994 Tom Clancy film \u003cem>Clear and Present Danger\u003c/em>. In more recent years, Jones worked in TV and doing voice-overs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hollywoodreporter.com/news/dean-jones-dead-disney-actor-819867\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> offers this summary of Jones’ early career:\u003c/p>\n\u003cblockquote>\n\u003cp>“Born Dean Carroll Jones on Jan. 25, 1931, in Decatur, Alabama, Jones served in the Navy during the Korean War and attended Asbury University in Kentucky. He started his career as the host of a local Alabama radio show, \u003cem>Dean Jones Sings\u003c/em>, and as a producer of stage shows.\u003c/p>\n\u003cp>“Signed by MGM, Jones made his film debut opposite Paul Newman in the boxing film \u003cem>Somebody Up There Likes Me\u003c/em> (1956), and \u003cem>Jailhouse Rock\u003c/em> (1957) with Elvis Presley soon followed.\u003c/p>\n\u003cp>“Jones bowed on Broadway in \u003cem>There Was A Little Girl\u003c/em> opposite Jane Fonda in 1960 and was in \u003cem>Under The Yum-Yum Tree\u003c/em> in the same year.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dean+Jones%2C+Herbie%27s+Driver+In+Disney+Movies%2C+Dies+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He later appeared in 1992’s big-dog flick \u003cem>Beethoven\u003c/em> and the 1994 Tom Clancy film \u003cem>Clear and Present Danger\u003c/em>. In more recent years, Jones worked in TV and doing voice-overs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hollywoodreporter.com/news/dean-jones-dead-disney-actor-819867\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> offers this summary of Jones’ early career:\u003c/p>\n\u003cblockquote>\n\u003cp>“Born Dean Carroll Jones on Jan. 25, 1931, in Decatur, Alabama, Jones served in the Navy during the Korean War and attended Asbury University in Kentucky. He started his career as the host of a local Alabama radio show, \u003cem>Dean Jones Sings\u003c/em>, and as a producer of stage shows.\u003c/p>\n\u003cp>“Signed by MGM, Jones made his film debut opposite Paul Newman in the boxing film \u003cem>Somebody Up There Likes Me\u003c/em> (1956), and \u003cem>Jailhouse Rock\u003c/em> (1957) with Elvis Presley soon followed.\u003c/p>\n\u003cp>“Jones bowed on Broadway in \u003cem>There Was A Little Girl\u003c/em> opposite Jane Fonda in 1960 and was in \u003cem>Under The Yum-Yum Tree\u003c/em> in the same year.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dean+Jones%2C+Herbie%27s+Driver+In+Disney+Movies%2C+Dies+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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>\u003cem>Un Mundo para Raúl\u003c/em>: When thirteen-year-old Raúl is asked to entertain the local landowner’s son, a treacherous game of power and pride unfolds between the boys. A short film by Mauro Mueller. Winner of the 2013 Student Academy Award.\u003c/p>\n\n\u003cp>\u003cspan><iframe type=\"text/html\" width=\"580\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/02/mind-games-the-student-academy-award-winning-un-mundo-para-raul/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/09/02/mind-games-the-student-academy-award-winning-un-mundo-para-raul/\" target=\"_blank\" title=\"Mind Games: The Student Academy Award-Winning ‘Un Mundo para Raúl’\" 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>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? 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It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five to Watch: September Tsunami",
"headTitle": "Five to Watch: September Tsunami | KQED",
"content": "\u003cp>Game on, fellow film aficionados. The summer doldrums are over, swept away on a tidal wave of revivals, festivals and visiting artists.\u003c/p>\n\u003cp>September starts big with Hitchcock’s well-trod \u003cem>Vertigo\u003c/em> in 70mm at the Castro, which perversely programs the saga of a detective who slips and falls into early retirement in the first reel on Labor Day weekend (Sept. 4-7). The end of the month brings Swedish director Roy Andersson’s latest collection of sublimely droll vignettes, \u003cem>A Pigeon Sat On a Branch Reflecting on Existence \u003c/em>(opening Sept. 25 at the Roxie), and a quartet of 20th century masterpieces by the immortal Italian director \u003ca href=\"http://www.cinemaitaliasf.com/\" target=\"_blank\" rel=\"noopener\">Vittorio De Sica\u003c/a> (Sept. 26 at the Castro). The redoubtable \u003ca href=\"http://www.legacyfilmfestivalonaging.org/\" target=\"_blank\" rel=\"noopener\">Legacy Film Festival on Aging\u003c/a> returns for a fifth edition (Sept. 18-20 at New People Cinema), while the \u003ca href=\"http://www.iranianfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Iranian Film Festival\u003c/a> features an in-person tribute to actress Gohar Kheirandish as well as Mohsen Makhmalbaf’s recent political parable, \u003cem>The President\u003c/em> (Sept. 26-27 at the San Francisco Art Institute). Winded already? We’re just getting started.\u003c/p>\n\u003cfigure id=\"attachment_10928446\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tunisia640.jpg\" alt=\"'Tunisia 2.0'\" width=\"640\" height=\"480\" class=\"size-full wp-image-10928446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tunisia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tunisia640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Tunisia 2.0’\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area documentary filmmakers routinely show works in progress to their peers for advice. The ongoing \u003ca href=\"http://sfroughcuts.com/nextevent.html\" target=\"_blank\" rel=\"noopener\">Rough Cuts\u003c/a> program includes everyday moviegoers in the process, inviting feedback on everything from factual clarity to pacing to character development. Prolific and accomplished producer Jessie Deeter (\u003cem>Who Killed the Electric Car?\u003c/em>) steps into the hot seat Sept. 9 at the Variety Screening Room with \u003cem>Tunisia 2.0\u003c/em>, which follows two influential women — a secular journalist and an Islamic parliament member — during the first years of their country’s democracy. The political is personal, remember, and vice versa. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rough-cuts-tunisia-2-0/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928447\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sears640.jpg\" alt=\"Kelly Sears, 'Once It Started It Could Not End Otherwise,' 2011. (Photo: SF Cinematheque)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10928447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sears640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sears640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Sears, ‘Once It Started It Could Not End Otherwise,’ 2011. (Photo: SF Cinematheque)\u003c/figcaption>\u003c/figure>\n\u003cp>Boulder-based experimental animator Kelly Sears is known to haunt thrift stores and flea markets for vintage ads and pictures to plug into her films. She wittily and acerbically re-contextualizes these airbrushed images to expose the gulf between what we’re told and sold about American idealism (or “American Exceptionalism,” as pandering politicians call it these days) and real and ongoing abuses of power. The wonderfully titled San Francisco Cinematheque show \u003ca href=\"http://www.sfcinematheque.org/screenings/something-is-wrong-with-these-pictures/\" target=\"_blank\" rel=\"noopener\">“Something Is Wrong With These Pictures: Films by Kelly Sears”\u003c/a> brings the filmmaker to Artists’ Television Access on Sept. 10. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/something-is-wrong-with-these-pictures-films-by-kelly-sears/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928448\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Young640.jpg\" alt=\"'Muddy Track,' 1987. (Photo: YBCA)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10928448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Young640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Young640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Muddy Track,’ 1987. (Photo: YBCA)\u003c/figcaption>\u003c/figure>\n\u003cp>Neil Young has made his share of music videos, but from the beginning he saw motion pictures as an extension of his artistic whims rather than merely a way to sell records and concert tickets. Under the self-deprecating pseudonym Bernard Shakey, everyone’s favorite hippie-genius rocker made pastiche home movies (\u003cem>Journey Through the Past\u003c/em>), country-folk eco-warrior operas (\u003cem>Greendale\u003c/em>) and concert films (\u003cem>Rust Never Sleeps\u003c/em>). \u003ca href=\"http://www.ybca.org/shakey-pictures\" target=\"_blank\" rel=\"noopener\">“Shakey Pictures: The Films of Neil Young”\u003c/a> dances to its own beat Sept. 10-27 at Yerba Buena Center For the Arts. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shakey-pictures-the-films-of-neil-young/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928449\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/VR640.jpg\" alt=\"Mac Cauley, 'The Night Café.' (Photo: Kaleidoscope VR Film Festival)\" width=\"640\" height=\"421\" class=\"size-full wp-image-10928449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/VR640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/VR640-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mac Cauley, ‘The Night Café.’ (Photo: Kaleidoscope VR Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>All kinds of consumer electronics — such as video, Fisher-Price Pixelvision and cell phones — began life as a technical innovation with commercial potential. Then artists got a hold of them. That’s what’s happening with virtual reality, which finally seems to be gaining traction beyond fans of expensive gimmickry. The \u003ca href=\"http://www.eventbrite.com/e/san-francisco-the-kaleidoscope-vr-film-festival-tickets-17958521421?aff=erelexporg\" target=\"_blank\" rel=\"noopener\">2015 Kaleidoscope VR Film Festival\u003c/a> makes one of its 10 stops at Public Works on Sept. 15 with an extensive array of short films from all over the globe. The technology has an obvious built-in hurdle to matching the group experience of movies; attendees will queue up to watch on Gear equipment supplied by Samsung, along with Oculus headsets. Catch the wave. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kaleidoscope-vr-film-festival/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/LatinoFF640.jpg\" alt=\"Alejandro Gerber Bicecci, 'A Separate Wind.' (Photo: Cine+Mas SF Latino Film Festival)\" width=\"640\" height=\"355\" class=\"size-full wp-image-10928527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LatinoFF640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LatinoFF640-400x222.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Gerber Bicecci, ‘A Separate Wind.’ (Photo: Cine+Mas SF Latino Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.sflatinofilmfestival.com/festival-2015-cmsf7/\" target=\"_blank\" rel=\"noopener\">Cine+Mas San Francisco Latino Film Festival\u003c/a> has a lot of ground to cover, geographically speaking, and does an excellent job of surveying contemporary realities and attitudes in Latin, South America, Cuba and the U.S. diaspora. I can’t confess I’ve seen a lot of brilliant movies at the festival, but I’ve never seen a dull one. The programmers have a talent for picking kinetic, alive films that would otherwise never play the Bay Area. The festival unspools Sept. 18-28 at the Roxie, Brava Theatre and the Mission Cultural Center for Latino Arts. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cinemas-san-francisco-latino-film-festival/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928530\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Victoria640.jpg\" alt=\"'Victoria'\" width=\"640\" height=\"360\" class=\"size-full wp-image-10928530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Victoria640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Victoria640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Victoria’\u003c/figcaption>\u003c/figure>\n\u003cp>Well, that’s five, but I can’t resist squeezing in one more September event. You may have noticed in recent years that the SF Jewish Film Festival, SF Silent Film Festival and the Goethe-Institut have all introduced off-season, one-day (all-day) blowouts. The latter organization presents three features aimed at twenty-somethings in its \u003ca href=\"http://www.roxie.com/ai1ec_event/berlinbeyond2015/?instance_id=8592\" target=\"_blank\" rel=\"noopener\">Berlin & Beyond Autumn Showcase\u003c/a> (Sept. 27 at the Roxie), beginning with \u003cem>Best Chance\u003c/em>, a saga of best friends crossing paths five years after high school. Sebastian Schipper’s Lola Award-winning \u003cem>Victoria\u003c/em> is a tense nocturnal heist/romance shot in one breathless take (it opens in mid-October in Bay Area theaters), while the back-to-school special \u003cem>Fack ju Göhte\u003c/em> (Suck me Shakespeer) centers on an ex-con-turned-teacher with mercenary motives. Live and learn, hopefully. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/berlin-beyond-autumn-showcase/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Game on, fellow film aficionados. The summer doldrums are over, swept away on a tidal wave of revivals, festivals and visiting artists.\u003c/p>\n\u003cp>September starts big with Hitchcock’s well-trod \u003cem>Vertigo\u003c/em> in 70mm at the Castro, which perversely programs the saga of a detective who slips and falls into early retirement in the first reel on Labor Day weekend (Sept. 4-7). The end of the month brings Swedish director Roy Andersson’s latest collection of sublimely droll vignettes, \u003cem>A Pigeon Sat On a Branch Reflecting on Existence \u003c/em>(opening Sept. 25 at the Roxie), and a quartet of 20th century masterpieces by the immortal Italian director \u003ca href=\"http://www.cinemaitaliasf.com/\" target=\"_blank\" rel=\"noopener\">Vittorio De Sica\u003c/a> (Sept. 26 at the Castro). The redoubtable \u003ca href=\"http://www.legacyfilmfestivalonaging.org/\" target=\"_blank\" rel=\"noopener\">Legacy Film Festival on Aging\u003c/a> returns for a fifth edition (Sept. 18-20 at New People Cinema), while the \u003ca href=\"http://www.iranianfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Iranian Film Festival\u003c/a> features an in-person tribute to actress Gohar Kheirandish as well as Mohsen Makhmalbaf’s recent political parable, \u003cem>The President\u003c/em> (Sept. 26-27 at the San Francisco Art Institute). Winded already? We’re just getting started.\u003c/p>\n\u003cfigure id=\"attachment_10928446\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Tunisia640.jpg\" alt=\"'Tunisia 2.0'\" width=\"640\" height=\"480\" class=\"size-full wp-image-10928446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tunisia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Tunisia640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Tunisia 2.0’\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area documentary filmmakers routinely show works in progress to their peers for advice. The ongoing \u003ca href=\"http://sfroughcuts.com/nextevent.html\" target=\"_blank\" rel=\"noopener\">Rough Cuts\u003c/a> program includes everyday moviegoers in the process, inviting feedback on everything from factual clarity to pacing to character development. Prolific and accomplished producer Jessie Deeter (\u003cem>Who Killed the Electric Car?\u003c/em>) steps into the hot seat Sept. 9 at the Variety Screening Room with \u003cem>Tunisia 2.0\u003c/em>, which follows two influential women — a secular journalist and an Islamic parliament member — during the first years of their country’s democracy. The political is personal, remember, and vice versa. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rough-cuts-tunisia-2-0/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928447\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sears640.jpg\" alt=\"Kelly Sears, 'Once It Started It Could Not End Otherwise,' 2011. (Photo: SF Cinematheque)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10928447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sears640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Sears640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Sears, ‘Once It Started It Could Not End Otherwise,’ 2011. (Photo: SF Cinematheque)\u003c/figcaption>\u003c/figure>\n\u003cp>Boulder-based experimental animator Kelly Sears is known to haunt thrift stores and flea markets for vintage ads and pictures to plug into her films. She wittily and acerbically re-contextualizes these airbrushed images to expose the gulf between what we’re told and sold about American idealism (or “American Exceptionalism,” as pandering politicians call it these days) and real and ongoing abuses of power. The wonderfully titled San Francisco Cinematheque show \u003ca href=\"http://www.sfcinematheque.org/screenings/something-is-wrong-with-these-pictures/\" target=\"_blank\" rel=\"noopener\">“Something Is Wrong With These Pictures: Films by Kelly Sears”\u003c/a> brings the filmmaker to Artists’ Television Access on Sept. 10. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/something-is-wrong-with-these-pictures-films-by-kelly-sears/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928448\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Young640.jpg\" alt=\"'Muddy Track,' 1987. (Photo: YBCA)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10928448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Young640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Young640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Muddy Track,’ 1987. (Photo: YBCA)\u003c/figcaption>\u003c/figure>\n\u003cp>Neil Young has made his share of music videos, but from the beginning he saw motion pictures as an extension of his artistic whims rather than merely a way to sell records and concert tickets. Under the self-deprecating pseudonym Bernard Shakey, everyone’s favorite hippie-genius rocker made pastiche home movies (\u003cem>Journey Through the Past\u003c/em>), country-folk eco-warrior operas (\u003cem>Greendale\u003c/em>) and concert films (\u003cem>Rust Never Sleeps\u003c/em>). \u003ca href=\"http://www.ybca.org/shakey-pictures\" target=\"_blank\" rel=\"noopener\">“Shakey Pictures: The Films of Neil Young”\u003c/a> dances to its own beat Sept. 10-27 at Yerba Buena Center For the Arts. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shakey-pictures-the-films-of-neil-young/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928449\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/VR640.jpg\" alt=\"Mac Cauley, 'The Night Café.' (Photo: Kaleidoscope VR Film Festival)\" width=\"640\" height=\"421\" class=\"size-full wp-image-10928449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/VR640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/VR640-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mac Cauley, ‘The Night Café.’ (Photo: Kaleidoscope VR Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>All kinds of consumer electronics — such as video, Fisher-Price Pixelvision and cell phones — began life as a technical innovation with commercial potential. Then artists got a hold of them. That’s what’s happening with virtual reality, which finally seems to be gaining traction beyond fans of expensive gimmickry. The \u003ca href=\"http://www.eventbrite.com/e/san-francisco-the-kaleidoscope-vr-film-festival-tickets-17958521421?aff=erelexporg\" target=\"_blank\" rel=\"noopener\">2015 Kaleidoscope VR Film Festival\u003c/a> makes one of its 10 stops at Public Works on Sept. 15 with an extensive array of short films from all over the globe. The technology has an obvious built-in hurdle to matching the group experience of movies; attendees will queue up to watch on Gear equipment supplied by Samsung, along with Oculus headsets. Catch the wave. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kaleidoscope-vr-film-festival/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/LatinoFF640.jpg\" alt=\"Alejandro Gerber Bicecci, 'A Separate Wind.' (Photo: Cine+Mas SF Latino Film Festival)\" width=\"640\" height=\"355\" class=\"size-full wp-image-10928527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LatinoFF640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LatinoFF640-400x222.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Gerber Bicecci, ‘A Separate Wind.’ (Photo: Cine+Mas SF Latino Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.sflatinofilmfestival.com/festival-2015-cmsf7/\" target=\"_blank\" rel=\"noopener\">Cine+Mas San Francisco Latino Film Festival\u003c/a> has a lot of ground to cover, geographically speaking, and does an excellent job of surveying contemporary realities and attitudes in Latin, South America, Cuba and the U.S. diaspora. I can’t confess I’ve seen a lot of brilliant movies at the festival, but I’ve never seen a dull one. The programmers have a talent for picking kinetic, alive films that would otherwise never play the Bay Area. The festival unspools Sept. 18-28 at the Roxie, Brava Theatre and the Mission Cultural Center for Latino Arts. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cinemas-san-francisco-latino-film-festival/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10928530\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Victoria640.jpg\" alt=\"'Victoria'\" width=\"640\" height=\"360\" class=\"size-full wp-image-10928530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Victoria640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Victoria640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Victoria’\u003c/figcaption>\u003c/figure>\n\u003cp>Well, that’s five, but I can’t resist squeezing in one more September event. You may have noticed in recent years that the SF Jewish Film Festival, SF Silent Film Festival and the Goethe-Institut have all introduced off-season, one-day (all-day) blowouts. The latter organization presents three features aimed at twenty-somethings in its \u003ca href=\"http://www.roxie.com/ai1ec_event/berlinbeyond2015/?instance_id=8592\" target=\"_blank\" rel=\"noopener\">Berlin & Beyond Autumn Showcase\u003c/a> (Sept. 27 at the Roxie), beginning with \u003cem>Best Chance\u003c/em>, a saga of best friends crossing paths five years after high school. Sebastian Schipper’s Lola Award-winning \u003cem>Victoria\u003c/em> is a tense nocturnal heist/romance shot in one breathless take (it opens in mid-October in Bay Area theaters), while the back-to-school special \u003cem>Fack ju Göhte\u003c/em> (Suck me Shakespeer) centers on an ex-con-turned-teacher with mercenary motives. Live and learn, hopefully. Visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/berlin-beyond-autumn-showcase/\">The Do List\u003c/a> for details.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Labor Day heralds the end of summer, and the return to reality. Hollywood is here to help our readjustment to adulthood, as it were, with a trickle of serious movies that will turn into a torrent by year’s end. Politics, history, injustice, innovation, sacrifice, freedom, self-actualization, self-expression, self-acceptance — a whole lot of drama will be mined from those themes in the next few months. \u003c/p>\n\u003cp>Of course, moviegoers aren’t attracted by ideas but by stories and characters. Which fall films will galvanize our emotions such that we’ll remember them in five years, or even one? And which will fade from memory before Oscar season ramps up in earnest? The answer may lie in the stars — the movie stars.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927369\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-400x267.jpg\" alt=\"Jena Malone (Maggie) and Richard Gere (George) in Oren Moverman’s 'Time Out Of Mind.'\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10927369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jena Malone (Maggie) and Richard Gere (George) in Oren Moverman’s ‘Time Out Of Mind.’ \u003ccite>(Courtesy: Allison Rosa/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Time Out of Mind\u003c/em>\u003c/h3>\n\u003ch5>Sept. 11\u003c/h5>\n\u003cp>Richard Gere ditches the flashy duds and hundred-watt smile for stained hand-me-downs and a thousand-yard stare in this enthralling character study of an aging, homeless New Yorker. George (Gere) may be invisible to passersby — the layered sound design evokes a world moving at the speed of cellphones around and without him—but not to the extensive and equally invisible network of dedicated social services professionals. Writer-director Oren Moverman (\u003cem>The Messenger\u003c/em>) adroitly avoids every pothole and cliché, from by-the-numbers indignities to pat social commentary to audience indictment, in search of grace and humility. An unexpected blend of Sidney Lumet and Robert Bresson, \u003cem>Time Out of Mind\u003c/em> is a concerto composed of grace notes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927372\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-400x225.jpg\" alt=\"Sophia Loren in 'Marriage Italian Style'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10927372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Loren in ‘Marriage Italian Style’ \u003ccite>(Courtesy: Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>De Sica Tribute at the Castro\u003c/h3>\n\u003ch5>Sept. 26\u003c/h5>\n\u003cp>Vittorio De Sica was an urbane, stylish actor for nearly half a century, but he is best-remembered as the director of the Italian neorealist classics \u003cem>Shoeshine\u003c/em>, \u003cem>Bicycle Thieves\u003c/em> and \u003cem>Umberto D\u003c/em>. Cinema Italia San Francisco’s one-day tribute at San Francisco’s Castro Theatre revives four of De Sica’s impeccably choreographed and beautifully acted melodramas. The day begins with \u003cem>Two Women\u003c/em> (1960), featuring Sophia Loren’s breakthrough, Oscar-winning performance as a widowed mother navigating the last months of World War II. Loren also appears in the newly-restored \u003cem>The Gold of Naples\u003c/em> (1954) and she stars opposite the wonderful Marcello Mastroianni in the resonant adult comedy \u003cem>Marriage Italian Style\u003c/em> (1964). Dominique Sanda and Helmut Berger lead the cast of \u003cem>The Garden of the Finzi Continis\u003c/em> (1970), the haunting saga of a wealthy, established Jewish family that assumes it is insulated from the Nazis’ schemes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Freeheld-400x261.jpg\" alt=\"Laurel Hester (Julianne Moore) and Stacie Andree (Ellen Page) in 'Freeheld'.\" width=\"400\" height=\"261\" class=\"size-thumbnail wp-image-10927379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Freeheld-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Freeheld.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Laurel Hester (Julianne Moore) and Stacie Andree (Ellen Page) in ‘Freeheld’. \u003ccite>(Photo: Phil Caruso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Freeheld\u003c/em>\u003c/h3>\n\u003ch5>Oct. 9\u003c/h5>\n\u003cp>When New Jersey State Police Lt. Laurel Hester was diagnosed with terminal cancer in 2005, she opted to pass along her pension benefits to her partner, Stacie Andree. This would have been a pro forma matter in a heterosexual marriage, and the Policemen’s Benefit Association supported Hester’s request. But the county honchos said no. (“Sanctity of marriage” and all that.) Cynthia Wade’s 2007 Academy Award-winning short documentary on the matter, \u003cem>Freeheld,\u003c/em> gets the Hollywood treatment in this PG-13-rated feature. The new version of \u003ci>Freeheld\u003c/i> has a screenplay by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>) and some serious star power: Julianne Moore and Ellen Page play Hester and Andree, respectively; while Steve Carell turns up as an activist and Michael Shannon as a detective, helping insure that the moral arc of the universe bends toward justice. How far has the country evolved in the last decade? \u003cem>Freeheld\u003c/em> provides an answer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927371\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Steve-Jobs-400x225.jpg\" alt=\"Michael Fassbender in 'Steve Jobs'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10927371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-960x540.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender in ‘Steve Jobs’ \u003ccite>(Courtesy: Legendary Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Steve Jobs\u003c/em>\u003c/h3>\n\u003ch5>Oct. 9\u003c/h5>\n\u003cp>Danny Boyle’s splashy, flashy rendering of Aaron Sorkin’s script unfolds backstage at three Apple product launches. Everyone has an opinion of Steve Jobs, and of Apple, which will drive lots of people to the theater and lots of people away regardless of the merits of the film. (Maybe the new Star Wars will provoke a similar response. Nah, just wishful thinking on my part.) Shot all over the Bay Area, and sporting a cast of Michael Fassbender, Kate Winslet, Seth Rogen (as Steve Wozniak) and Jeff Daniels (as marketing exec John Sculley), \u003cem>Steve Jobs\u003c/em> gets a prestigious unveiling as the Centerpiece gala at the New York Film Festival. How many in that first audience, do you expect, will be wearing their old MacWorld badges?\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10909668\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-800x512.jpg\" alt=\"Carey Mulligan and Anne-Marie Duff in Suffragette. Credit: Steffan Hill / \" width=\"800\" height=\"512\" class=\"size-medium wp-image-10909668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan and Anne-Marie Duff in Suffragette.\u003cbr>Credit: Steffan Hill / Focus Features\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Suffragette\u003c/em>\u003c/h3>\n\u003ch5>Oct. 23 \u003c/h5>\n\u003cp>The movies have long addressed great historical forces by focusing on a single, ordinary person caught up in the events with whom the viewer can identify. Inevitably, that regular gal or guy must shift from passive to active — commonly they make some kind of big sacrifice or take some kind of action that propels them to hero status. In general, he/she does something to stand out from the crowd and achieve immortality (in movie terms). In Sarah Gavron’s vivid period (melo)drama \u003cem>Suffragette\u003c/em>, Carey Mulligan plays an apolitical wife and mother who comes to join the movement of suffragettes that include Emmeline Pankhurst (Meryl Streep), Edith Ellyn (Helena Bonham Carter) and others to gain the vote for women in early 20th Century Britain. I’ve managed to avoid “inspirational” up to this point, but no longer. \u003cem>Suffragette\u003c/em>, like the other fall movies I’m looking forward to, assumes you have a brain and a conscience, and a few tissues.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Labor Day heralds the end of summer and the return to reality. Thankfully Hollywood is here to help our readjustment to the working life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Labor Day heralds the end of summer, and the return to reality. Hollywood is here to help our readjustment to adulthood, as it were, with a trickle of serious movies that will turn into a torrent by year’s end. Politics, history, injustice, innovation, sacrifice, freedom, self-actualization, self-expression, self-acceptance — a whole lot of drama will be mined from those themes in the next few months. \u003c/p>\n\u003cp>Of course, moviegoers aren’t attracted by ideas but by stories and characters. Which fall films will galvanize our emotions such that we’ll remember them in five years, or even one? And which will fade from memory before Oscar season ramps up in earnest? The answer may lie in the stars — the movie stars.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927369\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-400x267.jpg\" alt=\"Jena Malone (Maggie) and Richard Gere (George) in Oren Moverman’s 'Time Out Of Mind.'\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10927369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Time-Out-Of-Mind.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jena Malone (Maggie) and Richard Gere (George) in Oren Moverman’s ‘Time Out Of Mind.’ \u003ccite>(Courtesy: Allison Rosa/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Time Out of Mind\u003c/em>\u003c/h3>\n\u003ch5>Sept. 11\u003c/h5>\n\u003cp>Richard Gere ditches the flashy duds and hundred-watt smile for stained hand-me-downs and a thousand-yard stare in this enthralling character study of an aging, homeless New Yorker. George (Gere) may be invisible to passersby — the layered sound design evokes a world moving at the speed of cellphones around and without him—but not to the extensive and equally invisible network of dedicated social services professionals. Writer-director Oren Moverman (\u003cem>The Messenger\u003c/em>) adroitly avoids every pothole and cliché, from by-the-numbers indignities to pat social commentary to audience indictment, in search of grace and humility. An unexpected blend of Sidney Lumet and Robert Bresson, \u003cem>Time Out of Mind\u003c/em> is a concerto composed of grace notes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927372\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-400x225.jpg\" alt=\"Sophia Loren in 'Marriage Italian Style'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10927372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Marriage-Italian-Style.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Loren in ‘Marriage Italian Style’ \u003ccite>(Courtesy: Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>De Sica Tribute at the Castro\u003c/h3>\n\u003ch5>Sept. 26\u003c/h5>\n\u003cp>Vittorio De Sica was an urbane, stylish actor for nearly half a century, but he is best-remembered as the director of the Italian neorealist classics \u003cem>Shoeshine\u003c/em>, \u003cem>Bicycle Thieves\u003c/em> and \u003cem>Umberto D\u003c/em>. Cinema Italia San Francisco’s one-day tribute at San Francisco’s Castro Theatre revives four of De Sica’s impeccably choreographed and beautifully acted melodramas. The day begins with \u003cem>Two Women\u003c/em> (1960), featuring Sophia Loren’s breakthrough, Oscar-winning performance as a widowed mother navigating the last months of World War II. Loren also appears in the newly-restored \u003cem>The Gold of Naples\u003c/em> (1954) and she stars opposite the wonderful Marcello Mastroianni in the resonant adult comedy \u003cem>Marriage Italian Style\u003c/em> (1964). Dominique Sanda and Helmut Berger lead the cast of \u003cem>The Garden of the Finzi Continis\u003c/em> (1970), the haunting saga of a wealthy, established Jewish family that assumes it is insulated from the Nazis’ schemes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Freeheld-400x261.jpg\" alt=\"Laurel Hester (Julianne Moore) and Stacie Andree (Ellen Page) in 'Freeheld'.\" width=\"400\" height=\"261\" class=\"size-thumbnail wp-image-10927379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Freeheld-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Freeheld.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Laurel Hester (Julianne Moore) and Stacie Andree (Ellen Page) in ‘Freeheld’. \u003ccite>(Photo: Phil Caruso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Freeheld\u003c/em>\u003c/h3>\n\u003ch5>Oct. 9\u003c/h5>\n\u003cp>When New Jersey State Police Lt. Laurel Hester was diagnosed with terminal cancer in 2005, she opted to pass along her pension benefits to her partner, Stacie Andree. This would have been a pro forma matter in a heterosexual marriage, and the Policemen’s Benefit Association supported Hester’s request. But the county honchos said no. (“Sanctity of marriage” and all that.) Cynthia Wade’s 2007 Academy Award-winning short documentary on the matter, \u003cem>Freeheld,\u003c/em> gets the Hollywood treatment in this PG-13-rated feature. The new version of \u003ci>Freeheld\u003c/i> has a screenplay by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>) and some serious star power: Julianne Moore and Ellen Page play Hester and Andree, respectively; while Steve Carell turns up as an activist and Michael Shannon as a detective, helping insure that the moral arc of the universe bends toward justice. How far has the country evolved in the last decade? \u003cem>Freeheld\u003c/em> provides an answer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10927371\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Steve-Jobs-400x225.jpg\" alt=\"Michael Fassbender in 'Steve Jobs'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10927371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Steve-Jobs-960x540.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender in ‘Steve Jobs’ \u003ccite>(Courtesy: Legendary Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Steve Jobs\u003c/em>\u003c/h3>\n\u003ch5>Oct. 9\u003c/h5>\n\u003cp>Danny Boyle’s splashy, flashy rendering of Aaron Sorkin’s script unfolds backstage at three Apple product launches. Everyone has an opinion of Steve Jobs, and of Apple, which will drive lots of people to the theater and lots of people away regardless of the merits of the film. (Maybe the new Star Wars will provoke a similar response. Nah, just wishful thinking on my part.) Shot all over the Bay Area, and sporting a cast of Michael Fassbender, Kate Winslet, Seth Rogen (as Steve Wozniak) and Jeff Daniels (as marketing exec John Sculley), \u003cem>Steve Jobs\u003c/em> gets a prestigious unveiling as the Centerpiece gala at the New York Film Festival. How many in that first audience, do you expect, will be wearing their old MacWorld badges?\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10909668\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-800x512.jpg\" alt=\"Carey Mulligan and Anne-Marie Duff in Suffragette. Credit: Steffan Hill / \" width=\"800\" height=\"512\" class=\"size-medium wp-image-10909668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/S_02430_R_CROP1439579117-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan and Anne-Marie Duff in Suffragette.\u003cbr>Credit: Steffan Hill / Focus Features\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Suffragette\u003c/em>\u003c/h3>\n\u003ch5>Oct. 23 \u003c/h5>\n\u003cp>The movies have long addressed great historical forces by focusing on a single, ordinary person caught up in the events with whom the viewer can identify. Inevitably, that regular gal or guy must shift from passive to active — commonly they make some kind of big sacrifice or take some kind of action that propels them to hero status. In general, he/she does something to stand out from the crowd and achieve immortality (in movie terms). In Sarah Gavron’s vivid period (melo)drama \u003cem>Suffragette\u003c/em>, Carey Mulligan plays an apolitical wife and mother who comes to join the movement of suffragettes that include Emmeline Pankhurst (Meryl Streep), Edith Ellyn (Helena Bonham Carter) and others to gain the vote for women in early 20th Century Britain. I’ve managed to avoid “inspirational” up to this point, but no longer. \u003cem>Suffragette\u003c/em>, like the other fall movies I’m looking forward to, assumes you have a brain and a conscience, and a few tissues.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Wes Craven, Master Horror Movie Director, Dies at 76",
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"content": "\u003cp>Wes Craven, the legendary horror director behind the \u003cem>A Nightmare on Elm Street \u003c/em>and \u003cem>Scream \u003c/em>franchises, has died at 76.\u003c/p>\n\u003cp>His verified Twitter account \u003ca href=\"https://twitter.com/wescraven\" target=\"_blank\" rel=\"noopener\">posted about his death\u003c/a> Sunday evening. The Associated Press reports that he had brain cancer and died in his Los Angeles home, according to a statement from his family.\u003c/p>\n\u003cp>Craven’s early life didn’t presage a career in horror films. He was raised in a fundamentalist Baptist household, and went to a Christian college — one where, he \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-wes-craven-retirement-plan-20100218-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times in 2010\u003c/a>, “you would be expelled if you were caught in a movie theater.”\u003c/p>\n\u003cp>Before his career as a horror movie maestro, Craven had a life in academia — he earned a master’s degree in philosophy and writing from Johns Hopkins University, and worked as an English professor. He also directed pornography before making his mark on the slasher genre.\u003c/p>\n\u003cp>In the ’70s and early ’80s, Craven directed \u003cem>Last House on the Left,\u003c/em> which quickly established his horror bona fides, followed by films including \u003cem>The Hills Have Eyes \u003c/em>and \u003cem>Swamp Thing. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, in 1984, he released \u003cem>A Nightmare On Elm Street — \u003c/em>starring a 21-year-old unknown named Johnny Depp.\u003c/p>\n\u003cp>With the release, the AP notes, Craven “was credited with reinventing the teen horror genre” — not to mention starting an enormously successful series.\u003c/p>\n\u003cp>The famously prolific director went on to launch the popular \u003cem>Scream \u003c/em>franchise in the ’90s. Like much of his work, the \u003cem>Scream \u003c/em>movies mixed slasher gore with wry humor. He departed from the horror genre to direct \u003cem>Music of the Heart, \u003c/em>a drama starring Meryl Streep, which was nominated for two Oscars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Most recently, he served as executive producer for \u003cem>The Girl in the Photographs, \u003c/em>which is debuting at the \u003ca href=\"http://tiff.net/festivals/festival15/midnightmadness/the-girl-in-the-photographs\" target=\"_blank\" rel=\"noopener\">Toronto Film Festival next month\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Craven%2C+Master+Horror+Movie+Director%2C+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Craven, the legendary horror director behind the \u003cem>A Nightmare on Elm Street \u003c/em>and \u003cem>Scream \u003c/em>franchises, has died at 76.\u003c/p>\n\u003cp>His verified Twitter account \u003ca href=\"https://twitter.com/wescraven\" target=\"_blank\" rel=\"noopener\">posted about his death\u003c/a> Sunday evening. The Associated Press reports that he had brain cancer and died in his Los Angeles home, according to a statement from his family.\u003c/p>\n\u003cp>Craven’s early life didn’t presage a career in horror films. He was raised in a fundamentalist Baptist household, and went to a Christian college — one where, he \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-wes-craven-retirement-plan-20100218-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times in 2010\u003c/a>, “you would be expelled if you were caught in a movie theater.”\u003c/p>\n\u003cp>Before his career as a horror movie maestro, Craven had a life in academia — he earned a master’s degree in philosophy and writing from Johns Hopkins University, and worked as an English professor. He also directed pornography before making his mark on the slasher genre.\u003c/p>\n\u003cp>In the ’70s and early ’80s, Craven directed \u003cem>Last House on the Left,\u003c/em> which quickly established his horror bona fides, followed by films including \u003cem>The Hills Have Eyes \u003c/em>and \u003cem>Swamp Thing. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, in 1984, he released \u003cem>A Nightmare On Elm Street — \u003c/em>starring a 21-year-old unknown named Johnny Depp.\u003c/p>\n\u003cp>With the release, the AP notes, Craven “was credited with reinventing the teen horror genre” — not to mention starting an enormously successful series.\u003c/p>\n\u003cp>The famously prolific director went on to launch the popular \u003cem>Scream \u003c/em>franchise in the ’90s. Like much of his work, the \u003cem>Scream \u003c/em>movies mixed slasher gore with wry humor. He departed from the horror genre to direct \u003cem>Music of the Heart, \u003c/em>a drama starring Meryl Streep, which was nominated for two Oscars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Most recently, he served as executive producer for \u003cem>The Girl in the Photographs, \u003c/em>which is debuting at the \u003ca href=\"http://tiff.net/festivals/festival15/midnightmadness/the-girl-in-the-photographs\" target=\"_blank\" rel=\"noopener\">Toronto Film Festival next month\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Craven%2C+Master+Horror+Movie+Director%2C+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Generation Y Satire Meets Screwball Comedy In 'Mistress America'",
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"content": "\u003cp>Brooke is a New York spin-class instructor who plans to open a restaurant that will also be a hair salon and a community center, and furthermore has an idea for a TV show called \u003cem>Mistress America\u003c/em>. This sort of aspirational multi-tasking is also characteristic of the movie that shares the name of the imaginary TV program: It’s a contemporary Gen-Y satire, a throwback screwball comedy, and a notebook of random jottings by writer-director Noah Baumbach and writer-star Greta Gerwig, all stuffed into 84 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6z8MCW16uZY\u003c/p>\n\u003cp>Gerwig, of course, plays Brooke, who is in some ways similar to the character she and Baumbach created for their previous collaboration, \u003cem>Frances Ha\u003c/em>. But Brooke is not this film’s central character. It’s Tracy (Lola Kirke), a Barnard freshman who’s quickly adopted and then abandoned by Brooke.\u003c/p>\n\u003cp>The college student also has goals. She wants to be a writer, but her first submission to the college literary society is ignored. In Brooke, Tracy sees the material for a fictional breakthrough. So she begins a short story, also titled \u003cem>Mistress America\u003c/em>. This text is written overnight, and becomes an issue between the two sisters-to-be almost immediately. None of the movie’s developments is given a moment to breathe.\u003c/p>\n\u003cp>That quickness is a hindrance to \u003cem>Mistress America\u003c/em>, in which relationships develop and decay at a pace that rivals Gerwig’s speedy delivery of the overly theatrical lines. The movie’s stilted centerpiece is a ’30s-Hollywood-style roundelay at a Connecticut mansion where Brooke has traveled to make a desperate financial pitch for her zeitgeist-defining eatery. She’s accompanied by Tracy and two of her classmates, and ultimately the crowd grows to eight chattering actors — including a cameo by soundtrack co-composer Dean Wareham, who also had a small part in Baumbach’s \u003cem>While We’re Young\u003c/em> earlier this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baumbach and Gerwig don’t go all Preston Sturges all the time, however. The movie also features passages of mumblecore-non-sequitur dialogue, a synth-rock score (by Wareham and Britta Phillips) that could be flirting with a copyright-infringement lawsuit from New Order and a poster for Claude Chabrol’s \u003cem>Les Biches\u003c/em>, recalling \u003cem>Frances Ha’s\u003c/em> French new wave homages.\u003c/p>\n\u003cp>The script does smartly throw Tracy and Brooke together. The former’s mother and the latter’s father are about to marry and make the young women stepsisters. Brooke is perhaps a decade older, affording her the big-sisterly authority to dispense advice. Given her overbearing personality, though, Brooke would take surely the same role even if she had just a few weeks on Tracy.\u003c/p>\n\u003cp>Some tiny episodes are telling. Brooke instructs Tracy to buy some pasta, and it turns out that the 18-year-old naif is lost in the supermarket. But other asides, such as a Faulkner-discussing book group whose members are all pregnant, are haphazard or pointless.\u003c/p>\n\u003cp>Baumbach and Gerwig actually rely on a psychic to keep the story moving, and — in an absurdly timely touch — make Brooke’s dreams subject to Greece’s economic crisis. There’s even a reference to female genital mutilation. In both details and tone, \u003cem>Mistress America\u003c/em> is a jumble.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her small role in the recent \u003cem>Eden\u003c/em>, Gerwig was distractingly actorly in an otherwise naturalistic movie. While that seemed possibly the result of having an English-language part in a film that was mostly in French, she’s just as artificial here. Perhaps that quality should guide her and Baumbach’s next undertaking. They could forgo their taste for mocking today’s mores and commit to a screwball-comedy era period piece, Gerwig might seem more natural than she does in \u003cem>Mistress America.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brooke is a New York spin-class instructor who plans to open a restaurant that will also be a hair salon and a community center, and furthermore has an idea for a TV show called \u003cem>Mistress America\u003c/em>. This sort of aspirational multi-tasking is also characteristic of the movie that shares the name of the imaginary TV program: It’s a contemporary Gen-Y satire, a throwback screwball comedy, and a notebook of random jottings by writer-director Noah Baumbach and writer-star Greta Gerwig, all stuffed into 84 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/6z8MCW16uZY'\n title='//www.youtube.com/embed/6z8MCW16uZY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gerwig, of course, plays Brooke, who is in some ways similar to the character she and Baumbach created for their previous collaboration, \u003cem>Frances Ha\u003c/em>. But Brooke is not this film’s central character. It’s Tracy (Lola Kirke), a Barnard freshman who’s quickly adopted and then abandoned by Brooke.\u003c/p>\n\u003cp>The college student also has goals. She wants to be a writer, but her first submission to the college literary society is ignored. In Brooke, Tracy sees the material for a fictional breakthrough. So she begins a short story, also titled \u003cem>Mistress America\u003c/em>. This text is written overnight, and becomes an issue between the two sisters-to-be almost immediately. None of the movie’s developments is given a moment to breathe.\u003c/p>\n\u003cp>That quickness is a hindrance to \u003cem>Mistress America\u003c/em>, in which relationships develop and decay at a pace that rivals Gerwig’s speedy delivery of the overly theatrical lines. The movie’s stilted centerpiece is a ’30s-Hollywood-style roundelay at a Connecticut mansion where Brooke has traveled to make a desperate financial pitch for her zeitgeist-defining eatery. She’s accompanied by Tracy and two of her classmates, and ultimately the crowd grows to eight chattering actors — including a cameo by soundtrack co-composer Dean Wareham, who also had a small part in Baumbach’s \u003cem>While We’re Young\u003c/em> earlier this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baumbach and Gerwig don’t go all Preston Sturges all the time, however. The movie also features passages of mumblecore-non-sequitur dialogue, a synth-rock score (by Wareham and Britta Phillips) that could be flirting with a copyright-infringement lawsuit from New Order and a poster for Claude Chabrol’s \u003cem>Les Biches\u003c/em>, recalling \u003cem>Frances Ha’s\u003c/em> French new wave homages.\u003c/p>\n\u003cp>The script does smartly throw Tracy and Brooke together. The former’s mother and the latter’s father are about to marry and make the young women stepsisters. Brooke is perhaps a decade older, affording her the big-sisterly authority to dispense advice. Given her overbearing personality, though, Brooke would take surely the same role even if she had just a few weeks on Tracy.\u003c/p>\n\u003cp>Some tiny episodes are telling. Brooke instructs Tracy to buy some pasta, and it turns out that the 18-year-old naif is lost in the supermarket. But other asides, such as a Faulkner-discussing book group whose members are all pregnant, are haphazard or pointless.\u003c/p>\n\u003cp>Baumbach and Gerwig actually rely on a psychic to keep the story moving, and — in an absurdly timely touch — make Brooke’s dreams subject to Greece’s economic crisis. There’s even a reference to female genital mutilation. In both details and tone, \u003cem>Mistress America\u003c/em> is a jumble.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her small role in the recent \u003cem>Eden\u003c/em>, Gerwig was distractingly actorly in an otherwise naturalistic movie. While that seemed possibly the result of having an English-language part in a film that was mostly in French, she’s just as artificial here. Perhaps that quality should guide her and Baumbach’s next undertaking. They could forgo their taste for mocking today’s mores and commit to a screwball-comedy era period piece, Gerwig might seem more natural than she does in \u003cem>Mistress America.\u003c/em>\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>Join director Zachary Kerschberg as he introduces you to his actors in his acclaimed short film \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/late-spring/\" rel=\"noopener\">Late Spring\u003c/a>.\u003c/p>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=Mu8AgRRRTAI?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span>\n \u003c/p>\n\u003ch3>See the full film!\u003c/h3>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=3m-cJkR2Z2g?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span>\u003c/p>\n\u003cp> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/27/when-art-imitates-life-casting-late-spring/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/27/when-art-imitates-life-casting-late-spring/\" target=\"_blank\" title=\"When Art Imitates Life: Casting Late Spring\" 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>Mark Rucker, one of the Bay Area’s leading theater directors, has died. Rucker, 56 years old, was the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">associate artistic director at San Francisco’s American Conservatory Theater (ACT)\u003c/a> for five years.\u003c/p>\n\u003cp>He was found dead in his apartment Tuesday.\u003c/p>\n\u003cp>Rucker worked closely with ACT’s Artistic Director Carey Perloff, who called him an incredible artist, and “such a beloved colleague.”\u003c/p>\n\u003cp>Rucker directed many shows at ACT, including one of the company’s most widely praised recent productions, \u003ca href=\"http://ww2.kqed.org/arts/2015/02/27/in-post-apocalyptic-mr-burns-the-simpsons-are-literally-legendary/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mr. Burns, a Post-Electric Play\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>In an interview Wednesday morning, Perloff said Rucker will be especially missed by students in the theater’s Master of Fine Arts program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He gave the students a great feeling of self-worth, and a great feeling of optimism about this profession of ours which can be very challenging, and very hard. And they really did their best work for him.”\u003c/p>\n\u003cp>“He did a \u003cem>Cherry Orchard\u003c/em> last fall that was so exquisite,” Perloff said, “it was the best Chekhov I’ve ever seen. Really.”\u003c/p>\n\u003cp>Rucker worked as a freelance theater director for 20 years, doing plays with nearly every major Bay Area theater company.\u003c/p>\n\u003cfigure id=\"attachment_10918961\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg\" alt=\"Director Mark Rucker attends the premiere of "Die Mommy Die!" at the Loew's 34th Street October 27, 2003 in New York City.\" width=\"426\" height=\"600\" class=\"size-medium wp-image-10918961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP.jpg 600w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Director Mark Rucker attends the premiere of “Die Mommy Die!” at the Loew’s 34th Street October 27, 2003 in New York City. \u003ccite>(Photo: Matthew Peyton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also directed the 2003 classic camp film “\u003ca href=\"http://history.sundance.org/films/2776/die_mommie_die\" target=\"_blank\" rel=\"noopener\">Die Mommie Die\u003c/a>,” a vehicle for the playwright and actor Charles Busch. The film won the special jury prize for outstanding performance that year at the Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cause of Rucker’s death has not been released as of the time of this story’s publication.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He gave the students a great feeling of self-worth, and a great feeling of optimism about this profession of ours which can be very challenging, and very hard. And they really did their best work for him.”\u003c/p>\n\u003cp>“He did a \u003cem>Cherry Orchard\u003c/em> last fall that was so exquisite,” Perloff said, “it was the best Chekhov I’ve ever seen. Really.”\u003c/p>\n\u003cp>Rucker worked as a freelance theater director for 20 years, doing plays with nearly every major Bay Area theater company.\u003c/p>\n\u003cfigure id=\"attachment_10918961\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg\" alt=\"Director Mark Rucker attends the premiere of "Die Mommy Die!" at the Loew's 34th Street October 27, 2003 in New York City.\" width=\"426\" height=\"600\" class=\"size-medium wp-image-10918961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP.jpg 600w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Director Mark Rucker attends the premiere of “Die Mommy Die!” at the Loew’s 34th Street October 27, 2003 in New York City. \u003ccite>(Photo: Matthew Peyton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also directed the 2003 classic camp film “\u003ca href=\"http://history.sundance.org/films/2776/die_mommie_die\" target=\"_blank\" rel=\"noopener\">Die Mommie Die\u003c/a>,” a vehicle for the playwright and actor Charles Busch. The film won the special jury prize for outstanding performance that year at the Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cause of Rucker’s death has not been released as of the time of this story’s publication.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Have you been hiding a horror gem on your hard drive? Then it’s time to brush off the digital dust mites, and submit to Film School Shorts! In celebration of the month of spirits, we want to see your strangest, scariest and spookiest shorts for a special online-only Halloween showcase. \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/25/share-your-scary-short-film-school-shorts-fright-fest/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/25/share-your-scary-short-film-school-shorts-fright-fest/\" target=\"_blank\" title=\"Share your Scary Short: Film School Shorts Fright Fest\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"soldout": {
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