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"title": "The Making of a Saint",
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"content": "\u003cp>How much would you like to know about the intimate life of fashion designer Yves Saint Laurent? Since his death in 2008 at age 71, several movies have been made about the man and his career. The most recent films (\u003ci>Yves Saint Laurent\u003c/i>; \u003ci>L’amour fou\u003c/i> and \u003ci>Saint Laurent\u003c/i>) form a trifecta — complementing and overlapping each other’s content, while portraying him through three very different lenses.\u003c/p>\n\u003cp>In \u003ca href=\"https://tribecafilm.com/stories/pierre-niney-yves-saint-laurent-movie-film\" target=\"_blank\" rel=\"noopener\">\u003ci>Yves Saint Laurent\u003c/i>\u003c/a>, we are privy to the facts a standard biopic provides. The movie frames his life in neat parentheses. Sanctioned by his estate, the film nimbly captures the ups and downs of a life, without lingering long on either. It’s a competent melodrama with fine acting, but it leaves the viewer with the sense that — apart from a few racy scenes — it probably played on the French version of the Hallmark Channel.\u003c/p>\n\u003cp>On the other end of the spectrum, \u003ci>\u003ca href=\"http://www.imdb.com/title/tt1606382/\" target=\"_blank\" rel=\"noopener\">L’amour fou\u003c/a>\u003c/i> is a documentary told from the point of view of Pierre Bergé, Saint Laurent’s personal and professional life partner. After Laurent’s death, Bergé auctioned off a vast collection of artwork they collected during their time together (the estate garnered more than $484 million). The film, in many ways, is an unconscious ode to capitalism. There are endless warmly-lit shots of the many houses the couple owned, and the infinite splendor their empire afforded them. \u003ci>L’amour fou\u003c/i> illuminates their riches more than their characters, but watching it is like stumbling upon Ali Baba’s cave of treasure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lvnePG2VWDE\u003c/p>\n\u003cp>And now there’s \u003ci>\u003ca href=\"http://sonyclassics.com/saintlaurent/\" target=\"_blank\" rel=\"noopener\">Saint Laurent\u003c/a>\u003c/i>, starring Gaspard Ulliel. You may recognize his lithe physique from the \u003ca href=\"https://www.youtube.com/watch?v=oG-nnDlnWrA\" target=\"_blank\" rel=\"noopener\">Bleu de Chanel\u003c/a> commercials directed by Martin Scorsese. Or if you’re a fan of the director André Téchiné, you’ll remember him as the stray youth in \u003ci>Les égarés\u003c/i> (2003). In any event, you won’t forget him any time soon after seeing his portrayal of Laurent. Ulliel is a magnetic presence in a film that favors longueurs — scenes that depict the minutiae of raw, uncensored pain — and the director, Bertrand Bonello, lingers within those moments at great length.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Saint Laurent\u003c/i> is the filmic equivalent of drinking a bottle of absinthe. Even after leaving the theater, its green haze is not easily shaken off. Bonello and Ulliel discuss the process of making Laurent into their version of a deeply troubled saint.\u003c/p>\n\u003cfigure id=\"attachment_10633146\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10633146 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/11-1180x664.jpg\" alt=\"Left to right: Gaspard Ulliel as Yves Saint Laurent and Louie Garrel as Jacques De Bascher\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gaspard Ulliel as Yves Saint Laurent and Louie Garrel as Jacques De Bascher. (Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where do you place Yves Saint Laurent in the cultural life of France?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bertrand Bonello:\u003c/strong> There are two things. First of all, it’s true that in France his image is associated with high fashion and luxury, and he is among the great designers and very important for us. And then, the second thing that interested me was that he was the last of the great classical designers. There’s Chanel, Dior and Yves Saint Laurent. There are other talented fashion designers now but it’s not the same. He represents, and this is also one of the subjects of the film, the passage of haute couture from an artisanal approach into one that is a massive, global industry.\u003c/p>\n\u003cp>\u003cstrong>Gaspard Ulliel:\u003c/strong> And that’s exactly what we see in the film. During his lifetime, it’s the moment when the world of the fashion industry begins to really transform into what it is today. There is no longer the same artistic level of accomplishment in a certain way, in regards to branding or ready-to-wear.\u003c/p>\n\u003cp>\u003cb>There are two other recent films about him: \u003ci>Yves Saint Laurent\u003c/i> (2014) and \u003ci>L’amour fou\u003c/i> (2010). Your film is less strictly biographical.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> We don’t need to know everything about the characters to enter the world of a particular film. What interested me was the present moment that we show in each scene, not the typical biographical film. If you want to look for that kind of information, you can find it on Wikipedia.\u003c/p>\n\u003cp>\u003cstrong>Ulliel:\u003c/strong> We also knew that while \u003ci>Yves Saint Laurent\u003c/i> was in production, that it would be more biographical than our film. Bertrand has said that this allowed us to make a film that didn’t require as much exposition.\u003c/p>\n\u003cp>\u003cstrong>The 1970s, as portrayed in the film, share the same degree of \u003ca href=\"http://www.utne.com/arts/wasted-in-the-1880s-the-decadent-movement.aspx\" target=\"_blank\" rel=\"noopener\">decadence\u003c/a> as your last film \u003ci>L’Apollonide\u003c/i> (2011), which takes place in fin de siècle France.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> It’s true that the two films share some of that same decadence. Also, in both cases, the end of an era. The end of the 19th century for\u003ci> L’Apollonide;\u003c/i> and the end of the 1970s for \u003ci>Saint Laurent\u003c/i>. The end of the 1970s deeply affected me. After the 1970s, the world was never the same. That’s what I wanted to show in the film, the moment before the 1980s began. When the actor Helmut Berger appears on screen (as the older version of Yves Saint Laurent), we understand that we’re no longer in the same world. In general, I find things that end very touching. When I said that Yves was the last of his kind, that’s also because his life and his career encompassed that era. Historically, decadence slowly assists the decline of something. I find it upsetting.\u003c/p>\n\u003cfigure id=\"attachment_10633147\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10633147 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/1-1180x664.jpg\" alt=\"Gaspard Ulliel as Yves Saint Laurent. (Courtesy of Sony Pictures Classics)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gaspard Ulliel as Yves Saint Laurent. (Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>In the documentary\u003ci> L’amour fou,\u003c/i> Laurent’s apartment in Paris is shot with natural light from windows that let the outside world in. In your version, the apartment feels dark and claustrophobic, like a tomb.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> Yes, it’s a magnificent tomb, but it’s still a tomb. There is, for example, the scene I really like between Louis Garrel (who plays Jacques de Bascher) and Gaspard when Garrel’s character visits the apartment. Yves, at this point, is still very much alive. He says, look at this painting. I love this one by Matisse, and this one by Mondrian. By the end of the film, he has all of these things but is alone. His journey in the film brings him solitude. It’s a solitude behind a golden screen, but it’s still a solitude.\u003c/p>\n\u003cp>\u003cb>Did you feel obligated to look for the psychological reasons behind his emotional decline and addictions?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> We can give reasons for a person’s self-destruction, but we don’t always know why people behave the way they do… We know that his partner Pierre Berger has said publicly that Yves was fragile and inclined toward depression. And at the same time, he had the strength to continue to work. I didn’t want to look for an explanation that would be reductive.\u003c/p>\n\u003cp>\u003cstrong>Ulliel:\u003c/strong> There’s another idea that Bertrand talked about — the mythology of a public figure like Yves Saint Laurent. We can’t explain, in human terms, something that lies outside of the mythology. What I find beautiful is that at the end of the movie, the mystery of his character is intact.\u003c/p>\n\u003cp>\u003cb>After living in his skin for several months, what are you taking away from having played Yves Saint Laurent?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Ulliel:\u003c/strong> It’s pretty hard to know exactly what a role can bring you. Maybe I can respond to that question in several years… Certainly, I can say that in this role I was willing to stay focused and immersed myself in the character and the historical era throughout the filming. Something that hadn’t happened for me before in making films was that at the beginning of the shoot, I had the fear that I might lose some of the character when I went home at night. There was this desire to really stay “in his shoes.”\u003c/p>\n\u003cp>\u003cb>I read that the films of Luchino Visconti were influential for you on this movie.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> Visconti is an incredible filmmaker who I admire because, cinematically, he has done everything. There are also bridges between Visconti and Yves Saint Laurent. When I think of Yves, I think of him as a Visconti type. They both also share a passion for Proust… And I read in a biography, that Yves often watched Visconti’s films. Yves and Helmut Berger also knew each other. There are these aesthetic connections like that. That’s one of the reasons Helmut came to mind for the role. Despite this beautiful aesthetic space where everything stayed flamboyant, there was a brilliant body that imploded because of an excess of alcohol and drugs.\u003c/p>\n\u003cp>\u003cem>Saint Laurent\u003c/em> opens May 15 at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco\" target=\"_blank\" rel=\"noopener\">Landmark Embarcadero\u003c/a> in San Francisco and May 22 at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco-east-bay/shattuck-cinemas\" target=\"_blank\" rel=\"noopener\">Landmark Shattuck\u003c/a> in Berkeley.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Editor’s note:\u003c/strong> This interview was translated from French and has been condensed.\u003c/p>\n\n",
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"excerpt": "Director Bertrand Bonello and actor Gaspard Ulliel reflect on fashioning the life of Yves Saint Laurent for film.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How much would you like to know about the intimate life of fashion designer Yves Saint Laurent? Since his death in 2008 at age 71, several movies have been made about the man and his career. The most recent films (\u003ci>Yves Saint Laurent\u003c/i>; \u003ci>L’amour fou\u003c/i> and \u003ci>Saint Laurent\u003c/i>) form a trifecta — complementing and overlapping each other’s content, while portraying him through three very different lenses.\u003c/p>\n\u003cp>In \u003ca href=\"https://tribecafilm.com/stories/pierre-niney-yves-saint-laurent-movie-film\" target=\"_blank\" rel=\"noopener\">\u003ci>Yves Saint Laurent\u003c/i>\u003c/a>, we are privy to the facts a standard biopic provides. The movie frames his life in neat parentheses. Sanctioned by his estate, the film nimbly captures the ups and downs of a life, without lingering long on either. It’s a competent melodrama with fine acting, but it leaves the viewer with the sense that — apart from a few racy scenes — it probably played on the French version of the Hallmark Channel.\u003c/p>\n\u003cp>On the other end of the spectrum, \u003ci>\u003ca href=\"http://www.imdb.com/title/tt1606382/\" target=\"_blank\" rel=\"noopener\">L’amour fou\u003c/a>\u003c/i> is a documentary told from the point of view of Pierre Bergé, Saint Laurent’s personal and professional life partner. After Laurent’s death, Bergé auctioned off a vast collection of artwork they collected during their time together (the estate garnered more than $484 million). The film, in many ways, is an unconscious ode to capitalism. There are endless warmly-lit shots of the many houses the couple owned, and the infinite splendor their empire afforded them. \u003ci>L’amour fou\u003c/i> illuminates their riches more than their characters, but watching it is like stumbling upon Ali Baba’s cave of treasure.\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/lvnePG2VWDE'\n title='//www.youtube.com/embed/lvnePG2VWDE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And now there’s \u003ci>\u003ca href=\"http://sonyclassics.com/saintlaurent/\" target=\"_blank\" rel=\"noopener\">Saint Laurent\u003c/a>\u003c/i>, starring Gaspard Ulliel. You may recognize his lithe physique from the \u003ca href=\"https://www.youtube.com/watch?v=oG-nnDlnWrA\" target=\"_blank\" rel=\"noopener\">Bleu de Chanel\u003c/a> commercials directed by Martin Scorsese. Or if you’re a fan of the director André Téchiné, you’ll remember him as the stray youth in \u003ci>Les égarés\u003c/i> (2003). In any event, you won’t forget him any time soon after seeing his portrayal of Laurent. Ulliel is a magnetic presence in a film that favors longueurs — scenes that depict the minutiae of raw, uncensored pain — and the director, Bertrand Bonello, lingers within those moments at great length.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Saint Laurent\u003c/i> is the filmic equivalent of drinking a bottle of absinthe. Even after leaving the theater, its green haze is not easily shaken off. Bonello and Ulliel discuss the process of making Laurent into their version of a deeply troubled saint.\u003c/p>\n\u003cfigure id=\"attachment_10633146\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10633146 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/11-1180x664.jpg\" alt=\"Left to right: Gaspard Ulliel as Yves Saint Laurent and Louie Garrel as Jacques De Bascher\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gaspard Ulliel as Yves Saint Laurent and Louie Garrel as Jacques De Bascher. (Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where do you place Yves Saint Laurent in the cultural life of France?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bertrand Bonello:\u003c/strong> There are two things. First of all, it’s true that in France his image is associated with high fashion and luxury, and he is among the great designers and very important for us. And then, the second thing that interested me was that he was the last of the great classical designers. There’s Chanel, Dior and Yves Saint Laurent. There are other talented fashion designers now but it’s not the same. He represents, and this is also one of the subjects of the film, the passage of haute couture from an artisanal approach into one that is a massive, global industry.\u003c/p>\n\u003cp>\u003cstrong>Gaspard Ulliel:\u003c/strong> And that’s exactly what we see in the film. During his lifetime, it’s the moment when the world of the fashion industry begins to really transform into what it is today. There is no longer the same artistic level of accomplishment in a certain way, in regards to branding or ready-to-wear.\u003c/p>\n\u003cp>\u003cb>There are two other recent films about him: \u003ci>Yves Saint Laurent\u003c/i> (2014) and \u003ci>L’amour fou\u003c/i> (2010). Your film is less strictly biographical.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> We don’t need to know everything about the characters to enter the world of a particular film. What interested me was the present moment that we show in each scene, not the typical biographical film. If you want to look for that kind of information, you can find it on Wikipedia.\u003c/p>\n\u003cp>\u003cstrong>Ulliel:\u003c/strong> We also knew that while \u003ci>Yves Saint Laurent\u003c/i> was in production, that it would be more biographical than our film. Bertrand has said that this allowed us to make a film that didn’t require as much exposition.\u003c/p>\n\u003cp>\u003cstrong>The 1970s, as portrayed in the film, share the same degree of \u003ca href=\"http://www.utne.com/arts/wasted-in-the-1880s-the-decadent-movement.aspx\" target=\"_blank\" rel=\"noopener\">decadence\u003c/a> as your last film \u003ci>L’Apollonide\u003c/i> (2011), which takes place in fin de siècle France.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> It’s true that the two films share some of that same decadence. Also, in both cases, the end of an era. The end of the 19th century for\u003ci> L’Apollonide;\u003c/i> and the end of the 1970s for \u003ci>Saint Laurent\u003c/i>. The end of the 1970s deeply affected me. After the 1970s, the world was never the same. That’s what I wanted to show in the film, the moment before the 1980s began. When the actor Helmut Berger appears on screen (as the older version of Yves Saint Laurent), we understand that we’re no longer in the same world. In general, I find things that end very touching. When I said that Yves was the last of his kind, that’s also because his life and his career encompassed that era. Historically, decadence slowly assists the decline of something. I find it upsetting.\u003c/p>\n\u003cfigure id=\"attachment_10633147\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10633147 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/1-1180x664.jpg\" alt=\"Gaspard Ulliel as Yves Saint Laurent. (Courtesy of Sony Pictures Classics)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/1-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gaspard Ulliel as Yves Saint Laurent. (Courtesy of Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>In the documentary\u003ci> L’amour fou,\u003c/i> Laurent’s apartment in Paris is shot with natural light from windows that let the outside world in. In your version, the apartment feels dark and claustrophobic, like a tomb.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> Yes, it’s a magnificent tomb, but it’s still a tomb. There is, for example, the scene I really like between Louis Garrel (who plays Jacques de Bascher) and Gaspard when Garrel’s character visits the apartment. Yves, at this point, is still very much alive. He says, look at this painting. I love this one by Matisse, and this one by Mondrian. By the end of the film, he has all of these things but is alone. His journey in the film brings him solitude. It’s a solitude behind a golden screen, but it’s still a solitude.\u003c/p>\n\u003cp>\u003cb>Did you feel obligated to look for the psychological reasons behind his emotional decline and addictions?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> We can give reasons for a person’s self-destruction, but we don’t always know why people behave the way they do… We know that his partner Pierre Berger has said publicly that Yves was fragile and inclined toward depression. And at the same time, he had the strength to continue to work. I didn’t want to look for an explanation that would be reductive.\u003c/p>\n\u003cp>\u003cstrong>Ulliel:\u003c/strong> There’s another idea that Bertrand talked about — the mythology of a public figure like Yves Saint Laurent. We can’t explain, in human terms, something that lies outside of the mythology. What I find beautiful is that at the end of the movie, the mystery of his character is intact.\u003c/p>\n\u003cp>\u003cb>After living in his skin for several months, what are you taking away from having played Yves Saint Laurent?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Ulliel:\u003c/strong> It’s pretty hard to know exactly what a role can bring you. Maybe I can respond to that question in several years… Certainly, I can say that in this role I was willing to stay focused and immersed myself in the character and the historical era throughout the filming. Something that hadn’t happened for me before in making films was that at the beginning of the shoot, I had the fear that I might lose some of the character when I went home at night. There was this desire to really stay “in his shoes.”\u003c/p>\n\u003cp>\u003cb>I read that the films of Luchino Visconti were influential for you on this movie.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bonello:\u003c/strong> Visconti is an incredible filmmaker who I admire because, cinematically, he has done everything. There are also bridges between Visconti and Yves Saint Laurent. When I think of Yves, I think of him as a Visconti type. They both also share a passion for Proust… And I read in a biography, that Yves often watched Visconti’s films. Yves and Helmut Berger also knew each other. There are these aesthetic connections like that. That’s one of the reasons Helmut came to mind for the role. Despite this beautiful aesthetic space where everything stayed flamboyant, there was a brilliant body that imploded because of an excess of alcohol and drugs.\u003c/p>\n\u003cp>\u003cem>Saint Laurent\u003c/em> opens May 15 at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco\" target=\"_blank\" rel=\"noopener\">Landmark Embarcadero\u003c/a> in San Francisco and May 22 at the \u003ca href=\"http://www.landmarktheatres.com/san-francisco-east-bay/shattuck-cinemas\" target=\"_blank\" rel=\"noopener\">Landmark Shattuck\u003c/a> in Berkeley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Editor’s note:\u003c/strong> This interview was translated from French and has been condensed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Let The Fire Burn' Screens on 30th Anniversary of MOVE Bombing",
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"headTitle": "‘Let The Fire Burn’ Screens on 30th Anniversary of MOVE Bombing | KQED",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Let The Fire Burn’ Screening\u003c/h2>\n\u003cdiv class=\"event-desc\">A documentary on 1985 MOVE bombing in Philadelphia.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Omni Oakland Commons\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On May 13, 1985 — after firing 10,000 rounds of ammunition and spraying hoses of teargas — Philadelphia Police Department Commissioner George Sambor ordered that officers drop a bomb from a state-supplied helicopter onto the home of black radicals. Eleven people, including five children, were killed in the massive fire that resulted. Roughly 60 homes in the primarily black working class neighborhood also went up in flames, a tragic incident that Jason Osder documented in his 2013 film, \u003ca href=\"http://www.letthefireburn.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Let The Fire Burn,\u003c/i>\u003c/a> screening on the 30th anniversary of the bombing at \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Oakland’s Omni Commons\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p9eCA0bIezA\u003c/p>\n\u003cp>The events leading up to that fateful day in Pennsylvania are complicated. \u003ca href=\"http://onamove.com/about/\" target=\"_blank\" rel=\"noopener\">MOVE\u003c/a>, the group of black radicals that occupied the row house at 6221 Osage Avenue in West Philadelphia, had a tense relationship with law enforcement, particularly after a police officer was killed during a failed eviction-turned-shootout with police in 1978 (seven other officers, five firefighters, and three MOVE members were injured; nine MOVE members were convicted of the officer’s murder and each sentenced 30 to 100 years in prison).\u003c/p>\n\u003cp>Yet, before the shootout, the MOVE house was typical of the post-1960s experimental, consciousness-shifting times. Founded by John Africa in 1972 with the intent to simply life, the MOVE house was a commune of black families focused on unplugging from media and advocating for green politics and social justice. What started as a peaceful, anti-establishment revolution slowly turned violent as police used force to settle conflicts and MOVE members started collecting guns to defend themselves.\u003c/p>\n\u003cfigure id=\"attachment_10629051\" class=\"wp-caption alignright\" style=\"max-width: 629px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10629051 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg\" alt=\"Members of MOVE before the 1985 bombing.\" width=\"629\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg 629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2-400x260.jpg 400w\" sizes=\"(max-width: 629px) 100vw, 629px\">\u003cfigcaption class=\"wp-caption-text\">Members of MOVE before the 1985 bombing\u003c/figcaption>\u003c/figure>\n\u003cp>Of the two members who escaped the 1985 bombing, Ramona Africa is the sole survivor; Michael Ward (aka Birdie Africa), who was just 13 when he escaped the home with second and third degree burns covering his body, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2013/09/25/226240825/michael-ward-who-survived-move-bombing-as-a-child-dies\" target=\"_blank\" rel=\"noopener\">died from drowning\u003c/a> in 2013. Phil Africa, one of the nine arrested for the officer’s death in 1978, died a \u003ca href=\"http://www.nytimes.com/2015/01/15/us/phil-africa-59-of-black-liberation-group-move-long-in-prison.html?_r=0\" target=\"_blank\" rel=\"noopener\">“suspicious death”\u003c/a> in prison earlier this year. Though Philadelphia eventually rebuilt many of the homes in the neighborhood, they were later boarded up and condemned because of shoddy construction. The incident and its aftermath gave Philly an unfortunate moniker: The City That Bombed Itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In today’s climate of police violence against people of color, one can’t help but note the evolution of officer-involved murders in marginalized communities and wonder if a tragedy of this magnitude could happen again. One might also argue that the brutality suffered at MOVE, in which only one adult and one child walked out of the burning house alive, systematically continues to this day, but in a less war-like manner. The one-on-one killing of black boys and men like Oscar Grant, Trayvon Martin, Mike Brown, Darrien Hunt, Eric Garner, Anthony Hill, Tamir Rice, Walter Scott, Freddie Gray and so many others the word count here won’t permit me to name, continues. Aside from the recent charges against \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/05/01/403496063/freddie-gray-update-new-speculation-on-his-death-and-peaceful-protests\" target=\"_blank\" rel=\"noopener\">six officers in the Baltimore murder of Freddie Gray,\u003c/a> there is usually little to no accountability for police misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Let The Fire Burn\u003c/i> is not just about the bombing, but about a culture of police aggression and racism that continues today. The film touches on several incidents of police brutality against members of MOVE before the bombing, told through video deposition from young Michael Ward just months after the bombing, along with archived news footage and testimonies at the commission that later investigated the incident. Although 30 years have passed and most of us can’t fathom a police force bombing its citizens from the air, the tragedy of killing people on our streets is certainly no more humane.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Let The Fire Burn’ Screening\u003c/h2>\n\u003cdiv class=\"event-desc\">A documentary on 1985 MOVE bombing in Philadelphia.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Omni Oakland Commons\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/let-the-fire-burn/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On May 13, 1985 — after firing 10,000 rounds of ammunition and spraying hoses of teargas — Philadelphia Police Department Commissioner George Sambor ordered that officers drop a bomb from a state-supplied helicopter onto the home of black radicals. Eleven people, including five children, were killed in the massive fire that resulted. Roughly 60 homes in the primarily black working class neighborhood also went up in flames, a tragic incident that Jason Osder documented in his 2013 film, \u003ca href=\"http://www.letthefireburn.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Let The Fire Burn,\u003c/i>\u003c/a> screening on the 30th anniversary of the bombing at \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Oakland’s Omni Commons\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p9eCA0bIezA'\n title='//www.youtube.com/embed/p9eCA0bIezA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The events leading up to that fateful day in Pennsylvania are complicated. \u003ca href=\"http://onamove.com/about/\" target=\"_blank\" rel=\"noopener\">MOVE\u003c/a>, the group of black radicals that occupied the row house at 6221 Osage Avenue in West Philadelphia, had a tense relationship with law enforcement, particularly after a police officer was killed during a failed eviction-turned-shootout with police in 1978 (seven other officers, five firefighters, and three MOVE members were injured; nine MOVE members were convicted of the officer’s murder and each sentenced 30 to 100 years in prison).\u003c/p>\n\u003cp>Yet, before the shootout, the MOVE house was typical of the post-1960s experimental, consciousness-shifting times. Founded by John Africa in 1972 with the intent to simply life, the MOVE house was a commune of black families focused on unplugging from media and advocating for green politics and social justice. What started as a peaceful, anti-establishment revolution slowly turned violent as police used force to settle conflicts and MOVE members started collecting guns to defend themselves.\u003c/p>\n\u003cfigure id=\"attachment_10629051\" class=\"wp-caption alignright\" style=\"max-width: 629px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10629051 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg\" alt=\"Members of MOVE before the 1985 bombing.\" width=\"629\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2.jpg 629w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/MOVE-2-400x260.jpg 400w\" sizes=\"(max-width: 629px) 100vw, 629px\">\u003cfigcaption class=\"wp-caption-text\">Members of MOVE before the 1985 bombing\u003c/figcaption>\u003c/figure>\n\u003cp>Of the two members who escaped the 1985 bombing, Ramona Africa is the sole survivor; Michael Ward (aka Birdie Africa), who was just 13 when he escaped the home with second and third degree burns covering his body, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2013/09/25/226240825/michael-ward-who-survived-move-bombing-as-a-child-dies\" target=\"_blank\" rel=\"noopener\">died from drowning\u003c/a> in 2013. Phil Africa, one of the nine arrested for the officer’s death in 1978, died a \u003ca href=\"http://www.nytimes.com/2015/01/15/us/phil-africa-59-of-black-liberation-group-move-long-in-prison.html?_r=0\" target=\"_blank\" rel=\"noopener\">“suspicious death”\u003c/a> in prison earlier this year. Though Philadelphia eventually rebuilt many of the homes in the neighborhood, they were later boarded up and condemned because of shoddy construction. The incident and its aftermath gave Philly an unfortunate moniker: The City That Bombed Itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In today’s climate of police violence against people of color, one can’t help but note the evolution of officer-involved murders in marginalized communities and wonder if a tragedy of this magnitude could happen again. One might also argue that the brutality suffered at MOVE, in which only one adult and one child walked out of the burning house alive, systematically continues to this day, but in a less war-like manner. The one-on-one killing of black boys and men like Oscar Grant, Trayvon Martin, Mike Brown, Darrien Hunt, Eric Garner, Anthony Hill, Tamir Rice, Walter Scott, Freddie Gray and so many others the word count here won’t permit me to name, continues. Aside from the recent charges against \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/05/01/403496063/freddie-gray-update-new-speculation-on-his-death-and-peaceful-protests\" target=\"_blank\" rel=\"noopener\">six officers in the Baltimore murder of Freddie Gray,\u003c/a> there is usually little to no accountability for police misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Let The Fire Burn\u003c/i> is not just about the bombing, but about a culture of police aggression and racism that continues today. The film touches on several incidents of police brutality against members of MOVE before the bombing, told through video deposition from young Michael Ward just months after the bombing, along with archived news footage and testimonies at the commission that later investigated the incident. Although 30 years have passed and most of us can’t fathom a police force bombing its citizens from the air, the tragedy of killing people on our streets is certainly no more humane.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Becomes a Legend Most: Albert Maysles Film Festival",
"headTitle": "What Becomes a Legend Most: Albert Maysles Film Festival | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/albert-maysles-memorial-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Albert Maysles Memorial Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">A tribute to the late cinematographer.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 8-14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Vogue Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/albert-maysles-memorial-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The remarkable cinematographer and director Albert Maysles, who died March 5 at 88, was one of the pioneers of the direct cinema revolution in American documentary in the late 1950s and ’60s. Along with his brother David, Robert Drew (\u003cem>Primary\u003c/em>), D.A. Pennebaker (\u003cem>Dont Look Back\u003c/em>), Frederick Wiseman (\u003cem>Titicut Follies\u003c/em>) and Richard Leacock (\u003cem>A Stravinsky Portrait\u003c/em>), Albert embraced the new, lighter cameras, threw away the tripod and thrust himself into the middle of the action. From street demonstrations and political rallies to intimate scenes with a bible salesman or a transformative artist, filmmakers were able to provide audiences with visceral, immediate experiences of life as it was lived.\u003c/p>\n\u003cfigure id=\"attachment_10629969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/albert-mayslesFIX.jpg\" alt=\"Albert Maysles. (Courtesy of Maysles Films)\" width=\"640\" height=\"479\" class=\"size-full wp-image-10629969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/albert-mayslesFIX.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/albert-mayslesFIX-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Albert Maysles. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Direct cinema, or cinema verité, is somewhat out of favor these days, as audiences with shorter attention spans (blame the remote control, not Vine) prefer the pace and payoff of reality TV to open-ended, long-form observational films. Similarly, viewers have become accustomed to (or sedated by) narration, talking-head interviews, archival footage, photos and a music soundtrack — all of which are disdained by proponents of direct cinema. Nonetheless, most of us still define the job of documentary filmmakers as going out in the world and capturing life as it unfolds. And that expectation derives from Albert Maysles and his contemporaries in the vanguard of cinema verité.\u003c/p>\n\u003cp>As a way of publicly acknowledging Maysles’ enormous legacy to documentarians as well as to audiences, ace local filmmaker and teacher David L. Brown (\u003cem>A Span in Time\u003c/em>, \u003cem>Of Wind and Waves: The Life of Woody Brown\u003c/em>) has compiled a sumptuous retrospective, the \u003cstrong>\u003ca href=\"http://www.cinemasf.com/vogue/albert-maysles-memorial-film-series-may-8-14-2015/\" target=\"_blank\" rel=\"noopener\">Albert Maysles Memorial Film Festival\u003c/a>\u003c/strong>, at the Vogue from May 8 through 14. The lineup pairs the Maysles brothers’ greatest hits with once-acclaimed, seldom seen films. As a bonus, some of Albert Maysles’ collaborators and disciples will share anecdotes and insights after various screenings. (Coincidentally, Maysles’ affectionate portrait of New York fashion iconoclast Iris Apfel, \u003cem>Iris\u003c/em>, also opens May 8 in Bay Area theaters.)\u003c/p>\n\u003cfigure id=\"attachment_10629970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Brando.Crop_.jpg\" alt=\"Meet Marlon Brando, 1966. (Courtesy of Maysles Films)\" width=\"640\" height=\"403\" class=\"size-full wp-image-10629970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Brando.Crop_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Brando.Crop_-400x252.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Meet Marlon Brando\u003c/i>, 1966. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The series opener, of course, is the Maysles brothers’ still-haunting 1968 breakthrough, \u003cem>Salesman\u003c/em>, a dispassionate yet empathetic study of door-to-door Bible salesmen. Seen today, it is both a black-and-white time capsule of an America that no longer exists (notwithstanding Mike Huckabee’s best efforts) and a prescient preview of economic upheavals to come. (Suffice to say this \u003cem>Salesman\u003c/em> will never die.) The bill includes \u003cem>Meet Marlon Brando\u003c/em> (1966), a half-hour short whose ironic title teases you with the hint of understanding the era’s most talented and charming enigma. Cinematographer Haskell Wexler and director D.A. Pennebaker join the festivities via Skype.\u003c/p>\n\u003cfigure id=\"attachment_10629976\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2.jpg\" alt=\"Christo's Valley Curtain, 1973. (Courtesy of Maysles Films)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10629976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Christo’s Valley Curtain\u003c/i>, 1973. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The most San Francisco-centric of the Maysles’ films, \u003cem>Gimme Shelter\u003c/em> (1970), traces the Rolling Stones’ path to the infamous free concert in Altamont where a young man was stabbed to death. It’s great fun to see full-of-himself attorney Melvin Belli negotiate the show’s details on the phone, and pure horror to watch an impotent Mick Jagger futilely try to hold the attention of the restless, spooked crowd. The most chilling sequence, however, shows Jagger and Keith Richard subsequently watching the Maysles’ footage of murder on a playback machine. If you’ve somehow never seen \u003cem>Gimme Shelter\u003c/em>, it plays three times on Saturday with \u003cem>Running Fence\u003c/em>, a 1977 work about Christo and Jeanne-Claude’s famed installation. The great cinematographer Steven Lighthill and filmmaker Joan Churchill will be on hand after a few of the screenings. The late show is another Stones title, \u003cem>Get Your Ya-Yas Out!\u003c/em>, a half-hour film shot at a 1969 concert and released 40 years later. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lesser-known Maysles films in the retrospective include portraits of Orson Welles, Vladimir Horowitz, the New York Metropolitan Opera, Christo and Jeanne-Claude, and Paul McCartney engaged in various creative pursuits. Each is rewarding in its own way, not just for the privileged access to the subject but for Albert’s intuitive camerawork and a calm editing style that reflects the brothers’ respect for their audience’s intelligence.\u003c/p>\n\u003cfigure id=\"attachment_10629974\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/GreyGardensFoursomeBWFIX005.jpg\" alt=\"The Maysles and the Edies. (Courtesy of Maysles Films)\" width=\"640\" height=\"570\" class=\"size-full wp-image-10629974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreyGardensFoursomeBWFIX005.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreyGardensFoursomeBWFIX005-400x356.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Maysles and the Edies. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The capper of the \u003cstrong>Albert Maysles Memorial Film Festival\u003c/strong> on May 14, although it’s so well known it can hardly be called either a discovery or a rarity, is the immortal \u003cem>Grey Gardens\u003c/em> (1975). Come for Little Edie’s bizarre fashion sense, stay for the disturbing (and universal) mother-daughter pas de deux. The former inspired a Vogue magazine spread after the movie came out, while the latter fueled a 2006 off-Broadway musical and made-for-HBO movie three years later. No guest filmmaker is slated to appear at this show; Little Edie and Big Edie will provoke enough giddy laughter and uncomfortable sharing among audience members to make a speaker superfluous.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hopefully, the stars’ overwhelming dynamic won’t preclude moviegoers from taking a moment to acknowledge the filmmakers’ essential contributions. Both Albert and David are heard and glimpsed in the film, intentionally so, because they serve as catalysts, conspirators and audience for the Edies’ riveting performances. The perfect choice to close the festival, \u003cem>Grey Gardens\u003c/em> is a touching sendoff to an immortal filmmaker.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/albert-maysles-memorial-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Albert Maysles Memorial Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">A tribute to the late cinematographer.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 8-14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Vogue Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/albert-maysles-memorial-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The remarkable cinematographer and director Albert Maysles, who died March 5 at 88, was one of the pioneers of the direct cinema revolution in American documentary in the late 1950s and ’60s. Along with his brother David, Robert Drew (\u003cem>Primary\u003c/em>), D.A. Pennebaker (\u003cem>Dont Look Back\u003c/em>), Frederick Wiseman (\u003cem>Titicut Follies\u003c/em>) and Richard Leacock (\u003cem>A Stravinsky Portrait\u003c/em>), Albert embraced the new, lighter cameras, threw away the tripod and thrust himself into the middle of the action. From street demonstrations and political rallies to intimate scenes with a bible salesman or a transformative artist, filmmakers were able to provide audiences with visceral, immediate experiences of life as it was lived.\u003c/p>\n\u003cfigure id=\"attachment_10629969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/albert-mayslesFIX.jpg\" alt=\"Albert Maysles. (Courtesy of Maysles Films)\" width=\"640\" height=\"479\" class=\"size-full wp-image-10629969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/albert-mayslesFIX.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/albert-mayslesFIX-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Albert Maysles. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Direct cinema, or cinema verité, is somewhat out of favor these days, as audiences with shorter attention spans (blame the remote control, not Vine) prefer the pace and payoff of reality TV to open-ended, long-form observational films. Similarly, viewers have become accustomed to (or sedated by) narration, talking-head interviews, archival footage, photos and a music soundtrack — all of which are disdained by proponents of direct cinema. Nonetheless, most of us still define the job of documentary filmmakers as going out in the world and capturing life as it unfolds. And that expectation derives from Albert Maysles and his contemporaries in the vanguard of cinema verité.\u003c/p>\n\u003cp>As a way of publicly acknowledging Maysles’ enormous legacy to documentarians as well as to audiences, ace local filmmaker and teacher David L. Brown (\u003cem>A Span in Time\u003c/em>, \u003cem>Of Wind and Waves: The Life of Woody Brown\u003c/em>) has compiled a sumptuous retrospective, the \u003cstrong>\u003ca href=\"http://www.cinemasf.com/vogue/albert-maysles-memorial-film-series-may-8-14-2015/\" target=\"_blank\" rel=\"noopener\">Albert Maysles Memorial Film Festival\u003c/a>\u003c/strong>, at the Vogue from May 8 through 14. The lineup pairs the Maysles brothers’ greatest hits with once-acclaimed, seldom seen films. As a bonus, some of Albert Maysles’ collaborators and disciples will share anecdotes and insights after various screenings. (Coincidentally, Maysles’ affectionate portrait of New York fashion iconoclast Iris Apfel, \u003cem>Iris\u003c/em>, also opens May 8 in Bay Area theaters.)\u003c/p>\n\u003cfigure id=\"attachment_10629970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Brando.Crop_.jpg\" alt=\"Meet Marlon Brando, 1966. (Courtesy of Maysles Films)\" width=\"640\" height=\"403\" class=\"size-full wp-image-10629970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Brando.Crop_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Brando.Crop_-400x252.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Meet Marlon Brando\u003c/i>, 1966. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The series opener, of course, is the Maysles brothers’ still-haunting 1968 breakthrough, \u003cem>Salesman\u003c/em>, a dispassionate yet empathetic study of door-to-door Bible salesmen. Seen today, it is both a black-and-white time capsule of an America that no longer exists (notwithstanding Mike Huckabee’s best efforts) and a prescient preview of economic upheavals to come. (Suffice to say this \u003cem>Salesman\u003c/em> will never die.) The bill includes \u003cem>Meet Marlon Brando\u003c/em> (1966), a half-hour short whose ironic title teases you with the hint of understanding the era’s most talented and charming enigma. Cinematographer Haskell Wexler and director D.A. Pennebaker join the festivities via Skype.\u003c/p>\n\u003cfigure id=\"attachment_10629976\" class=\"wp-caption alignright\" style=\"max-width: 428px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2.jpg\" alt=\"Christo's Valley Curtain, 1973. (Courtesy of Maysles Films)\" width=\"428\" height=\"640\" class=\"size-full wp-image-10629976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2.jpg 428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Valley-Curtain-2-401x600.jpg 401w\" sizes=\"(max-width: 428px) 100vw, 428px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Christo’s Valley Curtain\u003c/i>, 1973. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The most San Francisco-centric of the Maysles’ films, \u003cem>Gimme Shelter\u003c/em> (1970), traces the Rolling Stones’ path to the infamous free concert in Altamont where a young man was stabbed to death. It’s great fun to see full-of-himself attorney Melvin Belli negotiate the show’s details on the phone, and pure horror to watch an impotent Mick Jagger futilely try to hold the attention of the restless, spooked crowd. The most chilling sequence, however, shows Jagger and Keith Richard subsequently watching the Maysles’ footage of murder on a playback machine. If you’ve somehow never seen \u003cem>Gimme Shelter\u003c/em>, it plays three times on Saturday with \u003cem>Running Fence\u003c/em>, a 1977 work about Christo and Jeanne-Claude’s famed installation. The great cinematographer Steven Lighthill and filmmaker Joan Churchill will be on hand after a few of the screenings. The late show is another Stones title, \u003cem>Get Your Ya-Yas Out!\u003c/em>, a half-hour film shot at a 1969 concert and released 40 years later. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lesser-known Maysles films in the retrospective include portraits of Orson Welles, Vladimir Horowitz, the New York Metropolitan Opera, Christo and Jeanne-Claude, and Paul McCartney engaged in various creative pursuits. Each is rewarding in its own way, not just for the privileged access to the subject but for Albert’s intuitive camerawork and a calm editing style that reflects the brothers’ respect for their audience’s intelligence.\u003c/p>\n\u003cfigure id=\"attachment_10629974\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/GreyGardensFoursomeBWFIX005.jpg\" alt=\"The Maysles and the Edies. (Courtesy of Maysles Films)\" width=\"640\" height=\"570\" class=\"size-full wp-image-10629974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreyGardensFoursomeBWFIX005.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreyGardensFoursomeBWFIX005-400x356.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Maysles and the Edies. (Courtesy of Maysles Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The capper of the \u003cstrong>Albert Maysles Memorial Film Festival\u003c/strong> on May 14, although it’s so well known it can hardly be called either a discovery or a rarity, is the immortal \u003cem>Grey Gardens\u003c/em> (1975). Come for Little Edie’s bizarre fashion sense, stay for the disturbing (and universal) mother-daughter pas de deux. The former inspired a Vogue magazine spread after the movie came out, while the latter fueled a 2006 off-Broadway musical and made-for-HBO movie three years later. No guest filmmaker is slated to appear at this show; Little Edie and Big Edie will provoke enough giddy laughter and uncomfortable sharing among audience members to make a speaker superfluous.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hopefully, the stars’ overwhelming dynamic won’t preclude moviegoers from taking a moment to acknowledge the filmmakers’ essential contributions. Both Albert and David are heard and glimpsed in the film, intentionally so, because they serve as catalysts, conspirators and audience for the Edies’ riveting performances. The perfect choice to close the festival, \u003cem>Grey Gardens\u003c/em> is a touching sendoff to an immortal filmmaker.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-last-black-man-in-san-francisco-and-his-white-friend",
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"content": "\u003cp>If you were at the San Francisco International Film Festival last week, you may have seen the teaser trailer for \u003ci>The Last Black Man in San Francisco\u003c/i>. As a part of the festival’s \u003cb>Boomtown: Remaking San Francisco\u003c/b> program, this film-in-the-making highlights issues of gentrification through the “fantastical retelling of Jimmie H. Fails’ true-life story.” The narrative focuses on Jimmie’s dream of buying back his childhood home in the Fillmore. While the film is an accurate depiction of Fails’ relationship to a booming San Francisco, it is his real-life friendship with the director, Joe Talbot, that may seem stranger than fiction to some.\u003c/p>\n\u003cp>“When people see us walking down the street together they think we’re an odd pair,” said Talbot of himself and Fails. Fails interjects, “Just because I’m a tall Black guy and Joe’s white. Why would that be weird? If you know us, then you know it’s not weird.”\u003c/p>\n\u003cp>Talbot first recognized Fails’ “natural presence” on film when he was just a kid documenting Bernal Heights goings on with a Hi8 camcorder. Fast-forward 12 years and the duo are still at it with a bigger vision and a deeper friendship.\u003c/p>\n\u003cp>It was the long walks Talbot and Fails took through “the roller-coaster hills of Bernal Heights” that inspired this project. As Talbot came to know Fails’ life story — shaped by upheaval throughout San Francisco—the more strongly he felt it needed to be told.\u003c/p>\n\u003cp>Talbot believes it is precisely because Fails grew up in so many “different worlds” within San Francisco that he is able to have a distinct personality in this film while also speaking to the universal feeling of being an outcast.\u003c/p>\n\u003cfigure id=\"attachment_10623151\" class=\"wp-caption alignright\" style=\"max-width: 504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10623151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/WheresJimmie640.jpg\" alt=\"A close up the "Where's Jimmie" t-shirt The Last Black Man in San Francisco made for the film's Kickstarter campaign. (Courtesy of Joe Talbot)\" width=\"504\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WheresJimmie640.jpg 504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WheresJimmie640-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WheresJimmie640-473x600.jpg 473w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">A close up the “Where’s Jimmie” t-shirt \u003ci>The Last Black Man in San Francisco\u003c/i> made for the film’s Kickstarter campaign. (Courtesy of Joe Talbot)\u003c/figcaption>\u003c/figure>\n\u003cp>On film and in person, Jimmie’s presence belies his age—it’s hard to believe he’s only 20 years old. Four years his senior, Talbot jokes, “Jimmie’s a diva,” but neither Fails nor Talbot can imagine living in San Francisco without the other.\u003c/p>\n\u003cp>“I’ve stayed in San Francisco and seen a lot of people leave,” says Talbot. “When this happens you get really clingy to your friends. You don’t want them to leave. You don’t want the gang to disperse.”\u003c/p>\n\u003cp>Talbot fears that interracial friendships like his and Fails’ will not exist in a new San Francisco stripped of its diversity.\u003c/p>\n\u003cp>Standing in \u003ca href=\"http://sfrecpark.org/destination/precita-park/\" target=\"_blank\" rel=\"noopener\">Precita Park\u003c/a>, within walking distance of his childhood home, Talbot explains, “This park was the melting pot of the surrounding neighborhoods. Combining middle class kids, like myself, from Bernal, Latinos from the Mission and Blacks from the projects.” But back then, “There were no picnic tablecloths, no wine and cheese,” Fails points out.\u003c/p>\n\u003cp>“Tell the sprinkler story,” Talbot urged Fails. Fails explained that while walking past the park at night recently, the “skinny white hipster” he was walking behind opted to walk through the sprinklers on the opposite side of the street instead of sharing the same sidewalk with Fails. “He was getting soaked, but he tried to play it off,” said Fails. And when Fails called across the street to explain that he wasn’t a threat, the dripping man started running.\u003c/p>\n\u003cp>Like most parts of San Francisco, this neighborhood has changed, but it still brings back vivid memories—both good and bad—for Fails and Talbot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Talbot remembers local characters like art-loving hippy Buck Baggit, and the Ethiopian grandfather who owned the funky corner store that is now Precita Park Cafe. Fails points out locations like the community center where he got a free lunch every day (behind which he witnessed a gruesome shooting) and the grassy fields that were once dirt lots.\u003c/p>\n\u003cp>While Fails and Talbot got to know each other in Bernal Heights, \u003ci>The Last Black Man in San Francisco\u003c/i> will explore other locations, including the Bayview Hunters Point neighborhood. With its firmly-rooted Black community, Talbot and Fails see this part of the city as the final frontier in San Francisco’s spreading gentrification.\u003c/p>\n\u003cfigure id=\"attachment_10623010\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10623010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/PrenticeJimmie640.jpg\" alt=\"Prentice Sanders and Jimmie Fails in The Last Black Man in San Francisco. (Courtesy of Joe Talbot)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PrenticeJimmie640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PrenticeJimmie640-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Prentice Sanders and Jimmie Fails in \u003ci>The Last Black Man in San Francisco\u003c/i>. (Courtesy of Joe Talbot)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film’s trailer, Fails’ friend Prentice Sanders makes an appearance at the end. Sanders and Fails are both young Black men, but their characters couldn’t be more different, both on the screen and in real life.\u003c/p>\n\u003cp>“We found Prentice, like we find most of our friends,” explains Talbot, “just by picking interesting people out on the street.”\u003c/p>\n\u003cp>“He’s a character alright,” adds Fails. In the film, Sanders serves as an aloof foil to Fails’ sensitive persona.\u003c/p>\n\u003cp>Fails openly admits that he and Talbot are both “hella emotional.” Talbot continues, “I think we both have grown up feeling in betwixt and in between and that has only been amplified by recent events. Our friendship is becoming more and more of an anomaly.”\u003c/p>\n\u003cp>Without this friendship Fails knows he would not be sharing his story or pursuing a creative career. “I don’t even like telling my story. Everybody has hardships in their lives. I know a lot of kids like me who grew up in foster homes or in cars even.”\u003c/p>\n\u003cp>Through his relationship with Talbot, Fails has found a way to share his past and confront his future as “the last Black man in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were at the San Francisco International Film Festival last week, you may have seen the teaser trailer for \u003ci>The Last Black Man in San Francisco\u003c/i>. As a part of the festival’s \u003cb>Boomtown: Remaking San Francisco\u003c/b> program, this film-in-the-making highlights issues of gentrification through the “fantastical retelling of Jimmie H. Fails’ true-life story.” The narrative focuses on Jimmie’s dream of buying back his childhood home in the Fillmore. While the film is an accurate depiction of Fails’ relationship to a booming San Francisco, it is his real-life friendship with the director, Joe Talbot, that may seem stranger than fiction to some.\u003c/p>\n\u003cp>“When people see us walking down the street together they think we’re an odd pair,” said Talbot of himself and Fails. Fails interjects, “Just because I’m a tall Black guy and Joe’s white. Why would that be weird? If you know us, then you know it’s not weird.”\u003c/p>\n\u003cp>Talbot first recognized Fails’ “natural presence” on film when he was just a kid documenting Bernal Heights goings on with a Hi8 camcorder. Fast-forward 12 years and the duo are still at it with a bigger vision and a deeper friendship.\u003c/p>\n\u003cp>It was the long walks Talbot and Fails took through “the roller-coaster hills of Bernal Heights” that inspired this project. As Talbot came to know Fails’ life story — shaped by upheaval throughout San Francisco—the more strongly he felt it needed to be told.\u003c/p>\n\u003cp>Talbot believes it is precisely because Fails grew up in so many “different worlds” within San Francisco that he is able to have a distinct personality in this film while also speaking to the universal feeling of being an outcast.\u003c/p>\n\u003cfigure id=\"attachment_10623151\" class=\"wp-caption alignright\" style=\"max-width: 504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10623151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/WheresJimmie640.jpg\" alt=\"A close up the "Where's Jimmie" t-shirt The Last Black Man in San Francisco made for the film's Kickstarter campaign. (Courtesy of Joe Talbot)\" width=\"504\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WheresJimmie640.jpg 504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WheresJimmie640-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/WheresJimmie640-473x600.jpg 473w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">A close up the “Where’s Jimmie” t-shirt \u003ci>The Last Black Man in San Francisco\u003c/i> made for the film’s Kickstarter campaign. (Courtesy of Joe Talbot)\u003c/figcaption>\u003c/figure>\n\u003cp>On film and in person, Jimmie’s presence belies his age—it’s hard to believe he’s only 20 years old. Four years his senior, Talbot jokes, “Jimmie’s a diva,” but neither Fails nor Talbot can imagine living in San Francisco without the other.\u003c/p>\n\u003cp>“I’ve stayed in San Francisco and seen a lot of people leave,” says Talbot. “When this happens you get really clingy to your friends. You don’t want them to leave. You don’t want the gang to disperse.”\u003c/p>\n\u003cp>Talbot fears that interracial friendships like his and Fails’ will not exist in a new San Francisco stripped of its diversity.\u003c/p>\n\u003cp>Standing in \u003ca href=\"http://sfrecpark.org/destination/precita-park/\" target=\"_blank\" rel=\"noopener\">Precita Park\u003c/a>, within walking distance of his childhood home, Talbot explains, “This park was the melting pot of the surrounding neighborhoods. Combining middle class kids, like myself, from Bernal, Latinos from the Mission and Blacks from the projects.” But back then, “There were no picnic tablecloths, no wine and cheese,” Fails points out.\u003c/p>\n\u003cp>“Tell the sprinkler story,” Talbot urged Fails. Fails explained that while walking past the park at night recently, the “skinny white hipster” he was walking behind opted to walk through the sprinklers on the opposite side of the street instead of sharing the same sidewalk with Fails. “He was getting soaked, but he tried to play it off,” said Fails. And when Fails called across the street to explain that he wasn’t a threat, the dripping man started running.\u003c/p>\n\u003cp>Like most parts of San Francisco, this neighborhood has changed, but it still brings back vivid memories—both good and bad—for Fails and Talbot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Talbot remembers local characters like art-loving hippy Buck Baggit, and the Ethiopian grandfather who owned the funky corner store that is now Precita Park Cafe. Fails points out locations like the community center where he got a free lunch every day (behind which he witnessed a gruesome shooting) and the grassy fields that were once dirt lots.\u003c/p>\n\u003cp>While Fails and Talbot got to know each other in Bernal Heights, \u003ci>The Last Black Man in San Francisco\u003c/i> will explore other locations, including the Bayview Hunters Point neighborhood. With its firmly-rooted Black community, Talbot and Fails see this part of the city as the final frontier in San Francisco’s spreading gentrification.\u003c/p>\n\u003cfigure id=\"attachment_10623010\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10623010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/PrenticeJimmie640.jpg\" alt=\"Prentice Sanders and Jimmie Fails in The Last Black Man in San Francisco. (Courtesy of Joe Talbot)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PrenticeJimmie640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PrenticeJimmie640-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Prentice Sanders and Jimmie Fails in \u003ci>The Last Black Man in San Francisco\u003c/i>. (Courtesy of Joe Talbot)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film’s trailer, Fails’ friend Prentice Sanders makes an appearance at the end. Sanders and Fails are both young Black men, but their characters couldn’t be more different, both on the screen and in real life.\u003c/p>\n\u003cp>“We found Prentice, like we find most of our friends,” explains Talbot, “just by picking interesting people out on the street.”\u003c/p>\n\u003cp>“He’s a character alright,” adds Fails. In the film, Sanders serves as an aloof foil to Fails’ sensitive persona.\u003c/p>\n\u003cp>Fails openly admits that he and Talbot are both “hella emotional.” Talbot continues, “I think we both have grown up feeling in betwixt and in between and that has only been amplified by recent events. Our friendship is becoming more and more of an anomaly.”\u003c/p>\n\u003cp>Without this friendship Fails knows he would not be sharing his story or pursuing a creative career. “I don’t even like telling my story. Everybody has hardships in their lives. I know a lot of kids like me who grew up in foster homes or in cars even.”\u003c/p>\n\u003cp>Through his relationship with Talbot, Fails has found a way to share his past and confront his future as “the last Black man in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "an-undocumented-student-finds-unlikely-support-in-sin-visa",
"title": "An Undocumented Student Finds Unlikely Support in ‘Sin Visa’",
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"content": "\u003cp>The film \u003ca href=\"http://www.zarcofilms.com/sin-visa.html%C2%A0\" target=\"_blank\" rel=\"noopener\">\u003cem>Sin Visa\u003c/em>\u003c/a>, produced by San Jose-based Zarco Films begins with a group of undocumented immigrants crossing the U.S.-Mexico border, led by a “coyote,” or human trafficker. Their journey is arduous and dangerous. They evade the \u003ca href=\"http://minutemanproject.com\" target=\"_blank\" rel=\"noopener\">Minutemen\u003c/a> — self-appointed immigration authorities — patrolling the area. The group treks through the desert, passing a row of crosses marking the \u003ca href=\"http://www.bostonglobe.com/metro/2014/07/26/students-make-efforts-identify-immigrants-buried-unmarked-graves-near-southwest-border/4iDqnsqHzu9m8N6pPZXffI/story.html\" target=\"_blank\" rel=\"noopener\">graves of unknown people\u003c/a> who have died making the same journey. Once inside the U.S., they are taken to a safe house that is anything but safe, and Marco’s story unfolds.\u003c/p>\n\u003cp>Marco, played by Edgar-Arturo Camacho-González, makes it north to San Jose, where he works in restaurants and sends money home. He attends a fictitious community college with the help of a sympathetic college counselor, gay and Arab, who becomes his friend. \u003cem>Sin Visa\u003c/em> lets the viewer experience the day-to-day life of someone living without documents. This means not getting paid proper wages by an employer, renting a room in a house with no privacy and feeling both anxious and vulnerable when questioned by police at a traffic stop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3ckqLQlG7Mw\u003c/p>\n\u003cp>Through the college counselor, played by Luis Valencia, \u003cem>Sin Visa\u003c/em> connects the U.S.-Mexico border to another separation barrier — the one between Palestine and Israel. The film weaves together layers of human rights issues by centering the narrative on a gay Arab immigrant living in post-9/11 America who befriends and helps a young, undocumented Latino man.\u003c/p>\n\u003cp>This story is close to home for Camacho-González. “My family has an open immigration case, and there has been deportation in my family,” he says. Camacho-González was born in San Jose, where most of \u003cem>Sin Visa\u003c/em> was filmed, but he didn’t have to look far for inspiration. Camacho-González crossed the border illegally himself as a child, years ago. “The irony is that even though I have documents, having been born in the United States, because I was with my family and they did not, I did the crossing along with them,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Camacho-González has a sense of what it’s like to live with a big secret. “I think I parallel that with Marco, because I am an openly gay man and having to come out of the closet also has repercussions like an undocumented person has,” although in a different way, he says.\u003c/p>\n\u003cp>Even though the film’s subject matter is serious, \u003cem>Sin Visa\u003c/em> includes some bizarrely funny moments. A girl Marco makes out with in his car (Amanda Romero) realizes he is undocumented and reacts as if she’s kissed a leper. A woman gathering signatures to support the \u003ca href=\"https://dream.csac.ca.gov\" target=\"_blank\" rel=\"noopener\">Dream Act\u003c/a>, played by Tracy Broadway, tells Marco he cannot sign — he’s not a citizen.\u003c/p>\n\u003cp>Screenwriter and producer Bassam Kassab — who plays a supporting role as the college counselor’s partner in \u003cem>Sin Visa\u003c/em> — says immigration politics aside, he wants people to feel empathy with Marco’s character. “When people start identifying or feeling empathy for [undocumented] immigrants, their vote or their views on immigration may change a little bit,” he says.\u003c/p>\n\u003cp>It’s personal for him, too. While Kassab is a legal immigrant from Lebanon, \u003cem>Sin Visa’s\u003c/em> associate producer, Magdalena Ortega, recently returned to Mexico voluntarily after fighting deportation for years. Kassab says Ortega is working to promote \u003cem>Sin Visa\u003c/em> in Mexico.\u003c/p>\n\u003cp>In \u003cem>Sin Visa\u003c/em>, Marco also ends up returning to Mexico voluntarily, a twist in the plot even Camacho-González didn’t know of until the film’s final edit. In a postscript scrolling across the screen at the film’s close, the audience learns Marco tries to cross the desert heading north once more, looking for work. But, as Camacho-González put it in a Q&A on opening night, “I’m not in the sequel.”\u003c/p>\n\u003cp>See the film on May 5, 6-8pm at Contra Costa College, San Pablo, with Camacho-González in attendance for a panel discussion. For more information on this and future screening dates, visit \u003ca href=\"http://www.zarcofilms.com/sin-visa.html\" target=\"_blank\" rel=\"noopener\">zarcofilms.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Editor’s note:\u003c/strong> Maher Sabry, the film’s editor, is the author’s Arabic teacher.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film \u003ca href=\"http://www.zarcofilms.com/sin-visa.html%C2%A0\" target=\"_blank\" rel=\"noopener\">\u003cem>Sin Visa\u003c/em>\u003c/a>, produced by San Jose-based Zarco Films begins with a group of undocumented immigrants crossing the U.S.-Mexico border, led by a “coyote,” or human trafficker. Their journey is arduous and dangerous. They evade the \u003ca href=\"http://minutemanproject.com\" target=\"_blank\" rel=\"noopener\">Minutemen\u003c/a> — self-appointed immigration authorities — patrolling the area. The group treks through the desert, passing a row of crosses marking the \u003ca href=\"http://www.bostonglobe.com/metro/2014/07/26/students-make-efforts-identify-immigrants-buried-unmarked-graves-near-southwest-border/4iDqnsqHzu9m8N6pPZXffI/story.html\" target=\"_blank\" rel=\"noopener\">graves of unknown people\u003c/a> who have died making the same journey. Once inside the U.S., they are taken to a safe house that is anything but safe, and Marco’s story unfolds.\u003c/p>\n\u003cp>Marco, played by Edgar-Arturo Camacho-González, makes it north to San Jose, where he works in restaurants and sends money home. He attends a fictitious community college with the help of a sympathetic college counselor, gay and Arab, who becomes his friend. \u003cem>Sin Visa\u003c/em> lets the viewer experience the day-to-day life of someone living without documents. This means not getting paid proper wages by an employer, renting a room in a house with no privacy and feeling both anxious and vulnerable when questioned by police at a traffic stop.\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/3ckqLQlG7Mw'\n title='//www.youtube.com/embed/3ckqLQlG7Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through the college counselor, played by Luis Valencia, \u003cem>Sin Visa\u003c/em> connects the U.S.-Mexico border to another separation barrier — the one between Palestine and Israel. The film weaves together layers of human rights issues by centering the narrative on a gay Arab immigrant living in post-9/11 America who befriends and helps a young, undocumented Latino man.\u003c/p>\n\u003cp>This story is close to home for Camacho-González. “My family has an open immigration case, and there has been deportation in my family,” he says. Camacho-González was born in San Jose, where most of \u003cem>Sin Visa\u003c/em> was filmed, but he didn’t have to look far for inspiration. Camacho-González crossed the border illegally himself as a child, years ago. “The irony is that even though I have documents, having been born in the United States, because I was with my family and they did not, I did the crossing along with them,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Camacho-González has a sense of what it’s like to live with a big secret. “I think I parallel that with Marco, because I am an openly gay man and having to come out of the closet also has repercussions like an undocumented person has,” although in a different way, he says.\u003c/p>\n\u003cp>Even though the film’s subject matter is serious, \u003cem>Sin Visa\u003c/em> includes some bizarrely funny moments. A girl Marco makes out with in his car (Amanda Romero) realizes he is undocumented and reacts as if she’s kissed a leper. A woman gathering signatures to support the \u003ca href=\"https://dream.csac.ca.gov\" target=\"_blank\" rel=\"noopener\">Dream Act\u003c/a>, played by Tracy Broadway, tells Marco he cannot sign — he’s not a citizen.\u003c/p>\n\u003cp>Screenwriter and producer Bassam Kassab — who plays a supporting role as the college counselor’s partner in \u003cem>Sin Visa\u003c/em> — says immigration politics aside, he wants people to feel empathy with Marco’s character. “When people start identifying or feeling empathy for [undocumented] immigrants, their vote or their views on immigration may change a little bit,” he says.\u003c/p>\n\u003cp>It’s personal for him, too. While Kassab is a legal immigrant from Lebanon, \u003cem>Sin Visa’s\u003c/em> associate producer, Magdalena Ortega, recently returned to Mexico voluntarily after fighting deportation for years. Kassab says Ortega is working to promote \u003cem>Sin Visa\u003c/em> in Mexico.\u003c/p>\n\u003cp>In \u003cem>Sin Visa\u003c/em>, Marco also ends up returning to Mexico voluntarily, a twist in the plot even Camacho-González didn’t know of until the film’s final edit. In a postscript scrolling across the screen at the film’s close, the audience learns Marco tries to cross the desert heading north once more, looking for work. But, as Camacho-González put it in a Q&A on opening night, “I’m not in the sequel.”\u003c/p>\n\u003cp>See the film on May 5, 6-8pm at Contra Costa College, San Pablo, with Camacho-González in attendance for a panel discussion. For more information on this and future screening dates, visit \u003ca href=\"http://www.zarcofilms.com/sin-visa.html\" target=\"_blank\" rel=\"noopener\">zarcofilms.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Editor’s note:\u003c/strong> Maher Sabry, the film’s editor, is the author’s Arabic teacher.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We frankly admit that we are partial to pioneers and outsiders hereabouts. So forgive us if we don’t get weak in the knees about this weekend’s mega-budget superhero sequel that launches Hollywood’s summer of special-effects silliness. (Even if \u003cem>The Avengers: Age of Ultron\u003c/em> was written and directed by one-time maverick Joss Whedon.) Our attention is focused on the San Francisco International Film Festival, continuing through Thursday, May 7, and the weeklong tribute to the late, great documentary maker Albert Maysles (and his brother and frequent co-director David) at the Vogue Theatre starting May 8. Making films is an uphill struggle, a feat of persistence as much as creativity. Here’s to those who persevere for our enlightenment and entertainment.\u003c/p>\n\u003cfigure id=\"attachment_10607317\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607317\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Spheeris.jpg\" alt=\"Penelope Spheers on the set of We Sold Our Souls for Rock 'n Roll, 2001. (Courtesy of Spheeris Films)\" width=\"640\" height=\"372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Spheeris.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Spheeris-400x233.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Spheeris on the set of \u003ci>We Sold Our Souls for Rock ‘n Roll\u003c/i>, 2001. (Courtesy of Spheeris Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Penelope Spheeris couldn’t get arrested in Hollywood, par for the course for women who want to be behind the camera. So she made a great documentary about L.A.’s punk-rock scene, \u003cem>The Decline of Western Civilization\u003c/em> (1981), and got everyone’s attention. After the further success of \u003cem>The Decline of Western Civilization Part II: The Metal Years\u003c/em>, she was handed the keys to \u003cem>Wayne’s World\u003c/em> (1992). That trio of movies, collected by Midnites for Maniacs host Jesse Hawthorne Ficks for a May 8 show at the Castro entitled \u003cem>Rock ‘n’ Roll Hall of Fame\u003c/em>, summarizes Spheeris’ career: heartfelt docs driven by fierce integrity and broad studio comedies for the multiplex masses. Spheeris jets into town for this massively fun tribute highlighted by a sure-to-be-candid onstage interview. Visit \u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">castrotheatre.com\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10607318\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607318\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/HoopDreams.jpg\" alt=\"Scene from Hoop Dreams, 1994. (Courtesy of Janus Films)\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HoopDreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HoopDreams-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Hoop Dreams\u003c/i>, 1994. (Courtesy of Janus Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The Warriors have galvanized the Bay Area — we do love winners, don’t we? — and Yerba Buena Center for the Arts keeps the ball in the air during Steph Curry & co.’s playoff run with \u003cem>Basketball Jones: Hoops on Screen\u003c/em> (May 9–24). The doc series begins, of course, with Steve James’ wrenching epic \u003cem>Hoop Dreams\u003c/em> (1994), then follows the thread two decades later with Brett Kashmere’s cultural history \u003cem>From Deep\u003c/em>. Josh and Benny Safdie’s \u003cem>Lenny Cooke\u003c/em> recounts the saga of a can’t-miss player who missed, reminding us that losers are often more interesting than champions. Visit \u003ca href=\"http://www.ybca.org/basketball-jones\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10607319\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Speedy.jpg\" alt=\"Scene from Speedy, 1929. (Courtesy of the San Francisco Silent Film Festival)\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Speedy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Speedy-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Speedy\u003c/i>, 1929. (Courtesy of the San Francisco Silent Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Even black-and-white movies are a bridge too far for most moviegoers under a certain age, so what do the younger generations make of silent-era cinema? One excursion to the vibrant San Francisco Silent Film Festival, spinning the reels on its 20th edition May 28 through Jun. 1, is usually enough to erase misconceptions. Arguably the most lovingly-produced festival in the Bay Area, the SFSFF imports pristine prints and premier musicians for every show, supplanting the condescension of nostalgia with the live act of creation. Experience it for yourself, and you’ll get the gestalt — and the pleasure. This year’s riches span \u003cem>All Quiet On the Western Front\u003c/em> (opening night) to pantheon comedian Harold Lloyd’s \u003cem>Speedy\u003c/em> to William Gillette’s long-lost performance in \u003cem>Sherlock Holmes\u003c/em>, and much more. Visit \u003ca href=\"http://www.silentfilm.org/festival/festival-2015\" target=\"_blank\" rel=\"noopener\">silentfilm.org\u003c/a> for details.\u003c/p>\n\u003cp>As an extra treat, Robert Byrne, president of the SFSFF board and an ace restorer, recounts the reconstruction of another festival title, \u003cem>When the Earth Trembled\u003c/em> (1913), inspired by the 1906 quake and fire, May 14 at the Presidio Officers Club. Visit \u003ca href=\"http://www.presidioofficersclub.com/event/rising-from-the-ashes-resurrecting-the-1913-silent-film-when-the-earth-trembled/\" target=\"_blank\" rel=\"noopener\">presidioofficersclub.com\u003c/a> for more information.\u003c/p>\n\u003cfigure id=\"attachment_10607322\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/5towatchBicycle.jpg\" alt=\"Scene from Bikes vs Cars. (Courtesy of the Green Film Festival)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/5towatchBicycle.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/5towatchBicycle-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Bikes vs Cars\u003c/i>. (Courtesy of the Green Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>We are a stubborn, self-interested, shortsighted species. (Any dissenters?) Climate change, and the environment overall, should be Topic A all the time. (Well, after the Warriors, that is.) The San Francisco Green Film Festival (May 28-Jun. 3) focuses our attention with wit and enthusiasm, eschewing superficial provocation for a deeper, longer-lasting impact. The vibrant lineup of S.F. premieres starts with\u003cem> Bikes vs Cars\u003c/em>, Swedish director Fredrik Gertten’s globetrotting survey of pedal-powered initiatives. Festival director Rachel Caplan maintains an unwavering emphasis on positive change, reflected by Jerry Rothwell’s griping history of Greenpeace’s beginnings, \u003cem>How to Change the World\u003c/em>, and East Bay filmmaker Christopher Beaver’s irresistibly invigorating overview of San Francisco’s recycling and composting efforts, \u003cem>Racing to Zero\u003c/em>. For more details, visit \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\" rel=\"noopener\">greenfilmfest.org\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10607320\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607320\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/citizenkane.jpg\" alt=\"Scene from Citizen Kane, 1941. (Courtesy of \" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/citizenkane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/citizenkane-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Citizen Kane\u003c/i>, 1941. (Courtesy of the Smith Rafael Film Center)\u003c/figcaption>\u003c/figure>\n\u003cp>Orson Welles was a master of theater, radio, film and (late night) television. He was a phenomenally gifted writer, actor and director. “Prodigy” is insufficient to cover his abilities and accomplishments, so I usually just go with “the greatest artist the United States has ever produced.” The Smith Rafael Film Center marks the centennial of the great man’s birth with \u003cem>Welles 100 Part One: 1941-1948\u003c/em>, a series of his studio films screening on Sundays from May 31 through Jun. 28. The fall will bring \u003cem>Part Two\u003c/em>, comprised of Welles’ independent films. The perennial outsider, Welles was a courageous artist who challenged racism, classism and anything else status quo, He was of his time and ahead of his time; indeed, we still haven’t caught up to him. For more information, visit \u003ca href=\"http://rafaelfilm.cafilm.org/welles-100-part-one/\" target=\"_blank\" rel=\"noopener\">rafaelfilm.cafilm.org\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We frankly admit that we are partial to pioneers and outsiders hereabouts. So forgive us if we don’t get weak in the knees about this weekend’s mega-budget superhero sequel that launches Hollywood’s summer of special-effects silliness. (Even if \u003cem>The Avengers: Age of Ultron\u003c/em> was written and directed by one-time maverick Joss Whedon.) Our attention is focused on the San Francisco International Film Festival, continuing through Thursday, May 7, and the weeklong tribute to the late, great documentary maker Albert Maysles (and his brother and frequent co-director David) at the Vogue Theatre starting May 8. Making films is an uphill struggle, a feat of persistence as much as creativity. Here’s to those who persevere for our enlightenment and entertainment.\u003c/p>\n\u003cfigure id=\"attachment_10607317\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607317\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Spheeris.jpg\" alt=\"Penelope Spheers on the set of We Sold Our Souls for Rock 'n Roll, 2001. (Courtesy of Spheeris Films)\" width=\"640\" height=\"372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Spheeris.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Spheeris-400x233.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Spheeris on the set of \u003ci>We Sold Our Souls for Rock ‘n Roll\u003c/i>, 2001. (Courtesy of Spheeris Films)\u003c/figcaption>\u003c/figure>\n\u003cp>Penelope Spheeris couldn’t get arrested in Hollywood, par for the course for women who want to be behind the camera. So she made a great documentary about L.A.’s punk-rock scene, \u003cem>The Decline of Western Civilization\u003c/em> (1981), and got everyone’s attention. After the further success of \u003cem>The Decline of Western Civilization Part II: The Metal Years\u003c/em>, she was handed the keys to \u003cem>Wayne’s World\u003c/em> (1992). That trio of movies, collected by Midnites for Maniacs host Jesse Hawthorne Ficks for a May 8 show at the Castro entitled \u003cem>Rock ‘n’ Roll Hall of Fame\u003c/em>, summarizes Spheeris’ career: heartfelt docs driven by fierce integrity and broad studio comedies for the multiplex masses. Spheeris jets into town for this massively fun tribute highlighted by a sure-to-be-candid onstage interview. Visit \u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">castrotheatre.com\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10607318\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607318\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/HoopDreams.jpg\" alt=\"Scene from Hoop Dreams, 1994. (Courtesy of Janus Films)\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HoopDreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/HoopDreams-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Hoop Dreams\u003c/i>, 1994. (Courtesy of Janus Films)\u003c/figcaption>\u003c/figure>\n\u003cp>The Warriors have galvanized the Bay Area — we do love winners, don’t we? — and Yerba Buena Center for the Arts keeps the ball in the air during Steph Curry & co.’s playoff run with \u003cem>Basketball Jones: Hoops on Screen\u003c/em> (May 9–24). The doc series begins, of course, with Steve James’ wrenching epic \u003cem>Hoop Dreams\u003c/em> (1994), then follows the thread two decades later with Brett Kashmere’s cultural history \u003cem>From Deep\u003c/em>. Josh and Benny Safdie’s \u003cem>Lenny Cooke\u003c/em> recounts the saga of a can’t-miss player who missed, reminding us that losers are often more interesting than champions. Visit \u003ca href=\"http://www.ybca.org/basketball-jones\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a> for details.\u003c/p>\n\u003cfigure id=\"attachment_10607319\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Speedy.jpg\" alt=\"Scene from Speedy, 1929. (Courtesy of the San Francisco Silent Film Festival)\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Speedy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Speedy-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Speedy\u003c/i>, 1929. (Courtesy of the San Francisco Silent Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Even black-and-white movies are a bridge too far for most moviegoers under a certain age, so what do the younger generations make of silent-era cinema? One excursion to the vibrant San Francisco Silent Film Festival, spinning the reels on its 20th edition May 28 through Jun. 1, is usually enough to erase misconceptions. Arguably the most lovingly-produced festival in the Bay Area, the SFSFF imports pristine prints and premier musicians for every show, supplanting the condescension of nostalgia with the live act of creation. Experience it for yourself, and you’ll get the gestalt — and the pleasure. This year’s riches span \u003cem>All Quiet On the Western Front\u003c/em> (opening night) to pantheon comedian Harold Lloyd’s \u003cem>Speedy\u003c/em> to William Gillette’s long-lost performance in \u003cem>Sherlock Holmes\u003c/em>, and much more. Visit \u003ca href=\"http://www.silentfilm.org/festival/festival-2015\" target=\"_blank\" rel=\"noopener\">silentfilm.org\u003c/a> for details.\u003c/p>\n\u003cp>As an extra treat, Robert Byrne, president of the SFSFF board and an ace restorer, recounts the reconstruction of another festival title, \u003cem>When the Earth Trembled\u003c/em> (1913), inspired by the 1906 quake and fire, May 14 at the Presidio Officers Club. Visit \u003ca href=\"http://www.presidioofficersclub.com/event/rising-from-the-ashes-resurrecting-the-1913-silent-film-when-the-earth-trembled/\" target=\"_blank\" rel=\"noopener\">presidioofficersclub.com\u003c/a> for more information.\u003c/p>\n\u003cfigure id=\"attachment_10607322\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/5towatchBicycle.jpg\" alt=\"Scene from Bikes vs Cars. (Courtesy of the Green Film Festival)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/5towatchBicycle.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/5towatchBicycle-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Bikes vs Cars\u003c/i>. (Courtesy of the Green Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>We are a stubborn, self-interested, shortsighted species. (Any dissenters?) Climate change, and the environment overall, should be Topic A all the time. (Well, after the Warriors, that is.) The San Francisco Green Film Festival (May 28-Jun. 3) focuses our attention with wit and enthusiasm, eschewing superficial provocation for a deeper, longer-lasting impact. The vibrant lineup of S.F. premieres starts with\u003cem> Bikes vs Cars\u003c/em>, Swedish director Fredrik Gertten’s globetrotting survey of pedal-powered initiatives. Festival director Rachel Caplan maintains an unwavering emphasis on positive change, reflected by Jerry Rothwell’s griping history of Greenpeace’s beginnings, \u003cem>How to Change the World\u003c/em>, and East Bay filmmaker Christopher Beaver’s irresistibly invigorating overview of San Francisco’s recycling and composting efforts, \u003cem>Racing to Zero\u003c/em>. For more details, visit \u003ca href=\"http://www.greenfilmfest.org/festival\" target=\"_blank\" rel=\"noopener\">greenfilmfest.org\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10607320\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10607320\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/citizenkane.jpg\" alt=\"Scene from Citizen Kane, 1941. (Courtesy of \" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/citizenkane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/citizenkane-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Citizen Kane\u003c/i>, 1941. (Courtesy of the Smith Rafael Film Center)\u003c/figcaption>\u003c/figure>\n\u003cp>Orson Welles was a master of theater, radio, film and (late night) television. He was a phenomenally gifted writer, actor and director. “Prodigy” is insufficient to cover his abilities and accomplishments, so I usually just go with “the greatest artist the United States has ever produced.” The Smith Rafael Film Center marks the centennial of the great man’s birth with \u003cem>Welles 100 Part One: 1941-1948\u003c/em>, a series of his studio films screening on Sundays from May 31 through Jun. 28. The fall will bring \u003cem>Part Two\u003c/em>, comprised of Welles’ independent films. The perennial outsider, Welles was a courageous artist who challenged racism, classism and anything else status quo, He was of his time and ahead of his time; indeed, we still haven’t caught up to him. For more information, visit \u003ca href=\"http://rafaelfilm.cafilm.org/welles-100-part-one/\" target=\"_blank\" rel=\"noopener\">rafaelfilm.cafilm.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A fierce spirit ahead of her Victorian time, vacillating between love, sex and business in choosing a partner to run the farm she refuses to see go under, \u003cem>Far From the Madding Crowd\u003c/em>‘s Bathsheba Everdene is also a woman for the ages and therefore amenable to endless re-imagining, up to and including Katniss Everdeen. All in white and gamboling through green meadows with adorable lambs and a very hot Alan Bates, Julie Christie made an unforgettable Bathsheba in John Schlesinger’s 1967 steamed-up adaptation of Thomas Hardy’s 1874 pastoral novel.\u003c/p>\n\u003cp>It was probably a smart move on Danish director Thomas Vinterberg’s part to draw a line under the intense Christie and cast an actress as different from her as chalk is from cheese in his handsome, slightly inert new adaptation of Hardy’s novel. I’m just not persuaded that the accomplished Carey Mulligan was the right choice to play a tragic heroine undone by gusting carnal passion. Mulligan’s controlled minimalism was exactly right for the enervated Daisy in \u003cem>The Great Gatsby\u003c/em>, but she’s not built to play a woman perpetually on the verge. Christie’s Bathsheba was lush and lusty and walking wounded, an open book of a woman. Pert, contained and cerebral, Mulligan cedes not an inch to the animal nature that allows the otherwise sophisticated Bathsheba to bloom in rural life. Mulligan’s Bathsheba looks and sounds like a Chelsea girl let loose among yokels, even when she rolls up her sleeves and gets down in the sheep dip with her manager, the hunk (Belgian actor Matthias Schoenarts).\u003c/p>\n\u003cp>Though lacking the requisite Dorset twang, Schoenarts, last seen lugging Marion Cotillard on his back in \u003cem>Rust and Bone\u003c/em>, makes a decent Gabriel, with a welcome side of bedroom eyes. Gabriel and Bathsheba share a rabid work ethic and a Hardy-esque love of the land, but being of the yokel class, Gabriel can’t compete as spouse material with gentleman farmer William Boldwood (Michael Sheen). And neither man is a match for Sergeant Francis Troy (Tom Sturridge), a Wickham-ish rascal who shows up like a bad penny wherever there’s ale on tap and money to be made without working. A few swishes of the attractively uniformed soldier’s sword around her braid, and Bathsheba’s a goner, even once she learns that the rat is otherwise engaged to Juno Temple.\u003c/p>\n\u003cp>As shot by Charlotte Bruuson Christenson, \u003cem>Far From the Madding Crowd\u003c/em> has a ravishing feel for the windswept beauty and unpredictable weather of England’s West Country. But Vinterberg, who made \u003cem>The Celebration\u003c/em> and \u003cem>The Hunt\u003c/em>, is also a compulsive underliner who sends a whole flock of sheep over a cliff and treats himself to a Freudian abundance of scything, swording and knife-sharpening among males of varying degrees of alpha, while off to the side the women go into more decorous rue-and-regret mode. There’s too much exposition in David Nicholls’ script, and while it’s possible that many moviegoers today have never read Hardy, the story pretty much tells itself without Bathsheba’s coquettish admonition — “I’m too independent for you” — to one of her suitors. Trust me, he noticed.\u003c/p>\n\u003cp>\u003cem>Far From the Madding Crowd\u003c/em> is a melodrama; we’re meant to lose ourselves in its extravagances. Yet for all its lavish visuals, the movie feels emotionally attenuated. It doesn’t help that the most fully realized man in the trio chasing Bathsheba is Boldwood, intelligently played by Sheen as a dull, conventional man undone by a brief, profoundly uncharacteristic burst of passion. As for Mulligan, she’s too nerveless and composed, too much in charge of herself to play a woman driven mad by the confining mores of her time, and by romantic choices whose parameters have been set in the world of men. Given her circumstances Bathsheba has always seemed to me a fully tragic figure in search of an opera. So it’s not Vinterberg’s fault, or Mulligan’s, that in every incarnation from Hardy onward, the poor woman merits nothing grander than a tacked-on happy ending.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A fierce spirit ahead of her Victorian time, vacillating between love, sex and business in choosing a partner to run the farm she refuses to see go under, \u003cem>Far From the Madding Crowd\u003c/em>‘s Bathsheba Everdene is also a woman for the ages and therefore amenable to endless re-imagining, up to and including Katniss Everdeen. All in white and gamboling through green meadows with adorable lambs and a very hot Alan Bates, Julie Christie made an unforgettable Bathsheba in John Schlesinger’s 1967 steamed-up adaptation of Thomas Hardy’s 1874 pastoral novel.\u003c/p>\n\u003cp>It was probably a smart move on Danish director Thomas Vinterberg’s part to draw a line under the intense Christie and cast an actress as different from her as chalk is from cheese in his handsome, slightly inert new adaptation of Hardy’s novel. I’m just not persuaded that the accomplished Carey Mulligan was the right choice to play a tragic heroine undone by gusting carnal passion. Mulligan’s controlled minimalism was exactly right for the enervated Daisy in \u003cem>The Great Gatsby\u003c/em>, but she’s not built to play a woman perpetually on the verge. Christie’s Bathsheba was lush and lusty and walking wounded, an open book of a woman. Pert, contained and cerebral, Mulligan cedes not an inch to the animal nature that allows the otherwise sophisticated Bathsheba to bloom in rural life. Mulligan’s Bathsheba looks and sounds like a Chelsea girl let loose among yokels, even when she rolls up her sleeves and gets down in the sheep dip with her manager, the hunk (Belgian actor Matthias Schoenarts).\u003c/p>\n\u003cp>Though lacking the requisite Dorset twang, Schoenarts, last seen lugging Marion Cotillard on his back in \u003cem>Rust and Bone\u003c/em>, makes a decent Gabriel, with a welcome side of bedroom eyes. Gabriel and Bathsheba share a rabid work ethic and a Hardy-esque love of the land, but being of the yokel class, Gabriel can’t compete as spouse material with gentleman farmer William Boldwood (Michael Sheen). And neither man is a match for Sergeant Francis Troy (Tom Sturridge), a Wickham-ish rascal who shows up like a bad penny wherever there’s ale on tap and money to be made without working. A few swishes of the attractively uniformed soldier’s sword around her braid, and Bathsheba’s a goner, even once she learns that the rat is otherwise engaged to Juno Temple.\u003c/p>\n\u003cp>As shot by Charlotte Bruuson Christenson, \u003cem>Far From the Madding Crowd\u003c/em> has a ravishing feel for the windswept beauty and unpredictable weather of England’s West Country. But Vinterberg, who made \u003cem>The Celebration\u003c/em> and \u003cem>The Hunt\u003c/em>, is also a compulsive underliner who sends a whole flock of sheep over a cliff and treats himself to a Freudian abundance of scything, swording and knife-sharpening among males of varying degrees of alpha, while off to the side the women go into more decorous rue-and-regret mode. There’s too much exposition in David Nicholls’ script, and while it’s possible that many moviegoers today have never read Hardy, the story pretty much tells itself without Bathsheba’s coquettish admonition — “I’m too independent for you” — to one of her suitors. Trust me, he noticed.\u003c/p>\n\u003cp>\u003cem>Far From the Madding Crowd\u003c/em> is a melodrama; we’re meant to lose ourselves in its extravagances. Yet for all its lavish visuals, the movie feels emotionally attenuated. It doesn’t help that the most fully realized man in the trio chasing Bathsheba is Boldwood, intelligently played by Sheen as a dull, conventional man undone by a brief, profoundly uncharacteristic burst of passion. As for Mulligan, she’s too nerveless and composed, too much in charge of herself to play a woman driven mad by the confining mores of her time, and by romantic choices whose parameters have been set in the world of men. Given her circumstances Bathsheba has always seemed to me a fully tragic figure in search of an opera. So it’s not Vinterberg’s fault, or Mulligan’s, that in every incarnation from Hardy onward, the poor woman merits nothing grander than a tacked-on happy ending.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Watching Films to Support Nepal's Quake Victims",
"headTitle": "Watching Films to Support Nepal’s Quake Victims | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Himalayan Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Five films over two days.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Ninth Street Independent Film Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“My cousin is still waiting for a medical rescue,” said Bay Area resident and film festival organizer Nisha Thapa. Thapa’s cousin is stranded with a broken arm in a village three hours from Nepal’s capital city of Kathmandu, after the Apr. 25 earthquake that has killed over 5,000. Thapa says the last thing she heard was that other family members were going to use a motorbike to bring her cousin to a hospital in the city.\u003c/p>\n\u003cp>This year’s third annual \u003ca href=\"http://himalayanfilmfest.com/sf2015/\" target=\"_blank\" rel=\"noopener\">Himalayan Film Festival\u003c/a> on May 1 and 2 has a somber undertone, with the families of many Nepali diaspora significantly impacted by Nepal’s recent earthquake.\u003c/p>\n\u003cp>The goal of the festival is to screen films highlighting social injustices within the Himalayan region and mobilize communities, as Thapa says, to “translate compassion into action.” With five films over two days, the festival events will take place at \u003ca href=\"http://www.ninthstreet.org/\" target=\"_blank\" rel=\"noopener\">9th Street Independent Film Center\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The series opens with \u003ca href=\"http://himalayanfilmfest.com/sf2015/films/64/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunakali\u003c/em>,\u003c/a> based in Nepal, which details the story of a women’s football team and society’s changing perception toward women through the sport. Saturday’s program will feature four films: \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/refugees-of-shangri-la/\" target=\"_blank\" rel=\"noopener\">The Refugees of Shangri-La\u003c/a>\u003c/em> on forgotten exiles in Bhutan, another story based in Nepal looking at a wind turbine called \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/tashis-turbine/\" target=\"_blank\" rel=\"noopener\">Tashi’s Turbine\u003c/a>\u003c/em>, a film about altruism by the name of \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/way-of-life/\" target=\"_blank\" rel=\"noopener\">Way of Life\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/when-hari-got-married/\" target=\"_blank\" rel=\"noopener\">When Hari Got Married\u003c/a>\u003c/em>, the story of a taxi driver’s arranged marriage in northern India.\u003c/p>\n\u003cp>For Thapa, films have played an important role in her life. Two months after watching director David Driver’s \u003cem>Way of Life\u003c/em>, she ended up in a village working with those from the lowest socioeconomic status. “Films motivate and inspire us all,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bringing together diaspora organizations in the U.S., organizers Amisha Hada and Thapa hope each community can adopt a school, or hospital, “We hope that Nepal doesn’t turn into another Haiti,” Hada said.\u003c/p>\n\u003cfigure id=\"attachment_10606898\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10606898 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jessica-Lea-DFID1-e1430382242115.jpg\" alt=\"The UK's International Search and Rescue team in Chautara, Sindhupalchok District – north east of Kathmandu, Nepal.\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Chautara, Sindhupalchok District – north east of Kathmandu just days after the magnitude 7.8 earthquake struck the country, killing more than 5000 people, and injuring thousands more. \u003ccite>(Jessica Lea/DFID)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thapa plans to travel to Nepal with a team of three or four others to help prevent infectious diseases from spreading as well as working on reconstruction. The team is using the film festival as a platform to bring people who are working on relief efforts together to share information.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thus far they have received overwhelming support from the Bay Area. “Folks are asking how they can contribute and people are taking time off, and working all night to help,” Thapa said. With an aim to provide sustained support the festival proceeds will go towards reconstruction efforts aiding local organizations through the Bay Area non-profit \u003ca title=\"Sahayeta\" href=\"http://www.sahayeta.org\" target=\"_blank\" rel=\"noopener\">Sahayeta\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Himalayan Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Five films over two days.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Ninth Street Independent Film Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“My cousin is still waiting for a medical rescue,” said Bay Area resident and film festival organizer Nisha Thapa. Thapa’s cousin is stranded with a broken arm in a village three hours from Nepal’s capital city of Kathmandu, after the Apr. 25 earthquake that has killed over 5,000. Thapa says the last thing she heard was that other family members were going to use a motorbike to bring her cousin to a hospital in the city.\u003c/p>\n\u003cp>This year’s third annual \u003ca href=\"http://himalayanfilmfest.com/sf2015/\" target=\"_blank\" rel=\"noopener\">Himalayan Film Festival\u003c/a> on May 1 and 2 has a somber undertone, with the families of many Nepali diaspora significantly impacted by Nepal’s recent earthquake.\u003c/p>\n\u003cp>The goal of the festival is to screen films highlighting social injustices within the Himalayan region and mobilize communities, as Thapa says, to “translate compassion into action.” With five films over two days, the festival events will take place at \u003ca href=\"http://www.ninthstreet.org/\" target=\"_blank\" rel=\"noopener\">9th Street Independent Film Center\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The series opens with \u003ca href=\"http://himalayanfilmfest.com/sf2015/films/64/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunakali\u003c/em>,\u003c/a> based in Nepal, which details the story of a women’s football team and society’s changing perception toward women through the sport. Saturday’s program will feature four films: \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/refugees-of-shangri-la/\" target=\"_blank\" rel=\"noopener\">The Refugees of Shangri-La\u003c/a>\u003c/em> on forgotten exiles in Bhutan, another story based in Nepal looking at a wind turbine called \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/tashis-turbine/\" target=\"_blank\" rel=\"noopener\">Tashi’s Turbine\u003c/a>\u003c/em>, a film about altruism by the name of \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/way-of-life/\" target=\"_blank\" rel=\"noopener\">Way of Life\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/when-hari-got-married/\" target=\"_blank\" rel=\"noopener\">When Hari Got Married\u003c/a>\u003c/em>, the story of a taxi driver’s arranged marriage in northern India.\u003c/p>\n\u003cp>For Thapa, films have played an important role in her life. Two months after watching director David Driver’s \u003cem>Way of Life\u003c/em>, she ended up in a village working with those from the lowest socioeconomic status. “Films motivate and inspire us all,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bringing together diaspora organizations in the U.S., organizers Amisha Hada and Thapa hope each community can adopt a school, or hospital, “We hope that Nepal doesn’t turn into another Haiti,” Hada said.\u003c/p>\n\u003cfigure id=\"attachment_10606898\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10606898 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jessica-Lea-DFID1-e1430382242115.jpg\" alt=\"The UK's International Search and Rescue team in Chautara, Sindhupalchok District – north east of Kathmandu, Nepal.\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Chautara, Sindhupalchok District – north east of Kathmandu just days after the magnitude 7.8 earthquake struck the country, killing more than 5000 people, and injuring thousands more. \u003ccite>(Jessica Lea/DFID)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thapa plans to travel to Nepal with a team of three or four others to help prevent infectious diseases from spreading as well as working on reconstruction. The team is using the film festival as a platform to bring people who are working on relief efforts together to share information.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thus far they have received overwhelming support from the Bay Area. “Folks are asking how they can contribute and people are taking time off, and working all night to help,” Thapa said. With an aim to provide sustained support the festival proceeds will go towards reconstruction efforts aiding local organizations through the Bay Area non-profit \u003ca title=\"Sahayeta\" href=\"http://www.sahayeta.org\" target=\"_blank\" rel=\"noopener\">Sahayeta\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco International Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">58th annual showcase of films from near and far.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23-May 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At their grandmother’s 80th birthday party, Jason Zeldes, director of the new film \u003cem>\u003ca href=\"http://www.romeoisbleedingfilm.com/\" target=\"_blank\" rel=\"noopener\">Romeo Is Bleeding\u003c/a>\u003c/em>, chatted with his cousin Molly Raynor, a Bay Area poet and teacher, about one of her students. Poet and playwright Donté Clark was working on an adaptation of Shakespeare’s \u003cem>Romeo and Juliet\u003c/em> set in Richmond, California. Intrigued, Zeldes traveled from Los Angeles to the Bay Area and found the subject of his first documentary feature.\u003c/p>\n\u003cp>Zeldes’ film moves inside the community of Richmond, into the classrooms, the homes, the streets and, crucially, the lives of the people who dwell there. The audience experiences Richmond through Donté’s eyes, watching his efforts to transform the grief and pain of a turf war into a more hopeful future through the optimism of his artistry.\u003c/p>\n\u003cp>I spoke with Zeldes about his craft, the genesis of \u003ci>Romeo Is Bleeding\u003c/i> (\u003ca href=\"http://www.sffs.org/sfiff58/program/romeo-is-bleeding\" target=\"_blank\" rel=\"noopener\">premiering Apr. 29\u003c/a> at El Cerrito High School) and his year in the Bay Area as a first-time director.\u003c/p>\n\u003cfigure id=\"attachment_10600369\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10600369\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Romeo_is_Bleeding_02.jpg\" alt=\"A scene from Jason Zeldes' Romeo Is Bleeding. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Romeo_is_Bleeding_02.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Romeo_is_Bleeding_02-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Jason Zeldes’ \u003ci>Romeo Is Bleeding\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did Molly Raynor and Donté Clark first meet?\u003c/strong>\u003c/p>\n\u003cp>Making Waves was an after school program meant to close the achievement gap. Molly was teaching a standard English curriculum, but she comes from a spoken word and creative writing background. So she pitched her bosses this idea of a poetry workshop, and they literally started in a closet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What started as Molly and Donté in a janitor’s closet, over the course of six or seven years now, has grown into a thriving artistic community with the goal of redefining how Richmond is perceived. They’re definitely making real inroads.\u003c/p>\n\u003cp>\u003cstrong>How did the film come about then?\u003c/strong>\u003c/p>\n\u003cp>I had known about Donté Clark for a long time… [Molly] wrote to the family about him: he was her first student. I would help them out when \u003ca href=\"https://www.facebook.com/richmondartistswithtalent\" target=\"_blank\" rel=\"noopener\">RAW Talent\u003c/a> (Richmond Artists with Talent, a music and performing arts program for Richmond youth) was doing their smaller poetry shows. But it was in the summer of 2012 when Molly came up to me and said, “You’re not going to believe what Donté is up to.”\u003c/p>\n\u003cp>The more she described it the more it sounded cinematic. I asked her at that point if she would mind if I came up with cameras and did some exploratory filming. And she said, “I was really hoping you’d say that.” A couple of weeks after that I was in Richmond for the first time. It was actually August 6, 2012, the day the Chevron refinery caught on fire.\u003c/p>\n\u003cp>\u003cstrong>How did the students react to the refinery fire? Was their response different from yours and your crew?\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">One of the amazing things about this project was I went there to explore this artist and his universe and discovered an entire world.\u003c/aside>\n\u003cp>There was a lot of joking around about this traumatic event because it was certainly not the first time that’s happened. I remember a lot of the kids wondering if they were going to get “18 Money.” When the refinery caught fire a generation ago, everyone got checks on their 18th birthday from the refinery.\u003c/p>\n\u003cp>People were making jokes about how they didn’t bring their inhaler to school that day. But even that goes into a much darker story of environmental injustice. The asthma rates in Richmond are through the roof against national averages. One of the amazing things about this project was I went there to explore this artist and his universe and discovered an entire world.\u003c/p>\n\u003cfigure id=\"attachment_10600373\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10600373\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/RomeoPoster.jpg\" alt=\"Official Romeo Is Bleeding festival poster. (Design by Matt Mason)\" width=\"432\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RomeoPoster.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RomeoPoster-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RomeoPoster-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Official \u003ci>Romeo Is Bleeding\u003c/i> festival poster. (Design by Matt Mason)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before you started production, what was your impression of the city of Richmond?\u003c/strong>\u003c/p>\n\u003cp>I knew that it occupies an interesting place in American history. It did build 90 percent of the Navy during World War II. I know that like so many cities across the country, including my hometown, Detroit, there is a real post-industrial decline. After the war, you see these industrial areas slowly shifting until they are left desolate with a lot of social justice issues. It’s one of the leading cities for green industry. But the world that this film lives in was the North versus Central turf war. That was what I discovered when I arrived.\u003c/p>\n\u003cp>Then I spent time with Molly and her students, and we developed our relationships with the students independently of Molly. They started inviting me into their lives. The deeper and deeper I got into these communities and the more relationships I built and the more connections I made, the more I wanted to show that life and the context that Donté is drawing from for this adaptation of \u003ci>Romeo and Juliet,\u003c/i> not just the social justice issues that exist in the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>You achieve a great sense of ease and naturalism with the students.\u003c/strong>\u003c/p>\n\u003cp>We sat in the classroom every single day, hanging out, talking, laughing around with everybody, and then when something of interest would happen, we would pick up our equipment and start rolling. Our level of investment as filmmakers really showed to the RAW Talent students that this mattered to us. At a certain point, they stopped noticing cameras were even there and I think that’s when we started getting the best stuff.\u003c/p>\n\u003cp>\u003cstrong>The camera placement is particularly alive and fluid.\u003c/strong>\u003c/p>\n\u003cp>I have the advantage of working as a film editor. I’ve worked for a lot of amazing doc directors over the course of the last seven years. As an editor I get to see all of their footage. Usually, I’m the boom guy and I bring my friends who are really good cinematographers with me. They’re framing up a shot and that gives me a nice perspective to be in the room and look at it through my editing eye and say, “This is the space the scene exists in.”\u003c/p>\n\u003cp>\u003cstrong>How did working as an editor on the Academy Award-winning documentary \u003ca href=\"http://twentyfeetfromstardom.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>20 Feet from Stardom\u003c/i>\u003c/a> inform your work on this film?\u003c/strong>\u003c/p>\n\u003cp>Some of the DNA of \u003ci>20 Feet\u003c/i> lives in \u003ci>Romeo\u003c/i>. Obviously, they are very different movies — but the way that we would showcase a musical performance in \u003cem>20 Feet\u003c/em> — we tried to preserve that in showcasing the poetry of the RAW Talent students. We would choose to feature a poem and then structure an entire scene around the best way to contextualize this particular piece of poetry.\u003c/p>\n\u003cp>https://vimeo.com/michaelscottklein/romeoisbleedingclip\u003c/p>\n\u003cp>\u003cstrong>You include many establishing shots of Richmond, including public transportation, BART trains and stations. Any intentional references to \u003ci>Fruitvale Station\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>Public transportation is just so much a part of the culture for the RAW Talent students that it would be disingenuous to not include that. In a more broad context, Oscar Grant and Fruitvale [are] so much part of the East Bay culture that I think it, yes, absolutely evokes that. All of the social justice issues that come into play for Oscar Grant, they come into play for Donté Clark and D’Neise Robinson and all of the students at RAW Talent. I didn’t shy away from that.\u003c/p>\n\u003cfigure id=\"attachment_10600370\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10600370\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Te-Center-Stage_web.jpg\" alt=\"A scene from Romeo Is Bleeding. (Courtesy of Jason Zeldes)\" width=\"640\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Te-Center-Stage_web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Te-Center-Stage_web-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \u003ci>Romeo Is Bleeding\u003c/i>. (Courtesy of Jason Zeldes)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The film also includes interviews with officers from the Richmond Police Department.\u003c/strong>\u003c/p>\n\u003cp>After we gathered all of the footage, our main goal in assembling it into a film was to honor the complexity of the situation. In the context of this film, the systematic problems that exist in Richmond have developed since World War II. There’s got to be a paradigm shift in the thinking that goes into solving problems in this community. It was very important for us to be fair with the Richmond Police Department. They were incredible in giving us access to what they were doing and speaking honestly about it.\u003c/p>\n\u003cp>\u003cstrong>After being immersed in the cultural life of Richmond, are you feeling optimistic for the students and their future?\u003c/strong>\u003c/p>\n\u003cp>My takeaway after watching Donté go through this journey, when we capture him at a real crossroads and he’s experiencing growing pains as a community leader, these problems aren’t going to be addressed with a quick fix. And the power of the individual attacking the problem is, of course, limited, but it doesn’t reduce its value. There is still incredible value in him inspiring another generation of kids. Donté inherited a culture that’s based more on trauma and despair. But he found a way to turn that trauma and despair into inspirational artwork. His hope is that the generation that he is influencing will propagate that. And future generations can inherit a culture that is made of more poetry and beauty.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Editor’s note:\u003c/b> This interview has been edited and condensed.\u003c/p>\n\n",
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"headline": "'Romeo Is Bleeding' Director Documents Richmond's RAW Talent",
"datePublished": "2015-04-28T12:00:51-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco International Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">58th annual showcase of films from near and far.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23-May 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At their grandmother’s 80th birthday party, Jason Zeldes, director of the new film \u003cem>\u003ca href=\"http://www.romeoisbleedingfilm.com/\" target=\"_blank\" rel=\"noopener\">Romeo Is Bleeding\u003c/a>\u003c/em>, chatted with his cousin Molly Raynor, a Bay Area poet and teacher, about one of her students. Poet and playwright Donté Clark was working on an adaptation of Shakespeare’s \u003cem>Romeo and Juliet\u003c/em> set in Richmond, California. Intrigued, Zeldes traveled from Los Angeles to the Bay Area and found the subject of his first documentary feature.\u003c/p>\n\u003cp>Zeldes’ film moves inside the community of Richmond, into the classrooms, the homes, the streets and, crucially, the lives of the people who dwell there. The audience experiences Richmond through Donté’s eyes, watching his efforts to transform the grief and pain of a turf war into a more hopeful future through the optimism of his artistry.\u003c/p>\n\u003cp>I spoke with Zeldes about his craft, the genesis of \u003ci>Romeo Is Bleeding\u003c/i> (\u003ca href=\"http://www.sffs.org/sfiff58/program/romeo-is-bleeding\" target=\"_blank\" rel=\"noopener\">premiering Apr. 29\u003c/a> at El Cerrito High School) and his year in the Bay Area as a first-time director.\u003c/p>\n\u003cfigure id=\"attachment_10600369\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10600369\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Romeo_is_Bleeding_02.jpg\" alt=\"A scene from Jason Zeldes' Romeo Is Bleeding. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Romeo_is_Bleeding_02.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Romeo_is_Bleeding_02-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Jason Zeldes’ \u003ci>Romeo Is Bleeding\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did Molly Raynor and Donté Clark first meet?\u003c/strong>\u003c/p>\n\u003cp>Making Waves was an after school program meant to close the achievement gap. Molly was teaching a standard English curriculum, but she comes from a spoken word and creative writing background. So she pitched her bosses this idea of a poetry workshop, and they literally started in a closet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What started as Molly and Donté in a janitor’s closet, over the course of six or seven years now, has grown into a thriving artistic community with the goal of redefining how Richmond is perceived. They’re definitely making real inroads.\u003c/p>\n\u003cp>\u003cstrong>How did the film come about then?\u003c/strong>\u003c/p>\n\u003cp>I had known about Donté Clark for a long time… [Molly] wrote to the family about him: he was her first student. I would help them out when \u003ca href=\"https://www.facebook.com/richmondartistswithtalent\" target=\"_blank\" rel=\"noopener\">RAW Talent\u003c/a> (Richmond Artists with Talent, a music and performing arts program for Richmond youth) was doing their smaller poetry shows. But it was in the summer of 2012 when Molly came up to me and said, “You’re not going to believe what Donté is up to.”\u003c/p>\n\u003cp>The more she described it the more it sounded cinematic. I asked her at that point if she would mind if I came up with cameras and did some exploratory filming. And she said, “I was really hoping you’d say that.” A couple of weeks after that I was in Richmond for the first time. It was actually August 6, 2012, the day the Chevron refinery caught on fire.\u003c/p>\n\u003cp>\u003cstrong>How did the students react to the refinery fire? Was their response different from yours and your crew?\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">One of the amazing things about this project was I went there to explore this artist and his universe and discovered an entire world.\u003c/aside>\n\u003cp>There was a lot of joking around about this traumatic event because it was certainly not the first time that’s happened. I remember a lot of the kids wondering if they were going to get “18 Money.” When the refinery caught fire a generation ago, everyone got checks on their 18th birthday from the refinery.\u003c/p>\n\u003cp>People were making jokes about how they didn’t bring their inhaler to school that day. But even that goes into a much darker story of environmental injustice. The asthma rates in Richmond are through the roof against national averages. One of the amazing things about this project was I went there to explore this artist and his universe and discovered an entire world.\u003c/p>\n\u003cfigure id=\"attachment_10600373\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10600373\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/RomeoPoster.jpg\" alt=\"Official Romeo Is Bleeding festival poster. (Design by Matt Mason)\" width=\"432\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RomeoPoster.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RomeoPoster-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/RomeoPoster-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Official \u003ci>Romeo Is Bleeding\u003c/i> festival poster. (Design by Matt Mason)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Before you started production, what was your impression of the city of Richmond?\u003c/strong>\u003c/p>\n\u003cp>I knew that it occupies an interesting place in American history. It did build 90 percent of the Navy during World War II. I know that like so many cities across the country, including my hometown, Detroit, there is a real post-industrial decline. After the war, you see these industrial areas slowly shifting until they are left desolate with a lot of social justice issues. It’s one of the leading cities for green industry. But the world that this film lives in was the North versus Central turf war. That was what I discovered when I arrived.\u003c/p>\n\u003cp>Then I spent time with Molly and her students, and we developed our relationships with the students independently of Molly. They started inviting me into their lives. The deeper and deeper I got into these communities and the more relationships I built and the more connections I made, the more I wanted to show that life and the context that Donté is drawing from for this adaptation of \u003ci>Romeo and Juliet,\u003c/i> not just the social justice issues that exist in the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>You achieve a great sense of ease and naturalism with the students.\u003c/strong>\u003c/p>\n\u003cp>We sat in the classroom every single day, hanging out, talking, laughing around with everybody, and then when something of interest would happen, we would pick up our equipment and start rolling. Our level of investment as filmmakers really showed to the RAW Talent students that this mattered to us. At a certain point, they stopped noticing cameras were even there and I think that’s when we started getting the best stuff.\u003c/p>\n\u003cp>\u003cstrong>The camera placement is particularly alive and fluid.\u003c/strong>\u003c/p>\n\u003cp>I have the advantage of working as a film editor. I’ve worked for a lot of amazing doc directors over the course of the last seven years. As an editor I get to see all of their footage. Usually, I’m the boom guy and I bring my friends who are really good cinematographers with me. They’re framing up a shot and that gives me a nice perspective to be in the room and look at it through my editing eye and say, “This is the space the scene exists in.”\u003c/p>\n\u003cp>\u003cstrong>How did working as an editor on the Academy Award-winning documentary \u003ca href=\"http://twentyfeetfromstardom.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>20 Feet from Stardom\u003c/i>\u003c/a> inform your work on this film?\u003c/strong>\u003c/p>\n\u003cp>Some of the DNA of \u003ci>20 Feet\u003c/i> lives in \u003ci>Romeo\u003c/i>. Obviously, they are very different movies — but the way that we would showcase a musical performance in \u003cem>20 Feet\u003c/em> — we tried to preserve that in showcasing the poetry of the RAW Talent students. We would choose to feature a poem and then structure an entire scene around the best way to contextualize this particular piece of poetry.\u003c/p>\n\u003cp>https://vimeo.com/michaelscottklein/romeoisbleedingclip\u003c/p>\n\u003cp>\u003cstrong>You include many establishing shots of Richmond, including public transportation, BART trains and stations. Any intentional references to \u003ci>Fruitvale Station\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>Public transportation is just so much a part of the culture for the RAW Talent students that it would be disingenuous to not include that. In a more broad context, Oscar Grant and Fruitvale [are] so much part of the East Bay culture that I think it, yes, absolutely evokes that. All of the social justice issues that come into play for Oscar Grant, they come into play for Donté Clark and D’Neise Robinson and all of the students at RAW Talent. I didn’t shy away from that.\u003c/p>\n\u003cfigure id=\"attachment_10600370\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10600370\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Te-Center-Stage_web.jpg\" alt=\"A scene from Romeo Is Bleeding. (Courtesy of Jason Zeldes)\" width=\"640\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Te-Center-Stage_web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Te-Center-Stage_web-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \u003ci>Romeo Is Bleeding\u003c/i>. (Courtesy of Jason Zeldes)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The film also includes interviews with officers from the Richmond Police Department.\u003c/strong>\u003c/p>\n\u003cp>After we gathered all of the footage, our main goal in assembling it into a film was to honor the complexity of the situation. In the context of this film, the systematic problems that exist in Richmond have developed since World War II. There’s got to be a paradigm shift in the thinking that goes into solving problems in this community. It was very important for us to be fair with the Richmond Police Department. They were incredible in giving us access to what they were doing and speaking honestly about it.\u003c/p>\n\u003cp>\u003cstrong>After being immersed in the cultural life of Richmond, are you feeling optimistic for the students and their future?\u003c/strong>\u003c/p>\n\u003cp>My takeaway after watching Donté go through this journey, when we capture him at a real crossroads and he’s experiencing growing pains as a community leader, these problems aren’t going to be addressed with a quick fix. And the power of the individual attacking the problem is, of course, limited, but it doesn’t reduce its value. There is still incredible value in him inspiring another generation of kids. Donté inherited a culture that’s based more on trauma and despair. But he found a way to turn that trauma and despair into inspirational artwork. His hope is that the generation that he is influencing will propagate that. And future generations can inherit a culture that is made of more poetry and beauty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s note:\u003c/b> This interview has been edited and condensed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Top Five Documentaries to See at SFIFF",
"headTitle": "Top Five Documentaries to See at SFIFF | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco International Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">58th Annual showcase of films from around the world.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23-May 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Nonfiction is a pretty straightforward concept until you contemplate its packaging and presentation in a 70- or 90- or 150-minute movie. The aim of most documentary makers is to organize and shape their array of footage into a discrete, lucid piece that goes beyond easily digested sound bites, yet stops short of an overwhelming smorgasbord. Their choices inevitably tend to whittle complex issues into recognizable shapes and sagas. Consequently, audiences shouldn’t expect a documentary to leap the high hurdles of immaculate truth and accuracy, but simply represent the documented or depicted situation. (Not that there’s anything simple about that.)\u003c/p>\n\u003cp>Documentaries have long been a large and crucial chunk of the San Francisco International Film Festival’s program, and they deliver a kind of “State of the Globe” to festivalgoers starved for world news. Your correspondent views them less as a roundup of the threats to human civilization, 2015 edition, than a survey of the ongoing evolution of the documentary. I’m interested in experiments in form — the way the filmmaker presents his or her material — more than content or subject matter. I’m especially fascinated by the questions a film provokes us to ask, often unintentionally. \u003c/p>\n\u003cp>Among the sure-to-be-popular doc offerings at the SFIFF (opening Apr. 23 and running through May 7 in San Francisco and Berkeley) are portraits of the immortal American artists Nina Simone and Marlon Brando, along with civic treasures such as Los Angeles food critic Jonathan Gold and New York fashion icon Iris Apfel. I direct my gaze instead to social-issue movies from abroad that are largely devoid of characters, and give us less of a handle to hold onto in the slipstream of fast-moving reality.\u003c/p>\n\u003cfigure id=\"attachment_10582941\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/IronMinistry640-1180x787.jpg\" alt=\"A scene from J.P. Sniadecki's Iron Ministry. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10582941\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640.jpg 1800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from J.P. Sniadecki’s \u003ci>Iron Ministry\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/the-iron-ministry#.VTfdGyFVhBc\" target=\"_blank\" rel=\"noopener\">The Iron Ministry\u003c/a>\u003c/em>, a seductive and engrossing ride on China’s passenger rails filmed by J.P. Sniadecki between 2011 and 2013, continues the SFIFF’s recent practice of selecting a documentary from the wide-awake giant. Because no single film can capture the country’s breadth, we accept this gently probing movie, like its predecessors, as an intriguing snapshot. A work of observation with no grand ambition, thesis or message, pushed along by its Cantonese-fluent filmmaker’s perceptive eye and direct interview style, \u003cem>The Iron Ministry\u003c/em> (Apr. 24 at the Sundance Cinemas Kabuki and Apr. 25 at the Pacific Film Archive in Berkeley, with the filmmaker present, and May 4 at the Kabuki) is the rare, refreshing doc that honors its subjects and its audience. From rural folk schlepping heavy baskets of citrus to market to young professionals openly discussing what would induce them to leave China, Sniadecki depicts a society rapidly transforming from the past into the future.\u003c/p>\n\u003cfigure id=\"attachment_10582939\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Antonov640.jpg\" alt=\"A scene from Hajooj Kuka's Beats of the Antonov. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10582939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Antonov640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Antonov640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hajooj Kuka’s \u003ci>Beats of the Antonov\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>The surefire way for a doc about displaced refugees or government-persecuted groups to tap our sympathy is by emphasizing the plight of the victims. Sudanese war correspondent and filmmaker Hajooj Kuka flips the formula in \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/beats-of-the-antonov#.VTfdNiFVhBc\" target=\"_blank\" rel=\"noopener\">Beats of the Antonov\u003c/a>\u003c/em> (Apr. 25 and May 2 at the Kabuki and May 4 at the Pacific Film Archive in Berkeley, all with the filmmaker expected to attend) by emphasizing the pride with which Blue Nile and Nuba Mountain people practice their culture. Kuka’s emphasis on his subjects’ celebration of their identity under difficult circumstances — such as being bombed from the air — undercuts the audience’s impulse toward pity, and immeasurably enriches his social-issue exposé. After treating us to a feast of music and dance in the first half of his film, Kuka does rely a bit too heavily on talking-head interviews with a few Sudanese cultural experts. We’ll forgive that minor transgression in an otherwise invaluable glimpse at Africans who never appear on our television screens.\u003c/p>\n\u003cfigure id=\"attachment_10582943\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/SundayBall640.jpg\" alt=\"A scene from Eryk Rocha's Sunday Ball. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10582943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/SundayBall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/SundayBall640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Eryk Rocha’s \u003ci>Sunday Ball\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Another determinedly ground-level dispatch, Eryk Rocha’s \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/sunday-ball#.VTfdXiFVhBc\" target=\"_blank\" rel=\"noopener\">Sunday Ball (Campo de Jogo)\u003c/a>\u003c/em> is an immersive, experiential rendering of a championship soccer match between Rio de Janeiro favelas. Along with the typical sports doc’s ecstasy of victory and agony of defeat, \u003cem>Sunday Ball\u003c/em> (May 4 and 7 at the Kabuki and May 5 at PFA, with the filmmaker expected to attend all three screenings) strains to give us a sense of the residents’ desperation and need to escape — without leaving the rectangular confines of the field (until the very end). Rocha, the son of famed director Glauber Rocha, is less successful in the latter endeavor than in highlighting the elements of opera, ballet, commedia dell’arte and gang warfare that comprise modern football. There’s much visual and visceral pleasure to be had here, along with definitive evidence of the late, great Austrian filmmaker Michael Glawogger’s observation about the relationship between doc filmmakers and their subjects, “You can only film war and a sports event without being noticed.”\u003c/p>\n\u003cfigure id=\"attachment_10582940\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/GermanYouth640.jpg\" alt=\"A scene from Jean-Gabriel Periot's A German Youth. (Courtesy of San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10582940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/GermanYouth640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/GermanYouth640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Jean-Gabriel Periot’s \u003ci>A German Youth\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Political scientists and revolutionaries in training are the primary audiences for \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/a-german-youth#.VTfdlyFVhBc\" target=\"_blank\" rel=\"noopener\">A German Youth\u003c/a>\u003c/em>, the latest excavation and manipulation of archival footage by the French formalist Jean-Gabriel Périot. This precisely edited work revisits the rebellious fury late-’60s college students directed at the German power structure (still in the hands of the generation that backed Hitler) and the Vietnam war. The documentary draws on the radical films of Holger Meins and the articulate television appearances of columnist and eventual Red Army Faction member Ulrike Meinhof. \u003cem>A German Youth\u003c/em> (Apr. 25 at the PFA and May 2 and 5 at the Kabuki, with Périot slated to attend) represents the least pulpy treatment imaginable of the Baader-Meinhof Gang, conveying by very subtle degrees the evolution of a movement (fueled by escalating frustration) from discussion and civil disobedience to violence and nihilism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/theory-of-obscurity-a-film-about-the-residents#.VTfd1iFVhBc\" target=\"_blank\" rel=\"noopener\">Theory of Obscurity: a film about The Residents\u003c/a>\u003c/em> both suffers and benefits from the absence of its subject: the anonymous members of the Bay Area’s long-running cult music, art and video assemblage. On the one hand, Don Hardy’s consistently enjoyable film necessarily talks around the mysterious four (or more). However, it’s something of a relief not to hear artists explain themselves or their work (an enterprise that’s often pretentious and devoid of the magic that attracted us in the first place). More good news: Hardy largely avoids the egregious shock-editing that lazy directors of historical documentaries about artists use to evoke their subjects’ nonconformity, risk-taking and threat to the status quo. When all is said and done, though, I wish Hardy had gone for broke with a nonlinear treatment. This lost opportunity could have disoriented and unsettled viewers — and stood as a work of art — in the same way the band’s output did and does. But I’m ignoring the unmistakable intent of \u003cem>Theory of Obscurity\u003c/em> (Apr. 25 at the PFA and May 1 and 3 at the Kabuki, with Hardy in person), which is to honor the band’s influence and widen its audience. Another kind of packaging and presentation, clearly, would not serve those goals.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>San Francisco International Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">58th Annual showcase of films from around the world.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23-May 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-international-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Nonfiction is a pretty straightforward concept until you contemplate its packaging and presentation in a 70- or 90- or 150-minute movie. The aim of most documentary makers is to organize and shape their array of footage into a discrete, lucid piece that goes beyond easily digested sound bites, yet stops short of an overwhelming smorgasbord. Their choices inevitably tend to whittle complex issues into recognizable shapes and sagas. Consequently, audiences shouldn’t expect a documentary to leap the high hurdles of immaculate truth and accuracy, but simply represent the documented or depicted situation. (Not that there’s anything simple about that.)\u003c/p>\n\u003cp>Documentaries have long been a large and crucial chunk of the San Francisco International Film Festival’s program, and they deliver a kind of “State of the Globe” to festivalgoers starved for world news. Your correspondent views them less as a roundup of the threats to human civilization, 2015 edition, than a survey of the ongoing evolution of the documentary. I’m interested in experiments in form — the way the filmmaker presents his or her material — more than content or subject matter. I’m especially fascinated by the questions a film provokes us to ask, often unintentionally. \u003c/p>\n\u003cp>Among the sure-to-be-popular doc offerings at the SFIFF (opening Apr. 23 and running through May 7 in San Francisco and Berkeley) are portraits of the immortal American artists Nina Simone and Marlon Brando, along with civic treasures such as Los Angeles food critic Jonathan Gold and New York fashion icon Iris Apfel. I direct my gaze instead to social-issue movies from abroad that are largely devoid of characters, and give us less of a handle to hold onto in the slipstream of fast-moving reality.\u003c/p>\n\u003cfigure id=\"attachment_10582941\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/IronMinistry640-1180x787.jpg\" alt=\"A scene from J.P. Sniadecki's Iron Ministry. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10582941\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/IronMinistry640.jpg 1800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from J.P. Sniadecki’s \u003ci>Iron Ministry\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/the-iron-ministry#.VTfdGyFVhBc\" target=\"_blank\" rel=\"noopener\">The Iron Ministry\u003c/a>\u003c/em>, a seductive and engrossing ride on China’s passenger rails filmed by J.P. Sniadecki between 2011 and 2013, continues the SFIFF’s recent practice of selecting a documentary from the wide-awake giant. Because no single film can capture the country’s breadth, we accept this gently probing movie, like its predecessors, as an intriguing snapshot. A work of observation with no grand ambition, thesis or message, pushed along by its Cantonese-fluent filmmaker’s perceptive eye and direct interview style, \u003cem>The Iron Ministry\u003c/em> (Apr. 24 at the Sundance Cinemas Kabuki and Apr. 25 at the Pacific Film Archive in Berkeley, with the filmmaker present, and May 4 at the Kabuki) is the rare, refreshing doc that honors its subjects and its audience. From rural folk schlepping heavy baskets of citrus to market to young professionals openly discussing what would induce them to leave China, Sniadecki depicts a society rapidly transforming from the past into the future.\u003c/p>\n\u003cfigure id=\"attachment_10582939\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Antonov640.jpg\" alt=\"A scene from Hajooj Kuka's Beats of the Antonov. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10582939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Antonov640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Antonov640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Hajooj Kuka’s \u003ci>Beats of the Antonov\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>The surefire way for a doc about displaced refugees or government-persecuted groups to tap our sympathy is by emphasizing the plight of the victims. Sudanese war correspondent and filmmaker Hajooj Kuka flips the formula in \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/beats-of-the-antonov#.VTfdNiFVhBc\" target=\"_blank\" rel=\"noopener\">Beats of the Antonov\u003c/a>\u003c/em> (Apr. 25 and May 2 at the Kabuki and May 4 at the Pacific Film Archive in Berkeley, all with the filmmaker expected to attend) by emphasizing the pride with which Blue Nile and Nuba Mountain people practice their culture. Kuka’s emphasis on his subjects’ celebration of their identity under difficult circumstances — such as being bombed from the air — undercuts the audience’s impulse toward pity, and immeasurably enriches his social-issue exposé. After treating us to a feast of music and dance in the first half of his film, Kuka does rely a bit too heavily on talking-head interviews with a few Sudanese cultural experts. We’ll forgive that minor transgression in an otherwise invaluable glimpse at Africans who never appear on our television screens.\u003c/p>\n\u003cfigure id=\"attachment_10582943\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/SundayBall640.jpg\" alt=\"A scene from Eryk Rocha's Sunday Ball. (Courtesy of the San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10582943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/SundayBall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/SundayBall640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Eryk Rocha’s \u003ci>Sunday Ball\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Another determinedly ground-level dispatch, Eryk Rocha’s \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/sunday-ball#.VTfdXiFVhBc\" target=\"_blank\" rel=\"noopener\">Sunday Ball (Campo de Jogo)\u003c/a>\u003c/em> is an immersive, experiential rendering of a championship soccer match between Rio de Janeiro favelas. Along with the typical sports doc’s ecstasy of victory and agony of defeat, \u003cem>Sunday Ball\u003c/em> (May 4 and 7 at the Kabuki and May 5 at PFA, with the filmmaker expected to attend all three screenings) strains to give us a sense of the residents’ desperation and need to escape — without leaving the rectangular confines of the field (until the very end). Rocha, the son of famed director Glauber Rocha, is less successful in the latter endeavor than in highlighting the elements of opera, ballet, commedia dell’arte and gang warfare that comprise modern football. There’s much visual and visceral pleasure to be had here, along with definitive evidence of the late, great Austrian filmmaker Michael Glawogger’s observation about the relationship between doc filmmakers and their subjects, “You can only film war and a sports event without being noticed.”\u003c/p>\n\u003cfigure id=\"attachment_10582940\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/GermanYouth640.jpg\" alt=\"A scene from Jean-Gabriel Periot's A German Youth. (Courtesy of San Francisco International Film Festival)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10582940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/GermanYouth640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/GermanYouth640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Jean-Gabriel Periot’s \u003ci>A German Youth\u003c/i>. (Courtesy of the San Francisco International Film Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Political scientists and revolutionaries in training are the primary audiences for \u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/a-german-youth#.VTfdlyFVhBc\" target=\"_blank\" rel=\"noopener\">A German Youth\u003c/a>\u003c/em>, the latest excavation and manipulation of archival footage by the French formalist Jean-Gabriel Périot. This precisely edited work revisits the rebellious fury late-’60s college students directed at the German power structure (still in the hands of the generation that backed Hitler) and the Vietnam war. The documentary draws on the radical films of Holger Meins and the articulate television appearances of columnist and eventual Red Army Faction member Ulrike Meinhof. \u003cem>A German Youth\u003c/em> (Apr. 25 at the PFA and May 2 and 5 at the Kabuki, with Périot slated to attend) represents the least pulpy treatment imaginable of the Baader-Meinhof Gang, conveying by very subtle degrees the evolution of a movement (fueled by escalating frustration) from discussion and civil disobedience to violence and nihilism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.sffs.org/sfiff58/program/theory-of-obscurity-a-film-about-the-residents#.VTfd1iFVhBc\" target=\"_blank\" rel=\"noopener\">Theory of Obscurity: a film about The Residents\u003c/a>\u003c/em> both suffers and benefits from the absence of its subject: the anonymous members of the Bay Area’s long-running cult music, art and video assemblage. On the one hand, Don Hardy’s consistently enjoyable film necessarily talks around the mysterious four (or more). However, it’s something of a relief not to hear artists explain themselves or their work (an enterprise that’s often pretentious and devoid of the magic that attracted us in the first place). More good news: Hardy largely avoids the egregious shock-editing that lazy directors of historical documentaries about artists use to evoke their subjects’ nonconformity, risk-taking and threat to the status quo. When all is said and done, though, I wish Hardy had gone for broke with a nonlinear treatment. This lost opportunity could have disoriented and unsettled viewers — and stood as a work of art — in the same way the band’s output did and does. But I’m ignoring the unmistakable intent of \u003cem>Theory of Obscurity\u003c/em> (Apr. 25 at the PFA and May 1 and 3 at the Kabuki, with Hardy in person), which is to honor the band’s influence and widen its audience. Another kind of packaging and presentation, clearly, would not serve those goals.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Man from Reno' Director Revitalizes Noir with Homme Fatale",
"headTitle": "‘Man from Reno’ Director Revitalizes Noir with Homme Fatale | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/man-from-reno/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Man from Reno\u003c/h2>\n\u003cdiv class=\"event-desc\">A neo-noir murder mystery comes home.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>APR. 10-16, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sundance Kabuki\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/man-from-reno/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The film noir trope of the alluring femme fatale existed before and endures since Lana Turner’s white, white turban and matching short shorts seduced John Garfield to murder in \u003ci>The Postman Always Rings Twice\u003c/i> (1946). What distinguishes the now-familiar story of a woman leading a man into temptation is the quality of each particular actress inhabiting the role. Barbara Stanwyck and her application of lipstick (\u003ci>Double Indemnity\u003c/i>); the baleful nature of Gene Tierney’s caprices (\u003ci>Leave Her to Heaven\u003c/i>); Anjelica Huston’s noir-est mother love (\u003ci>The Grifters\u003c/i>). The list goes on. Unfortunately, updates rarely add something fresh or vital to the genre.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.manfromrenomovie.com/\" target=\"_blank\" rel=\"noopener\">Man from Reno\u003c/a>\u003c/i>, directed by indie filmmaker Dave Boyle and shot in and around a fogged-in San Francisco, switches up the genre in this new melancholic thriller. To explain away the particulars would spoil the plot and pleasure of watching each character come in and out of their own psychological fog. In this noir, the landmarks may be familiar, but the femme fatale is not. Boyle sat down with me to discuss the arc of his career and the creative evolution that inspired this film.\u003c/p>\n\u003cfigure id=\"attachment_10547418\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10547418\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dave.jpg\" alt=\"Dave Boyle\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dave.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dave-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dave-320x212.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dave Boyle\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are you based in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave Boyle: \u003c/b>For a long time, I was not really based anywhere… Wherever I had work I would go. I ended up in the Bay Area quite often during a five to six year period, from 2007 until 2012, on and off for a long time. I like shooting up here and a lot of the people I collaborate with – the musician Goh Nakamura, the cinematographer Richard Wong – are San Francisco locals. I found myself drawn back here even though I never officially lived here. San Francisco, especially for \u003ci>Man from Reno\u003c/i>, was the perfect backdrop to the story. I have a hard time saying no to shooting here.\u003c/p>\n\u003cp>\u003cb>The film is in Japanese and English. How did you learn Japanese?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I learned Japanese the same way everybody does. I was sent to Australia on a Mormon mission for two years (laughs)… I [went] with the specific goal of learning to speak Japanese and working in a Japanese Mormon congregation down there. A lot of what I did was volunteer work, translating for Japanese people who were in trouble with the police, or teaching free English classes… It was a huge eye-opening experience just in terms of how diverse the world is.\u003c/p>\n\u003cp>I am a very liberal Mormon, and it’s still a part of my life. But I don’t see it as mutually exclusive from being a filmmaker… For me, being a Mormon missionary in Australia prepared me for being an independent filmmaker. Just the sheer amount of hard work for what sometimes feels like very little results was a great experience.\u003c/p>\n\u003cfigure id=\"attachment_10547419\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MFR_STILL-4.jpg\" alt=\"At right, Pepe Serna as Sheriff Paul del Moral in Man from Reno.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10547419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-4-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">At right, Pepe Serna as Sheriff Paul del Moral in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What was the first movie you saw that made you want to become a director?\u003c/b>\u003c/p>\n\u003cp>From the moment I first started to see non-kids stuff, I can remember thinking “I could do this.” It’s a little bit of a weird example, but my parents let me rent that Woody Allen movie \u003ci>Manhattan Murder Mystery\u003c/i> from 1993 … I saw it and I was used to seeing the Hollywood blockbusters, the Disney animated movies, so seeing something that was more modest in scale, it was all shot with a hand held camera in this couple’s apartment, it expanded my mind of what was possible in terms of storytelling.\u003c/p>\n\u003cp>\u003cb>From one film to the next, how have you evolved as a director?\u003c/b>\u003c/p>\n\u003cp>I’ll be totally honest: directing is a job. You have to learn how to do it. There’s a reason that [for] so many of the great masters, like Kurosawa and Hitchcock, you look at their filmography and there’s twenty films before the first one that you’ve ever even heard of.\u003c/p>\n\u003cp>After four movies of somewhat modest ambition, I was ready to tackle something out of one of my favorite genres, that earlier in my career I would have been afraid to screw up. I embarked on making a mystery.\u003c/p>\n\u003cfigure id=\"attachment_10547420\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB.jpg\" alt=\"Ayako Fujitani as Aki in Man from Reno.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10547420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ayako Fujitani as Aki in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you balance the tension between controlling and setting up a scene and then making that scene live?\u003c/b>\u003c/p>\n\u003cp>On my first movie, I felt like I was flying blind to a certain extent. But then once it lives on the page… I like to see what the actor’s natural instinct is. Oftentimes they’ll see something in the text that you didn’t necessarily think of and that might actually be better than what you planned, and then I like to adjust from there. \u003c/p>\n\u003cp>As a general rule, wherever you end up watching the rehearsal from, just naturally where you’re observing, that’s where the camera should go… I feel like directing is a process of gratefully accepting or rejecting suggestions or ideas. Creating an environment where people are able to do their best work, but also where it’s focused on a very specific vision. There has to be pre-planning. You have to know what every scene is about.\u003c/p>\n\u003cp>In the case of a mystery: the audience needs to retain the information of a scene in order for them to keep with the plot. That essentially determines every choice you make – from the size of the lens to the camera placement, to the direction of the actors.\u003c/p>\n\u003cfigure id=\"attachment_10547421\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Pepe.jpg\" alt=\"Pepe Serno in Man from Reno.\" width=\"640\" height=\"409\" class=\"size-full wp-image-10547421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Pepe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Pepe-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Pepe-320x205.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pepe Serno in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why did you want to make a film from the point of view of someone in mourning?\u003c/b>\u003c/p>\n\u003cp>I love a movie where there’s a rich subtext… We talked a lot about having Aki (Ayako Fujitani) and her new lover Akira (Kazuki Kitamura) as two sides of the same coin. There are parallels to their characters that will hopefully become apparent to viewers by the end of the movie. She’s a very strong woman, but she is, as you say, a woman in mourning, for reasons we’ll figure out as we go along. We wanted the tropes of the mystery genre to aid us in this higher artistic goal of having a character study of this woman.\u003c/p>\n\u003cp>\u003cb>The way the film is shot often feels like a tug of war between day and night.\u003c/b>\u003c/p>\n\u003cp>As a child I loved the Hardy Boys and Nancy Drew books. One of the things we wanted was for this to feel like a somewhat innocent mystery and continue further and further into darkness. And by the same token, the sheriff (Pepe Serna), when the film opens, he’s lost in the fog. Which is something we deliberately did in as surreal a way as we could. Then in the end he’s lost in fog again out on the docks.\u003c/p>\n\u003cfigure id=\"attachment_10547533\" class=\"wp-caption alignright\" style=\"max-width: 506px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi.jpg\" alt=\"Kazuki Kitamura as Akira in Man from Reno.\" width=\"506\" height=\"640\" class=\"size-full wp-image-10547533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi-474x600.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi-320x405.jpg 320w\" sizes=\"(max-width: 506px) 100vw, 506px\">\u003cfigcaption class=\"wp-caption-text\">Kazuki Kitamura as Akira in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I read that Patricia Highsmith is one of your favorite writers. What are your favorite film adaptations of her novels?\u003c/b>\u003c/p>\n\u003cp>I think Hitchcock’s \u003ci>Strangers on a Train\u003c/i> is my favorite. I like \u003ci>The Talented Mr. Ripley.\u003c/i> I remember seeing it as a teenager and it had a huge emotional impact on me, especially having read the book, which is a much more chilly, distant affair. The interpretation that they brought to it, which isn’t probably what Highsmith would have envisioned, was very cinematic, a great and valid interpretation of the source material.\u003c/p>\n\u003cp>\u003cb>What do you learn about amorality by reading the Ripley novels and creating a character like Akira?\u003c/b>\u003c/p>\n\u003cp>With Ripley, I learn about a mode of behavior… I think that in the particular case of Akira, the idea that he is able to get away with it because a lot of the people that he’s victimizing are so marginalized by society, which is a subtext I wanted to lay on with a real, real light brush.\u003c/p>\n\u003cp>\u003cb>Akira is a shape shifter. You want to see more of him by the end of the film.\u003c/b>\u003c/p>\n\u003cp>We puzzled on how to put that ability across. In the end I decided to have him suggest it: to have him play the role pretty straight instead of having him do any disguises. And you may get your wish. He and I would love to work together again. \u003c/p>\n\u003cp>There’s a reason it’s called \u003ci>Man from Reno\u003c/i>, instead of Aki or Sheriff del Moral. It’s a non-traditional origin story. At the end, we’re just unwrapping it… You need an actor with sufficient psychic weight that while they’re off screen you still feel their presence. I feel that he was the only person who could have pulled it off.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Editor’s note:\u003c/b> This interview has been edited and condensed.\u003c/p>\n\n",
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"excerpt": "Director Dave Boyle discusses his path to \u003ci>Man from Reno\u003c/i>, his neo-noir set in San Francisco.",
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"title": "'Man from Reno' Director Revitalizes Noir with Homme Fatale | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/man-from-reno/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Man from Reno\u003c/h2>\n\u003cdiv class=\"event-desc\">A neo-noir murder mystery comes home.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>APR. 10-16, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sundance Kabuki\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/man-from-reno/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The film noir trope of the alluring femme fatale existed before and endures since Lana Turner’s white, white turban and matching short shorts seduced John Garfield to murder in \u003ci>The Postman Always Rings Twice\u003c/i> (1946). What distinguishes the now-familiar story of a woman leading a man into temptation is the quality of each particular actress inhabiting the role. Barbara Stanwyck and her application of lipstick (\u003ci>Double Indemnity\u003c/i>); the baleful nature of Gene Tierney’s caprices (\u003ci>Leave Her to Heaven\u003c/i>); Anjelica Huston’s noir-est mother love (\u003ci>The Grifters\u003c/i>). The list goes on. Unfortunately, updates rarely add something fresh or vital to the genre.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.manfromrenomovie.com/\" target=\"_blank\" rel=\"noopener\">Man from Reno\u003c/a>\u003c/i>, directed by indie filmmaker Dave Boyle and shot in and around a fogged-in San Francisco, switches up the genre in this new melancholic thriller. To explain away the particulars would spoil the plot and pleasure of watching each character come in and out of their own psychological fog. In this noir, the landmarks may be familiar, but the femme fatale is not. Boyle sat down with me to discuss the arc of his career and the creative evolution that inspired this film.\u003c/p>\n\u003cfigure id=\"attachment_10547418\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10547418\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Dave.jpg\" alt=\"Dave Boyle\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dave.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dave-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Dave-320x212.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dave Boyle\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are you based in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Dave Boyle: \u003c/b>For a long time, I was not really based anywhere… Wherever I had work I would go. I ended up in the Bay Area quite often during a five to six year period, from 2007 until 2012, on and off for a long time. I like shooting up here and a lot of the people I collaborate with – the musician Goh Nakamura, the cinematographer Richard Wong – are San Francisco locals. I found myself drawn back here even though I never officially lived here. San Francisco, especially for \u003ci>Man from Reno\u003c/i>, was the perfect backdrop to the story. I have a hard time saying no to shooting here.\u003c/p>\n\u003cp>\u003cb>The film is in Japanese and English. How did you learn Japanese?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I learned Japanese the same way everybody does. I was sent to Australia on a Mormon mission for two years (laughs)… I [went] with the specific goal of learning to speak Japanese and working in a Japanese Mormon congregation down there. A lot of what I did was volunteer work, translating for Japanese people who were in trouble with the police, or teaching free English classes… It was a huge eye-opening experience just in terms of how diverse the world is.\u003c/p>\n\u003cp>I am a very liberal Mormon, and it’s still a part of my life. But I don’t see it as mutually exclusive from being a filmmaker… For me, being a Mormon missionary in Australia prepared me for being an independent filmmaker. Just the sheer amount of hard work for what sometimes feels like very little results was a great experience.\u003c/p>\n\u003cfigure id=\"attachment_10547419\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MFR_STILL-4.jpg\" alt=\"At right, Pepe Serna as Sheriff Paul del Moral in Man from Reno.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10547419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-4-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">At right, Pepe Serna as Sheriff Paul del Moral in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What was the first movie you saw that made you want to become a director?\u003c/b>\u003c/p>\n\u003cp>From the moment I first started to see non-kids stuff, I can remember thinking “I could do this.” It’s a little bit of a weird example, but my parents let me rent that Woody Allen movie \u003ci>Manhattan Murder Mystery\u003c/i> from 1993 … I saw it and I was used to seeing the Hollywood blockbusters, the Disney animated movies, so seeing something that was more modest in scale, it was all shot with a hand held camera in this couple’s apartment, it expanded my mind of what was possible in terms of storytelling.\u003c/p>\n\u003cp>\u003cb>From one film to the next, how have you evolved as a director?\u003c/b>\u003c/p>\n\u003cp>I’ll be totally honest: directing is a job. You have to learn how to do it. There’s a reason that [for] so many of the great masters, like Kurosawa and Hitchcock, you look at their filmography and there’s twenty films before the first one that you’ve ever even heard of.\u003c/p>\n\u003cp>After four movies of somewhat modest ambition, I was ready to tackle something out of one of my favorite genres, that earlier in my career I would have been afraid to screw up. I embarked on making a mystery.\u003c/p>\n\u003cfigure id=\"attachment_10547420\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB.jpg\" alt=\"Ayako Fujitani as Aki in Man from Reno.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10547420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-3-RGB-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ayako Fujitani as Aki in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you balance the tension between controlling and setting up a scene and then making that scene live?\u003c/b>\u003c/p>\n\u003cp>On my first movie, I felt like I was flying blind to a certain extent. But then once it lives on the page… I like to see what the actor’s natural instinct is. Oftentimes they’ll see something in the text that you didn’t necessarily think of and that might actually be better than what you planned, and then I like to adjust from there. \u003c/p>\n\u003cp>As a general rule, wherever you end up watching the rehearsal from, just naturally where you’re observing, that’s where the camera should go… I feel like directing is a process of gratefully accepting or rejecting suggestions or ideas. Creating an environment where people are able to do their best work, but also where it’s focused on a very specific vision. There has to be pre-planning. You have to know what every scene is about.\u003c/p>\n\u003cp>In the case of a mystery: the audience needs to retain the information of a scene in order for them to keep with the plot. That essentially determines every choice you make – from the size of the lens to the camera placement, to the direction of the actors.\u003c/p>\n\u003cfigure id=\"attachment_10547421\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Pepe.jpg\" alt=\"Pepe Serno in Man from Reno.\" width=\"640\" height=\"409\" class=\"size-full wp-image-10547421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Pepe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Pepe-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Pepe-320x205.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pepe Serno in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why did you want to make a film from the point of view of someone in mourning?\u003c/b>\u003c/p>\n\u003cp>I love a movie where there’s a rich subtext… We talked a lot about having Aki (Ayako Fujitani) and her new lover Akira (Kazuki Kitamura) as two sides of the same coin. There are parallels to their characters that will hopefully become apparent to viewers by the end of the movie. She’s a very strong woman, but she is, as you say, a woman in mourning, for reasons we’ll figure out as we go along. We wanted the tropes of the mystery genre to aid us in this higher artistic goal of having a character study of this woman.\u003c/p>\n\u003cp>\u003cb>The way the film is shot often feels like a tug of war between day and night.\u003c/b>\u003c/p>\n\u003cp>As a child I loved the Hardy Boys and Nancy Drew books. One of the things we wanted was for this to feel like a somewhat innocent mystery and continue further and further into darkness. And by the same token, the sheriff (Pepe Serna), when the film opens, he’s lost in the fog. Which is something we deliberately did in as surreal a way as we could. Then in the end he’s lost in fog again out on the docks.\u003c/p>\n\u003cfigure id=\"attachment_10547533\" class=\"wp-caption alignright\" style=\"max-width: 506px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi.jpg\" alt=\"Kazuki Kitamura as Akira in Man from Reno.\" width=\"506\" height=\"640\" class=\"size-full wp-image-10547533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi-474x600.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/MFR_STILL-6-300dpi-320x405.jpg 320w\" sizes=\"(max-width: 506px) 100vw, 506px\">\u003cfigcaption class=\"wp-caption-text\">Kazuki Kitamura as Akira in \u003ci>Man from Reno\u003c/i>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I read that Patricia Highsmith is one of your favorite writers. What are your favorite film adaptations of her novels?\u003c/b>\u003c/p>\n\u003cp>I think Hitchcock’s \u003ci>Strangers on a Train\u003c/i> is my favorite. I like \u003ci>The Talented Mr. Ripley.\u003c/i> I remember seeing it as a teenager and it had a huge emotional impact on me, especially having read the book, which is a much more chilly, distant affair. The interpretation that they brought to it, which isn’t probably what Highsmith would have envisioned, was very cinematic, a great and valid interpretation of the source material.\u003c/p>\n\u003cp>\u003cb>What do you learn about amorality by reading the Ripley novels and creating a character like Akira?\u003c/b>\u003c/p>\n\u003cp>With Ripley, I learn about a mode of behavior… I think that in the particular case of Akira, the idea that he is able to get away with it because a lot of the people that he’s victimizing are so marginalized by society, which is a subtext I wanted to lay on with a real, real light brush.\u003c/p>\n\u003cp>\u003cb>Akira is a shape shifter. You want to see more of him by the end of the film.\u003c/b>\u003c/p>\n\u003cp>We puzzled on how to put that ability across. In the end I decided to have him suggest it: to have him play the role pretty straight instead of having him do any disguises. And you may get your wish. He and I would love to work together again. \u003c/p>\n\u003cp>There’s a reason it’s called \u003ci>Man from Reno\u003c/i>, instead of Aki or Sheriff del Moral. It’s a non-traditional origin story. At the end, we’re just unwrapping it… You need an actor with sufficient psychic weight that while they’re off screen you still feel their presence. I feel that he was the only person who could have pulled it off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Interview: Grouper and Paul Clipson Discuss 'Hypnosis Display'",
"headTitle": "Interview: Grouper and Paul Clipson Discuss ‘Hypnosis Display’ | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Crossroads 2015\u003c/h2>\n\u003cdiv class=\"event-desc\">Annual festival of experimental film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10–12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Victoria Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003cem>Hypnosis Display\u003c/em> is a dreamlike 16mm film and sound collaboration by Bay Area filmmaker \u003ca href=\"http://www.withinmirrors.org/\" target=\"_blank\" rel=\"noopener\">Paul Clipson\u003c/a> and Oregon-based artist and musician Liz Harris, also known as \u003ca href=\"https://sites.google.com/site/yellowelectric/\" target=\"_blank\" rel=\"noopener\">Grouper\u003c/a>. The mesmerizing feature-length work, exploring themes of the American landscape, is performed live on Friday, April 10, as part of the Crossroads Film Festival at the Victoria Theatre in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>How did you two first meet? How did you end up collaborating?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul Clipson:\u003c/strong> We knew each other through mutual friends in music. I was doing a lot of shows in the past several years with different musicians. So there was a shared environment. [The musician] \u003ca href=\"http://www.shiningskull.org/\" target=\"_blank\" rel=\"noopener\">Jefre Cantu-Ledesma\u003c/a> was one person I did a lot of film screenings with, and Liz knows him as well. There were a couple opportunities where we worked together, Liz and I, on single shows… the few times that we worked together on certain performances, they seemed kind of inspired and magical.\u003c/p>\n\u003cp>She had a chance to do a commission in Britain; she was invited to score a silent film. She said, “Instead of playing to a famous film, how about playing to a new piece? How about commissioning something original?”\u003c/p>\n\u003cp>\u003cstrong>Liz Harris (Grouper):\u003c/strong> They were down for me to write my own proposal, and very interested in the idea of me working with Paul. We pitched it and they went for it, to this company in the UK called Leeds Opera North. This is the first time we’ve worked on something so comprehensive — we’ve only done live music shows in the past, and this project was a bit more involved.\u003c/p>\n\u003cfigure id=\"attachment_10541076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"468\" class=\"size-full wp-image-10541076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-320x234.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the themes in the work? What were you trying to explore?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Liz:\u003c/strong> The length was interesting — it was set by the commission. They wanted a 75-minute film. Paul prefers to work in these short rushes, these 10-20 minute films. But the subject matter is kind of endlessly resonant. We were asked to make a film about the American landscape — whatever that meant to us. It’s not like we were short of inspiration. One of the ways we went about tackling this larger project while maintaining what was most interesting of how we work together, the magical unplanned synchronization between the image and sound, was making a loose structure that we both agreed to follow, different subjects. But beyond that we didn’t talk about how either of us were interpreting. It was really open. We like this idea of working together but not in a way where we were constantly showing each other what we were working on. We just set a few of the same parameters we were working from, but made the interpretation kind of open… we had a great day where we walked across the Golden Gate Bridge recording sound and footage together; other than that we mostly left each other alone.\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We both started with the idea of environment — not necessarily on the idea of America, but we both have perspectives on our past and our experiences living in the U.S., so we started with that, this kind of basic response. As people who study and take things in visually, we started on a metabolic level in a way on the rhythm of the experience of spaces. We thought: let’s try that, let’s try recording things and collecting things, based on memories and dreams and projections of our criticisms and reactions of things and our memories of experiences in the past, and even echoes of things in the culture of the country, the problematic history. Even in a more distant way, in echoes of things, making a very clear statement, wanting to create an environment of the experience of the space, to occupy that presentation in a very strange way.\u003c/p>\n\u003cp>I’m drawn to Liz’s work because it has an incredible emotional register. I think it’s the reason a lot of people find meaning in her work. There’s a lot of beauty and sense of experience — even if it’s disturbing, there’s this kind of generosity in her music.\u003c/p>\n\u003cfigure id=\"attachment_10541078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"469\" class=\"size-full wp-image-10541078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-320x235.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk a bit about the process of creating \u003cem>Hypnosis Display\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We just started sharing ideas in a non-temporal, a non-structured way. We didn’t say when and where. I have a full-time job, but I had the chance to travel along the coast, go to New York, to L.A. a few times. I would just tell Liz, and she would tell me things like, “I want to field record this, I want to go out on the river and record a ship going by.” We were just talking about what was exciting us or inspiring us. We would talk about films or about music, things that seemed to relate to this, things that we were attracted to, and we would tell the other one what it was about it.\u003c/p>\n\u003cp>One of my favorite films is \u003cem>Zabriskie Point\u003c/em>. It was a major flop and it has some problems, but what’s interesting is that it’s a collage. The film is this collage of experiences of America. It’s really experimental… I think of an artist like a painter or sculptor or a musician, someone working in different forms and using all kinds of approaches, trying to put it all together. \u003c/p>\n\u003cp>I shoot a lot in terms of size too — spaces in a macro perspective and a micro perspective. Vast spaces that could be a mile away, and juxtaposing those senses. I also tried to structure the film through that sort of prism, so there would be times where there would almost be a Swiftian, \u003cem>Gulliver’s Travels\u003c/em> thing, so that sound could create a perspective. The quietude of the sound. An immense sound that dwarfs you. Because Liz can do that too — she uses very simple means to do incredible things. She’s working with different instruments for different projects; in this case she’s using cassette tapes. What’s cool and relates in our work is that limitation — I’ve used 16mm and Super 8. I’m very drawn to forms that have certain limitations but in the rigidity of the form, you suddenly have this freedom. Sometimes that relates to the thematics of what you’re doing, I often find that shooting in film inspires me to go out and record space like a field recording — going out and doing research.\u003c/p>\n\u003cp>There’s a sense that [Hypnosis Display] is a bit of a weird shared dream. So it has uncertainty of where it’s going, that’s something we wanted to preserve, Liz and I. There’s something different about it than the rest of our work…I was a bit more organized doing this because of the length of it. I wanted to have a dynamic, feel good about it, and there was a concern to make sure there was a spring, a coil to it, so it would continue and have some dynamism, some energy.\u003c/p>\n\u003cfigure id=\"attachment_10541079\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"461\" class=\"size-full wp-image-10541079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-320x231.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Liz:\u003c/strong> In the past I’ve been interested in these meditative sound landscapes. Here I was really thinking more about distinct punctuation, and really distinctly separate rooms within this larger topic. \u003c/p>\n\u003cp>I wanted to use a lot of industrial machine noise, so I went out and took a lot of source recordings, and I listened back to all these recordings of trains and bridges and machine noises. I heard melodies kind of within that. It’s not a very traditional song structure. I hear songs, but it’s lots of static, lots of space hum, someone going up and down a stairwell. I hear a really distinct structure in it, but they’re not traditional songs. There are melodic parts in it, but it’s mostly these field recordings, put together the way you might put elements in a song…\u003c/p>\n\u003cp>I am really drawn to sounds that make the motion of repeating but don’t exactly repeat. I use a lot of these recordings of cars driving over the same metal grate on the Golden Gate Bridge over and over. I’ve done a little bit of minimal processing, and there’s live processing. I’ll pitch down the tapes, bring down the bass. I was attracted to a lot of lower frequency sound, a lot of menacing sound. Not for the sake of being menacing, [but] it is resonant source material with regards to relating back to some of the themes. I don’t think I was overtly thinking of America the whole time when I was working on this, to be honest, but… this idea of industry and city landscapes, and a moving landscape and a westward landscape, whether it’s referenced in cars or trains, grittier machine sounds found their way in. They’re counterbalanced by a lot of the West Coast sounds. There are a lot of ocean recordings in there, though they sound a whole lot like some of the car and freeway recordings in the end. \u003c/p>\n\u003cp>It’s important for Paul and I to make the film open to the viewers, to make the connection they want to make, as a flexible fabric. My music does come from an emotional place, it’s going to be coming from that foundation. It’s not an intentional thing; it’s just how I operate, the language that I work in… people can take whatever they want from it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> Some of it seems so composed, the images and the sound, it’s completely not connected, these wonderful things that happen every time. She has this score; she’s not improvising. She’s created a sonic fabric and she has a score that she follows… She has these plates of sound that she’s made, they flow together. I have these sections of film, when the two go together, it’s kind of this shaking earthquake… it was a very exciting project to do.\u003c/p>\n\n",
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"excerpt": "The musician and the filmmaker discuss their joint project, a mesmerizing feature-length work exploring themes of the American landscape.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Crossroads 2015\u003c/h2>\n\u003cdiv class=\"event-desc\">Annual festival of experimental film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 10–12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Victoria Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/crossroads-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003cem>Hypnosis Display\u003c/em> is a dreamlike 16mm film and sound collaboration by Bay Area filmmaker \u003ca href=\"http://www.withinmirrors.org/\" target=\"_blank\" rel=\"noopener\">Paul Clipson\u003c/a> and Oregon-based artist and musician Liz Harris, also known as \u003ca href=\"https://sites.google.com/site/yellowelectric/\" target=\"_blank\" rel=\"noopener\">Grouper\u003c/a>. The mesmerizing feature-length work, exploring themes of the American landscape, is performed live on Friday, April 10, as part of the Crossroads Film Festival at the Victoria Theatre in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>How did you two first meet? How did you end up collaborating?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul Clipson:\u003c/strong> We knew each other through mutual friends in music. I was doing a lot of shows in the past several years with different musicians. So there was a shared environment. [The musician] \u003ca href=\"http://www.shiningskull.org/\" target=\"_blank\" rel=\"noopener\">Jefre Cantu-Ledesma\u003c/a> was one person I did a lot of film screenings with, and Liz knows him as well. There were a couple opportunities where we worked together, Liz and I, on single shows… the few times that we worked together on certain performances, they seemed kind of inspired and magical.\u003c/p>\n\u003cp>She had a chance to do a commission in Britain; she was invited to score a silent film. She said, “Instead of playing to a famous film, how about playing to a new piece? How about commissioning something original?”\u003c/p>\n\u003cp>\u003cstrong>Liz Harris (Grouper):\u003c/strong> They were down for me to write my own proposal, and very interested in the idea of me working with Paul. We pitched it and they went for it, to this company in the UK called Leeds Opera North. This is the first time we’ve worked on something so comprehensive — we’ve only done live music shows in the past, and this project was a bit more involved.\u003c/p>\n\u003cfigure id=\"attachment_10541076\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"468\" class=\"size-full wp-image-10541076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis1-320x234.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the themes in the work? What were you trying to explore?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Liz:\u003c/strong> The length was interesting — it was set by the commission. They wanted a 75-minute film. Paul prefers to work in these short rushes, these 10-20 minute films. But the subject matter is kind of endlessly resonant. We were asked to make a film about the American landscape — whatever that meant to us. It’s not like we were short of inspiration. One of the ways we went about tackling this larger project while maintaining what was most interesting of how we work together, the magical unplanned synchronization between the image and sound, was making a loose structure that we both agreed to follow, different subjects. But beyond that we didn’t talk about how either of us were interpreting. It was really open. We like this idea of working together but not in a way where we were constantly showing each other what we were working on. We just set a few of the same parameters we were working from, but made the interpretation kind of open… we had a great day where we walked across the Golden Gate Bridge recording sound and footage together; other than that we mostly left each other alone.\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We both started with the idea of environment — not necessarily on the idea of America, but we both have perspectives on our past and our experiences living in the U.S., so we started with that, this kind of basic response. As people who study and take things in visually, we started on a metabolic level in a way on the rhythm of the experience of spaces. We thought: let’s try that, let’s try recording things and collecting things, based on memories and dreams and projections of our criticisms and reactions of things and our memories of experiences in the past, and even echoes of things in the culture of the country, the problematic history. Even in a more distant way, in echoes of things, making a very clear statement, wanting to create an environment of the experience of the space, to occupy that presentation in a very strange way.\u003c/p>\n\u003cp>I’m drawn to Liz’s work because it has an incredible emotional register. I think it’s the reason a lot of people find meaning in her work. There’s a lot of beauty and sense of experience — even if it’s disturbing, there’s this kind of generosity in her music.\u003c/p>\n\u003cfigure id=\"attachment_10541078\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"469\" class=\"size-full wp-image-10541078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis6-320x235.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk a bit about the process of creating \u003cem>Hypnosis Display\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> We just started sharing ideas in a non-temporal, a non-structured way. We didn’t say when and where. I have a full-time job, but I had the chance to travel along the coast, go to New York, to L.A. a few times. I would just tell Liz, and she would tell me things like, “I want to field record this, I want to go out on the river and record a ship going by.” We were just talking about what was exciting us or inspiring us. We would talk about films or about music, things that seemed to relate to this, things that we were attracted to, and we would tell the other one what it was about it.\u003c/p>\n\u003cp>One of my favorite films is \u003cem>Zabriskie Point\u003c/em>. It was a major flop and it has some problems, but what’s interesting is that it’s a collage. The film is this collage of experiences of America. It’s really experimental… I think of an artist like a painter or sculptor or a musician, someone working in different forms and using all kinds of approaches, trying to put it all together. \u003c/p>\n\u003cp>I shoot a lot in terms of size too — spaces in a macro perspective and a micro perspective. Vast spaces that could be a mile away, and juxtaposing those senses. I also tried to structure the film through that sort of prism, so there would be times where there would almost be a Swiftian, \u003cem>Gulliver’s Travels\u003c/em> thing, so that sound could create a perspective. The quietude of the sound. An immense sound that dwarfs you. Because Liz can do that too — she uses very simple means to do incredible things. She’s working with different instruments for different projects; in this case she’s using cassette tapes. What’s cool and relates in our work is that limitation — I’ve used 16mm and Super 8. I’m very drawn to forms that have certain limitations but in the rigidity of the form, you suddenly have this freedom. Sometimes that relates to the thematics of what you’re doing, I often find that shooting in film inspires me to go out and record space like a field recording — going out and doing research.\u003c/p>\n\u003cp>There’s a sense that [Hypnosis Display] is a bit of a weird shared dream. So it has uncertainty of where it’s going, that’s something we wanted to preserve, Liz and I. There’s something different about it than the rest of our work…I was a bit more organized doing this because of the length of it. I wanted to have a dynamic, feel good about it, and there was a concern to make sure there was a spring, a coil to it, so it would continue and have some dynamism, some energy.\u003c/p>\n\u003cfigure id=\"attachment_10541079\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg\" alt=\"Paul Clipson & Grouper: Hypnosis Display.\" width=\"640\" height=\"461\" class=\"size-full wp-image-10541079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hypnosis7-320x231.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson & Grouper: \u003cem>Hypnosis Display\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Liz:\u003c/strong> In the past I’ve been interested in these meditative sound landscapes. Here I was really thinking more about distinct punctuation, and really distinctly separate rooms within this larger topic. \u003c/p>\n\u003cp>I wanted to use a lot of industrial machine noise, so I went out and took a lot of source recordings, and I listened back to all these recordings of trains and bridges and machine noises. I heard melodies kind of within that. It’s not a very traditional song structure. I hear songs, but it’s lots of static, lots of space hum, someone going up and down a stairwell. I hear a really distinct structure in it, but they’re not traditional songs. There are melodic parts in it, but it’s mostly these field recordings, put together the way you might put elements in a song…\u003c/p>\n\u003cp>I am really drawn to sounds that make the motion of repeating but don’t exactly repeat. I use a lot of these recordings of cars driving over the same metal grate on the Golden Gate Bridge over and over. I’ve done a little bit of minimal processing, and there’s live processing. I’ll pitch down the tapes, bring down the bass. I was attracted to a lot of lower frequency sound, a lot of menacing sound. Not for the sake of being menacing, [but] it is resonant source material with regards to relating back to some of the themes. I don’t think I was overtly thinking of America the whole time when I was working on this, to be honest, but… this idea of industry and city landscapes, and a moving landscape and a westward landscape, whether it’s referenced in cars or trains, grittier machine sounds found their way in. They’re counterbalanced by a lot of the West Coast sounds. There are a lot of ocean recordings in there, though they sound a whole lot like some of the car and freeway recordings in the end. \u003c/p>\n\u003cp>It’s important for Paul and I to make the film open to the viewers, to make the connection they want to make, as a flexible fabric. My music does come from an emotional place, it’s going to be coming from that foundation. It’s not an intentional thing; it’s just how I operate, the language that I work in… people can take whatever they want from it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Paul:\u003c/strong> Some of it seems so composed, the images and the sound, it’s completely not connected, these wonderful things that happen every time. She has this score; she’s not improvising. She’s created a sonic fabric and she has a score that she follows… She has these plates of sound that she’s made, they flow together. I have these sections of film, when the two go together, it’s kind of this shaking earthquake… it was a very exciting project to do.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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