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"content": "\u003cp>Paddington, British literature’s lovable anthropomorphic bear named after the train station where he was found, has always been a funny sort of fellow. For nearly 60 years, Michael Bond’s creation has enjoyed harmless adventures with his adopted Brown family in London, noshing on marmalade and allowing his good manners to point the way when his small brain can’t. His endearing qualities — politeness and a need to understand the world through trial and error — are the sort of subtle quirks that don’t always survive the transition to broad family films. Just ask Paddington’s spiritual cousins Stuart Little or The Cat in the Hat.\u003c/p>\n\u003cp>Parts of the new live-action film \u003cem>Paddington\u003c/em> look like the typical desperate, overly modernized kiddie fare. There’s a large dollop of unfortunate frenetic slapstick with skateboards, dogs, cross-dressing and an overplayed James Brown song. But aside from the bits that practically scream “studio-mandated,” director Paul King invokes the spirit and charm of Paddington’s personality. Even when he’s getting into outsized mishaps, the little bear from Darkest Peru always means well.\u003c/p>\n\u003cp>Ben Whishaw (he was the “new Q” in \u003cem>Skyfall\u003c/em>) voices the plucky young critter, a last-minute replacement for Colin Firth, who dropped out of the film mere months before its release in an amicable split. This was likely for the better. As gifted an actor as Firth is, the \u003cem>King’s Speech \u003c/em>star seems a bit too regal for Paddington, who after all is supposed to resemble a curious, clumsy child. The higher-voiced Whishaw gives the small fur ball an unforced innocence and vulnerability.\u003c/p>\n\u003cp>Whishaw is rounded out by an excellent cast of Important Actors Being Silly, including the always-effervescent Sally Hawkins as the Brown clan’s dotty matriarch; \u003cem>Downton Abbey\u003c/em>‘s Hugh Bonneville as the stuffy dad who sputters safety statistics like “Thirty-four percent of pre-breakfast accidents involve banisters!”; and Jim Broadbent as the kindly antiques shop owner Mr. Gruber, a fellow immigrant who shares a lovely, unspoken understanding with his new bear friend. Bond’s original stories didn’t have much in the way of outright awful people, but it takes superhuman Studio Ghibli strength for a children’s movie to come into this world without a villain. So Nicole Kidman dutifully dons an icy blond bowl cut to play Millicent, a nasty museum curator who wants Paddington stuffed. Between Millicent and the utterly dull third \u003cem>Night At The Museum \u003c/em>film, the London Natural History Museum is having a rough time at the movies.\u003c/p>\n\u003cp>It’s a pleasant surprise that \u003cem>Paddington\u003c/em> has a good deal of style and wit, as in a Wes Anderson-lite sequence where the bear envisions every room of the Brown household as a dollhouse model. Later, a flashback shows the Brown parents, expecting their first child, entering the delivery room as motorcycle-riding thrillsters but leaving as paranoid worrywarts in an SUV — parenting distilled in one single, brilliant gag. And not to get all political on this unassuming bear, but it’s even more of a pleasant surprise that the film doesn’t disguise its hero’s citizenship status. We see Paddington making his long and arduous journey from Darkest Peru to London as a stowaway once his aunt and uncle can no longer care for him, entering the U.K. without his papers, and pleading for kind benefactors by the train tracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This isn’t even a parable of immigration — in the context of the film, Paddington is a literal flesh-and-blood immigrant. Ironically it’s his CGI presence, with that prickly fur, those dark red eyes, and that tiny stature, that accentuates how the bear remains visually orphaned from his adopted surroundings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>King and co-screenwriter Hamish McColl bring the timeliest themes of Bond’s original stories to the forefront in an effective yet understated manner. When the posh urbanite family first spies the bear sitting by the tracks, with little more to his name than good manners and a cardboard sign (“Please look after this bear. Thank you”), Mr. Brown’s first instinct is to ignore him. It’s only once his family has helped demonstrate Paddington’s good nature and inherent blamelessness that he’s able to care for the bear as he would his own children. Kindness wins out in the end, naturally, but a specific and prescient form of kindness rather than the glib, one-size-fits-all brand usually seen in children’s movies. That, at least, deserves a marmalade sandwich. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Show+For+A+Wandering+Bear+In+%27Paddington%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This isn’t even a parable of immigration — in the context of the film, Paddington is a literal flesh-and-blood immigrant. Ironically it’s his CGI presence, with that prickly fur, those dark red eyes, and that tiny stature, that accentuates how the bear remains visually orphaned from his adopted surroundings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>King and co-screenwriter Hamish McColl bring the timeliest themes of Bond’s original stories to the forefront in an effective yet understated manner. When the posh urbanite family first spies the bear sitting by the tracks, with little more to his name than good manners and a cardboard sign (“Please look after this bear. Thank you”), Mr. Brown’s first instinct is to ignore him. It’s only once his family has helped demonstrate Paddington’s good nature and inherent blamelessness that he’s able to care for the bear as he would his own children. Kindness wins out in the end, naturally, but a specific and prescient form of kindness rather than the glib, one-size-fits-all brand usually seen in children’s movies. That, at least, deserves a marmalade sandwich. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Show+For+A+Wandering+Bear+In+%27Paddington%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A circumstance that might well qualify as a fate worse than death is to continue living after one side of the human equation — body + mind — has been canceled. For a jaunty account of an active brain in a withering physique, see \u003cem>The Theory of Everything;\u003c/em> for a more anguished view of the opposite situation, there’s \u003cem>Still Alice\u003c/em>.\u003c/p>\n\u003cp>The story opens, with chilling chronological precision, at the 50th-birthday party of Alice Howling (Julianne Moore). The milieu is upscale intellectual Manhattan, nearly as perfect as the family living in it. Husband John (Alec Baldwin) is a medical researcher at Columbia University, where Alice also teaches. Daughter Anna (Kate Bosworth) is married and laboring to produce the couple’s first grandchild; son Tom (Hunter Parrish) is nearly a doctor. Only the youngest, Lydia (Kristen Stewart), has wandered off the accepted path, skipping college — and mom’s birthday — to attempt an acting career in LA.\u003c/p>\n\u003cp>We will come to have some sympathy for Lydia, if only because she’s a rumple, however small, in a overly tidy scenario. Alice can’t simply be a 50-year-old who experiences disturbing lapses of memory. When she begins to forget words, it’s while lecturing in her specialty: linguistics.\u003c/p>\n\u003cp>Many of such details come from Lisa Genova’s best-selling novel, which directors Richard Glatzer and Wash Westmoreland have adapted with reasonable fidelity. The two men, longtime artistic and life partners, have a personal interest in the subject of bodies and brains that age at different speeds: Glatzer has ALS and now speaks via a computer’s voice synthesizer.\u003c/p>\n\u003cp>As its choice of pronoun indicates, Sarah Polley’s \u003cem>Away from Her\u003c/em> considered early-onset Alzheimer’s from the perspective of a man who watches his wife’s consciousness disappear. \u003cem>Still Alice\u003c/em> takes a riskier strategy, attempting to show its protagonist’s experience from the inside. Glatzer and Westmoreland picked the right actress for the job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Alice first gets the verdict from a neurologist, the camera focuses only on her face, in one uninterrupted take. (The superb cinematography is by Denis Lenoir, who shot Olivier Assayas’ \u003cem>Carlos\u003c/em>.) This strategy is repeated again and again, until Alice finally — and literally — vanishes. The movie isn’t interested in what the woman leaves behind, only in the process of her dissolution.\u003c/p>\n\u003cp>Contemporary technology helps with this. Alice has ongoing conversations with her husband (whose coldness Baldwin fails to make believable) and her children (especially Lydia, who surprises). But many of her dialogues are with her own smartphone. As if turning an old Bob Newhart routine into tragedy, Alice prompts herself with prerecorded questions, testing what she’s forgotten and can possibly remember.\u003c/p>\n\u003cp>Perhaps most important, she uses the device to leave instructions for her future self: a step-by-step guide to suicide. This plan imbues the story with intense foreboding, but also an element of farce. Alice may or may not be mentally capable of killing herself when the time comes, adding uncertainty to a narrative that is in most regards inevitable.\u003c/p>\n\u003cp>\u003cem>Still Alice\u003c/em> would be better if it didn’t mirror the inevitability of Alice’s decline with other predictable elements. Through Lydia, Alice is introduced to two plays, Chekhov’s \u003cem>Three Sisters\u003c/em> and Tony Kushner’s \u003cem>Angels in America\u003c/em>. Their borrowed themes echo a little too heavily. So do composer Ilan Eshkeri’s tremulous violins, which ape Penderecki during Alice’s most agitated moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the filmmakers keep reminding us, Alice is woman of words who is now losing them. But the movie’s most expressive element is Moore’s face, slowly moving from engagement, flecked with worry, to disconnection and blankness. As the memories evaporate, only that face is still Alice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Lead+Performance+Keeps+%27Still+Alice%27+Grounded&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The announcement of nominees for the Academy Awards, the American film industry’s highest honor, took place in Los Angeles early this morning. The riches were spread among a mere handful of pictures, with \u003cem>Birdman or (The Unexpected Virtue of Ignorance)\u003c/em> and \u003cem>The Grand Budapest Hotel\u003c/em> nabbing nine nominations apiece. \u003cem>The Imitation Game\u003c/em> scored eight nods, and \u003cem>Boyhood\u003c/em> and \u003cem>American Sniper\u003c/em> each tallied six.\u003c/p>\n\u003cp>Those five titles—notably, three of them independent films, and one British—are in the running for Best Picture, along with \u003cem>Selma\u003c/em> (one of only two studio productions, the other being \u003cem>American Sniper\u003c/em>), \u003cem>The Theory of Everything\u003c/em> (also from England), and another indie and the biggest surprise in this category, \u003cem>Whiplash\u003c/em>.\u003c/p>\n\u003cp>Only two of the Best Picture nominees were released before Labor Day last year, confirming the thinking moviegoer’s perception that Hollywood essentially ignores adults for seven months of the year. (January is a special case, with \u003cem>American Sniper\u003c/em> and \u003cem>Selma\u003c/em> now receiving national releases and the other nominees opportunistically opening wider.)\u003c/p>\n\u003cp>But today’s nominations also serve as a smokescreen. The Hollywood studios will spend every minute until ABC’s Oscar telecast on Feb. 22 toasting “quality” and “art,” but their bread and butter—and allegiance and attention—is in blockbusters propelled by brand-name recognition (i.e., sequels) and special effects. This is not a new development in American cinema, but it’s fascinating this time of year to observe the deftness with which the industry masks its usual priorities.\u003c/p>\n\u003cfigure id=\"attachment_10305920\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Interstellar.jpg\" alt=\"'Interstellar,' though well-received, picked up nominations only for technical awards. \" width=\"500\" height=\"333\" class=\"size-full wp-image-10305920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Interstellar,’ though well-received, picked up nominations only for technical awards.\u003c/figcaption>\u003c/figure>\n\u003cp>The bluff and bluster also will obscure the fact that the number of movie tickets sold last year was down five percent from 2013, and in fact marked its lowest level in 20 years (even as the average ticket price remained unchanged and the overall economy improved slightly). From an existential standpoint, the big screen is steadily being overtaken by smaller screens, with long-form television gradually replacing film as the benchmark for quality adult entertainment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A perennial side effect of the blockbuster approach is the lack of great roles for women, which is reflected in this year’s nominees. Rosamund Pike (\u003cem>Gone Girl\u003c/em>) and Felicity Jones (\u003cem>The Theory of Everything\u003c/em>) provide the glamour in the Best Actress category, while one could say Julianne Moore (\u003cem>Still Alice\u003c/em>), Reese Witherspoon (\u003cem>Wild\u003c/em>) and Marion Cotillard (\u003cem>Two Days, One Night\u003c/em>) were acknowledged for bravely shedding their glamour.\u003c/p>\n\u003cp>The Supporting Actress category features Patricia Arquette, whose performance was essential to \u003cem>Boyhood\u003c/em>, and Laura Dern, who succeeded in creating a vivid, touching character in just a few minutes of chopped-up flashbacks in \u003cem>Wild\u003c/em>. Keira Knightley (\u003cem>The Imitation Game\u003c/em>) and Emma Stone (\u003cem>Birdman\u003c/em>) made the most of what were incidental roles, to put it frankly, while the inclusion yet again of Meryl Streep (\u003cem>Into the Woods\u003c/em>) attests to the shortage of good female roles this year (or confirms our suspicion that Streep’s name puts Academy members under a spell).\u003c/p>\n\u003cp>The Best Actor nominees are notable for the physicality of their performances. Eddie Redmayne (\u003cem>The Theory of Everything\u003c/em>), Steve Carell (\u003cem>Foxcatcher\u003c/em>) and Michael Keaton (\u003cem>Birdman\u003c/em>) did unique and unexpected work, while Bradley Cooper (\u003cem>American Sniper\u003c/em>) and Benedict Cumberbatch (\u003cem>The Imitation Game\u003c/em>) offered contrasting takes on masculinity.\u003c/p>\n\u003cp>As always, several high-profile films came up short, notably Angelina Jolie’s ambitious \u003cem>Unbroken\u003c/em> (nominations only for cinematography, sound editing and sound mixing) and David Fincher’s much-hyped \u003cem>Gone Girl\u003c/em> (just Rosamund Pike). Among the year’s biggest-grossing films, \u003cem>Interstellar\u003c/em> was recognized for original score, production design, visual effects, sound mixing and sound editing.\u003c/p>\n\u003cp>There was a surfeit of strong documentaries last year, led by Laura Poitras’ \u003cem>Citizenfour\u003c/em> and the artist portrait \u003cem>Finding Vivian Maier\u003c/em>. The other nominees, somewhat surprisingly, are \u003cem>Last Days in Vietnam\u003c/em>, \u003cem>Salt of the Earth\u003c/em> and \u003cem>Virunga\u003c/em>.\u003c/p>\n\u003cp>Aficionados will also debate the Foreign Language finalists, led by runaway favorite \u003cem>Ida\u003c/em> (Poland) with \u003cem>Timbuktu\u003c/em> (Mauritania), \u003cem>Tangerines\u003c/em> (Estonia), \u003cem>Leviathan\u003c/em> (Russia) and \u003cem>Wild Tales\u003c/em> (Argentina) filling out the field.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today’s focus, for better or worse, is the vestiges of prestige and glitter that the Oscars can still muster in a world of myriad award shows and devalued stardom.\u003c/p>\n\n",
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"excerpt": "Parsing the tea leaves of Hollywood’s annual awards contenders, while movie attendance is at its lowest in 20 years.",
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"title": "Oscar Nominations a Smokescreen for Hollywood's Financial Reality | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The announcement of nominees for the Academy Awards, the American film industry’s highest honor, took place in Los Angeles early this morning. The riches were spread among a mere handful of pictures, with \u003cem>Birdman or (The Unexpected Virtue of Ignorance)\u003c/em> and \u003cem>The Grand Budapest Hotel\u003c/em> nabbing nine nominations apiece. \u003cem>The Imitation Game\u003c/em> scored eight nods, and \u003cem>Boyhood\u003c/em> and \u003cem>American Sniper\u003c/em> each tallied six.\u003c/p>\n\u003cp>Those five titles—notably, three of them independent films, and one British—are in the running for Best Picture, along with \u003cem>Selma\u003c/em> (one of only two studio productions, the other being \u003cem>American Sniper\u003c/em>), \u003cem>The Theory of Everything\u003c/em> (also from England), and another indie and the biggest surprise in this category, \u003cem>Whiplash\u003c/em>.\u003c/p>\n\u003cp>Only two of the Best Picture nominees were released before Labor Day last year, confirming the thinking moviegoer’s perception that Hollywood essentially ignores adults for seven months of the year. (January is a special case, with \u003cem>American Sniper\u003c/em> and \u003cem>Selma\u003c/em> now receiving national releases and the other nominees opportunistically opening wider.)\u003c/p>\n\u003cp>But today’s nominations also serve as a smokescreen. The Hollywood studios will spend every minute until ABC’s Oscar telecast on Feb. 22 toasting “quality” and “art,” but their bread and butter—and allegiance and attention—is in blockbusters propelled by brand-name recognition (i.e., sequels) and special effects. This is not a new development in American cinema, but it’s fascinating this time of year to observe the deftness with which the industry masks its usual priorities.\u003c/p>\n\u003cfigure id=\"attachment_10305920\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Interstellar.jpg\" alt=\"'Interstellar,' though well-received, picked up nominations only for technical awards. \" width=\"500\" height=\"333\" class=\"size-full wp-image-10305920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Interstellar,’ though well-received, picked up nominations only for technical awards.\u003c/figcaption>\u003c/figure>\n\u003cp>The bluff and bluster also will obscure the fact that the number of movie tickets sold last year was down five percent from 2013, and in fact marked its lowest level in 20 years (even as the average ticket price remained unchanged and the overall economy improved slightly). From an existential standpoint, the big screen is steadily being overtaken by smaller screens, with long-form television gradually replacing film as the benchmark for quality adult entertainment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A perennial side effect of the blockbuster approach is the lack of great roles for women, which is reflected in this year’s nominees. Rosamund Pike (\u003cem>Gone Girl\u003c/em>) and Felicity Jones (\u003cem>The Theory of Everything\u003c/em>) provide the glamour in the Best Actress category, while one could say Julianne Moore (\u003cem>Still Alice\u003c/em>), Reese Witherspoon (\u003cem>Wild\u003c/em>) and Marion Cotillard (\u003cem>Two Days, One Night\u003c/em>) were acknowledged for bravely shedding their glamour.\u003c/p>\n\u003cp>The Supporting Actress category features Patricia Arquette, whose performance was essential to \u003cem>Boyhood\u003c/em>, and Laura Dern, who succeeded in creating a vivid, touching character in just a few minutes of chopped-up flashbacks in \u003cem>Wild\u003c/em>. Keira Knightley (\u003cem>The Imitation Game\u003c/em>) and Emma Stone (\u003cem>Birdman\u003c/em>) made the most of what were incidental roles, to put it frankly, while the inclusion yet again of Meryl Streep (\u003cem>Into the Woods\u003c/em>) attests to the shortage of good female roles this year (or confirms our suspicion that Streep’s name puts Academy members under a spell).\u003c/p>\n\u003cp>The Best Actor nominees are notable for the physicality of their performances. Eddie Redmayne (\u003cem>The Theory of Everything\u003c/em>), Steve Carell (\u003cem>Foxcatcher\u003c/em>) and Michael Keaton (\u003cem>Birdman\u003c/em>) did unique and unexpected work, while Bradley Cooper (\u003cem>American Sniper\u003c/em>) and Benedict Cumberbatch (\u003cem>The Imitation Game\u003c/em>) offered contrasting takes on masculinity.\u003c/p>\n\u003cp>As always, several high-profile films came up short, notably Angelina Jolie’s ambitious \u003cem>Unbroken\u003c/em> (nominations only for cinematography, sound editing and sound mixing) and David Fincher’s much-hyped \u003cem>Gone Girl\u003c/em> (just Rosamund Pike). Among the year’s biggest-grossing films, \u003cem>Interstellar\u003c/em> was recognized for original score, production design, visual effects, sound mixing and sound editing.\u003c/p>\n\u003cp>There was a surfeit of strong documentaries last year, led by Laura Poitras’ \u003cem>Citizenfour\u003c/em> and the artist portrait \u003cem>Finding Vivian Maier\u003c/em>. The other nominees, somewhat surprisingly, are \u003cem>Last Days in Vietnam\u003c/em>, \u003cem>Salt of the Earth\u003c/em> and \u003cem>Virunga\u003c/em>.\u003c/p>\n\u003cp>Aficionados will also debate the Foreign Language finalists, led by runaway favorite \u003cem>Ida\u003c/em> (Poland) with \u003cem>Timbuktu\u003c/em> (Mauritania), \u003cem>Tangerines\u003c/em> (Estonia), \u003cem>Leviathan\u003c/em> (Russia) and \u003cem>Wild Tales\u003c/em> (Argentina) filling out the field.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today’s focus, for better or worse, is the vestiges of prestige and glitter that the Oscars can still muster in a world of myriad award shows and devalued stardom.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Emerging Talents Shine at the African Film Festival",
"headTitle": "Emerging Talents Shine at the African 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/african-film-festival-2015/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>African Film Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">A new look on daily life in Africa.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan 17-Feb. 17, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pacific Film Archive\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/african-film-festival-2015/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>From established filmmakers to emerging talents, this year’s African Film Festival at the Pacific Film Archive covers a wide range of narrative, documentary, and short films grappling with both the everyday human condition and certain epoch-defining events. Included are the 2011 Egyptian revolution and the 2007 Kenyan presidential election–and notably, this year’s festival also largely features the work of female directors working throughout the continent.\u003c/p>\n\u003cp>Two screenings in the series showcase the work of pioneering filmmaker Sarah Maldoror, who was born in France of Guadeloupean parents and has worked regularly across Africa. A 16mm print of Maldoror’s very hard-to-find \u003cem>Sambizanga \u003c/em>(1972), on loan from New York Public Library for the Performing Arts, screens at the fest. \u003cem>Sambizanga\u003c/em> focuses on the events leading up to the 13-year-long Angolan War of Independence from Portugal. The film’s lead character, Maria, sets out to find her husband, a member of the resistance, who has been imprisoned by the colonial government. Maldoror’s own husband, Mário Pinto de Andrade, was an Angolan resistance leader and co-wrote the film. (\u003cem>Sambizanga\u003c/em>, considered one of the first African feature films directed by a woman, is often compared to the classic \u003cem>The Battle of Algiers\u003c/em> (1966), for which Maldoror served as a production assistant.)\u003c/p>\n\u003cfigure id=\"attachment_10300747\" class=\"wp-caption alignright\" style=\"max-width: 448px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Sambizanga.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300747 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Sambizanga.jpg\" alt=\"<i>Sambizanga</i>\" width=\"448\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sambizanga.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sambizanga-400x225.jpg 400w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sambizanga\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to screening two short films by Maldoror, the festival also features \u003cem>Forward to Guns for Banta\u003c/em> (2011), a documentary about Maldoror’s unfinished film \u003cem>Guns for Banta\u003c/em>. As it occurred, the Algerian government commissioned Maldoror to document the liberation movements in Cape Verde and Guinea, in what would have been her first feature. But the film was confiscated by the Algerian government following disagreements about editing with Maldoror, and the footage has never been seen since. \u003cem>Forward to Guns for Banta\u003c/em>, directed by Mathieu Kleyebe Abonnenc, tells the story of the film’s demise, through interviews with Maldoror and de Andrade.\u003c/p>\n\u003cp>A program of three short films from emerging female filmmakers is a highlight of the festival. Eka Christa Assam’s \u003cem>Beleh\u003c/em> (2013) serves as a twist on the typical trading-places storyline (see: \u003cem>Freaky Friday\u003c/em>). In the film, Joffi is a hardworking pregnant wife in a small Cameroonian village with a demanding and unsympathetic husband, Ekema. Ekema awakes one day to realize not only that he, now pregnant, has switched places with Joffi, but that all the men and women in the village have changed places. As the only one who seems to notice this change, Ekema struggles to adapt to even the simplest of tasks his wife now expects of him.\u003c/p>\n\u003cfigure id=\"attachment_10300748\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Soko-Sonko.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300748 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Soko-Sonko.jpg\" alt=\"<i>Soko Sonko</i>\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Soko-Sonko.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Soko-Sonko-400x271.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Soko Sonko\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Husband and father Ed, in Ekwa Msangi’s \u003cem>Soko Sonko\u003c/em> (2014), is far more well-intentioned, but also ignorant of the time and effort required to complete a single task: taking his daughter to the market to get her hair styled before school is back in session. Slightly arrogant, Ed remains adamant that he can accomplish the errand in time to catch an impending soccer match. His naiveté about the hair market leads to a Benny Hill–like chase through the market—and ultimately, a chance to bond with his daughter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rounding out the series of shorts, \u003cem>Wooden Hands\u003c/em> (2013), directed by Kaouther Ben Hania, stands as a beautifully shot comedy with sparse dialogue. The film opens with a cherry-red, three-wheeled Piaggio winding through the streets of Tunis, and the unfolding plot involves a tube of Super Glue and a five-year-old’s intense desire to avoid religious school. Actress Ben Amara Yasmine does an excellent job portraying the innocent but mischievous schoolchild. \u003cem>Wooden Hands\u003c/em> complements \u003cem>Soko Sonko\u003c/em> and \u003cem>Beleh\u003c/em> well, and the series, as a whole, showcases filmmakers working with distinct styles.\u003c/p>\n\u003cfigure id=\"attachment_10300750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Wooden-Hands.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300750 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Wooden-Hands.png\" alt=\"<i>Wooden Hands</i>\" width=\"640\" height=\"277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Wooden-Hands.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Wooden-Hands-400x173.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Wooden Hands\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Elodie Lefebvre’s \u003cem>Cassa Cassa! Danced Encounters Between Africa and Its Diaspora\u003c/em> (2012) is a rather straightforward documentation of a gathering of dancers and choreographers in rural Senegal, in 2007. The meeting served as an opportunity for artists from the Caribbean, France, Brazil, the U.S. and countries across Africa to discuss the effects of colonialism on dance, the impact of African-American culture in Africa, and other issues concerning contemporary dance. \u003cem>Cassa Cassa!\u003c/em> avoids becoming a dry transcript of the conference by focusing on the passionate (yet always polite) conversations, punctuated by performances from the participants. The differences and misunderstandings in dance discussed in the film are far from esoteric, and speak to larger issues about the relationship between Africa and its diaspora.\u003c/p>\n\u003cp>\u003cem>Winter of Discontent\u003c/em> (2012), directed by Ibrahim El Batout, may appeal to those with a strong interest in the role of media, both mainstream and alternative, in the 2011 Egyptian revolution and the protests at Tahrir Square. Unfortunately, the political drama lacks emotion, compelling cinematography, and character development. Conversely, Judy Kibinge’s \u003cem>Something Necessary\u003c/em> (2013) brings passion and engaging characters to the fallout from Kenya’s contentious presidential election in 2007. The plot revolves around a woman who has been hospitalized with her son, following an attack that left her husband dead and her home in ruins. As she struggles to rebuild and overcome the trauma of the attack, she is continually confronted with the specter of her assault.\u003c/p>\n\u003cfigure id=\"attachment_10300751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300751 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001.png\" alt=\"<i>Something Necessary</i>\" width=\"640\" height=\"276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001-400x172.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Something Necessary\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>With as wide a range of subjects and genres screened, and spanning nearly a half a century, the African Film Festival has much to offer viewers. From the rare yet important films of Maldoror to the promising talent of Assam, Ben Hania, and Msangi, the festival provides entrée into a cinema that’s often left unseen in the United States.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The African Film Festival runs January 17 to February 17, 2015 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/africanfilmfest15\">more information\u003c/a>, visit bampfa.berkeley.edu.\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/african-film-festival-2015/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>African Film Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">A new look on daily life in Africa.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan 17-Feb. 17, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pacific Film Archive\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/african-film-festival-2015/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>From established filmmakers to emerging talents, this year’s African Film Festival at the Pacific Film Archive covers a wide range of narrative, documentary, and short films grappling with both the everyday human condition and certain epoch-defining events. Included are the 2011 Egyptian revolution and the 2007 Kenyan presidential election–and notably, this year’s festival also largely features the work of female directors working throughout the continent.\u003c/p>\n\u003cp>Two screenings in the series showcase the work of pioneering filmmaker Sarah Maldoror, who was born in France of Guadeloupean parents and has worked regularly across Africa. A 16mm print of Maldoror’s very hard-to-find \u003cem>Sambizanga \u003c/em>(1972), on loan from New York Public Library for the Performing Arts, screens at the fest. \u003cem>Sambizanga\u003c/em> focuses on the events leading up to the 13-year-long Angolan War of Independence from Portugal. The film’s lead character, Maria, sets out to find her husband, a member of the resistance, who has been imprisoned by the colonial government. Maldoror’s own husband, Mário Pinto de Andrade, was an Angolan resistance leader and co-wrote the film. (\u003cem>Sambizanga\u003c/em>, considered one of the first African feature films directed by a woman, is often compared to the classic \u003cem>The Battle of Algiers\u003c/em> (1966), for which Maldoror served as a production assistant.)\u003c/p>\n\u003cfigure id=\"attachment_10300747\" class=\"wp-caption alignright\" style=\"max-width: 448px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Sambizanga.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300747 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Sambizanga.jpg\" alt=\"<i>Sambizanga</i>\" width=\"448\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sambizanga.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sambizanga-400x225.jpg 400w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sambizanga\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to screening two short films by Maldoror, the festival also features \u003cem>Forward to Guns for Banta\u003c/em> (2011), a documentary about Maldoror’s unfinished film \u003cem>Guns for Banta\u003c/em>. As it occurred, the Algerian government commissioned Maldoror to document the liberation movements in Cape Verde and Guinea, in what would have been her first feature. But the film was confiscated by the Algerian government following disagreements about editing with Maldoror, and the footage has never been seen since. \u003cem>Forward to Guns for Banta\u003c/em>, directed by Mathieu Kleyebe Abonnenc, tells the story of the film’s demise, through interviews with Maldoror and de Andrade.\u003c/p>\n\u003cp>A program of three short films from emerging female filmmakers is a highlight of the festival. Eka Christa Assam’s \u003cem>Beleh\u003c/em> (2013) serves as a twist on the typical trading-places storyline (see: \u003cem>Freaky Friday\u003c/em>). In the film, Joffi is a hardworking pregnant wife in a small Cameroonian village with a demanding and unsympathetic husband, Ekema. Ekema awakes one day to realize not only that he, now pregnant, has switched places with Joffi, but that all the men and women in the village have changed places. As the only one who seems to notice this change, Ekema struggles to adapt to even the simplest of tasks his wife now expects of him.\u003c/p>\n\u003cfigure id=\"attachment_10300748\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Soko-Sonko.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300748 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Soko-Sonko.jpg\" alt=\"<i>Soko Sonko</i>\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Soko-Sonko.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Soko-Sonko-400x271.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Soko Sonko\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Husband and father Ed, in Ekwa Msangi’s \u003cem>Soko Sonko\u003c/em> (2014), is far more well-intentioned, but also ignorant of the time and effort required to complete a single task: taking his daughter to the market to get her hair styled before school is back in session. Slightly arrogant, Ed remains adamant that he can accomplish the errand in time to catch an impending soccer match. His naiveté about the hair market leads to a Benny Hill–like chase through the market—and ultimately, a chance to bond with his daughter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rounding out the series of shorts, \u003cem>Wooden Hands\u003c/em> (2013), directed by Kaouther Ben Hania, stands as a beautifully shot comedy with sparse dialogue. The film opens with a cherry-red, three-wheeled Piaggio winding through the streets of Tunis, and the unfolding plot involves a tube of Super Glue and a five-year-old’s intense desire to avoid religious school. Actress Ben Amara Yasmine does an excellent job portraying the innocent but mischievous schoolchild. \u003cem>Wooden Hands\u003c/em> complements \u003cem>Soko Sonko\u003c/em> and \u003cem>Beleh\u003c/em> well, and the series, as a whole, showcases filmmakers working with distinct styles.\u003c/p>\n\u003cfigure id=\"attachment_10300750\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Wooden-Hands.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300750 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Wooden-Hands.png\" alt=\"<i>Wooden Hands</i>\" width=\"640\" height=\"277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Wooden-Hands.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Wooden-Hands-400x173.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Wooden Hands\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Elodie Lefebvre’s \u003cem>Cassa Cassa! Danced Encounters Between Africa and Its Diaspora\u003c/em> (2012) is a rather straightforward documentation of a gathering of dancers and choreographers in rural Senegal, in 2007. The meeting served as an opportunity for artists from the Caribbean, France, Brazil, the U.S. and countries across Africa to discuss the effects of colonialism on dance, the impact of African-American culture in Africa, and other issues concerning contemporary dance. \u003cem>Cassa Cassa!\u003c/em> avoids becoming a dry transcript of the conference by focusing on the passionate (yet always polite) conversations, punctuated by performances from the participants. The differences and misunderstandings in dance discussed in the film are far from esoteric, and speak to larger issues about the relationship between Africa and its diaspora.\u003c/p>\n\u003cp>\u003cem>Winter of Discontent\u003c/em> (2012), directed by Ibrahim El Batout, may appeal to those with a strong interest in the role of media, both mainstream and alternative, in the 2011 Egyptian revolution and the protests at Tahrir Square. Unfortunately, the political drama lacks emotion, compelling cinematography, and character development. Conversely, Judy Kibinge’s \u003cem>Something Necessary\u003c/em> (2013) brings passion and engaging characters to the fallout from Kenya’s contentious presidential election in 2007. The plot revolves around a woman who has been hospitalized with her son, following an attack that left her husband dead and her home in ruins. As she struggles to rebuild and overcome the trauma of the attack, she is continually confronted with the specter of her assault.\u003c/p>\n\u003cfigure id=\"attachment_10300751\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10300751 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001.png\" alt=\"<i>Something Necessary</i>\" width=\"640\" height=\"276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Kibinge_Something-Necessary_001-400x172.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Something Necessary\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>With as wide a range of subjects and genres screened, and spanning nearly a half a century, the African Film Festival has much to offer viewers. From the rare yet important films of Maldoror to the promising talent of Assam, Ben Hania, and Msangi, the festival provides entrée into a cinema that’s often left unseen in the United States.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The African Film Festival runs January 17 to February 17, 2015 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/africanfilmfest15\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sci-fi thriller \u003cem>Predestination\u003c/em> is pretty intriguing when it’s not being a sci-fi thriller. A twisty time-paradox movie in the vein of \u003cem>Minority Report \u003c/em>or \u003cem>Primer\u003c/em>, the film is certainly one of the biggest ever to feature an intersex protagonist. The unnamed character is played as both a man (in the present) and woman (in flashbacks) by the versatile actress Sarah Snook (\u003cem>Jessabelle\u003c/em>), who anchors the story’s choppy rhythms with touching clarity. In the movie’s long middle stretch, in-between some overfamiliar time travel business, the character’s tragic life story unfolds: an intermittently fascinating look at a perpetual outcast who can’t fit in on either side of the gender gap.\u003c/p>\n\u003cp>http://youtu.be/-FcK_UiVV40\u003c/p>\n\u003cp>Not only is the hero nameless; so is the man played by Snook’s co-lead, Ethan Hawke, a time-traveling crimestopper whose job is to make sure that people don’t forget this is supposed to be a hokey sci-fi movie. Hawke’s agent works for one of those paradox-flaunting government agencies that sends people back in time to stop crimes that have already occurred, never mind what new crimes might arise as a result. His target is the Fizzle Bomber, whose projectiles have killed—or will kill, or might kill—thousands of New Yorkers in this movie’s version of 1975. The stakes would seem higher if not for the apparent fact that the government can just send another agent should Hawke screw up.\u003c/p>\n\u003cp>Hawke packs his violin-shaped time machine and jumps to 1975 New York to pose as a bartender, which gives the low-budget film a lot of mileage from one basement bar set. The bartender’s purpose involves Snook’s androgynous depressive, who stops in for a drink and unwinds the dense (too dense, given this movie’s small scope) tale of his past life: assigned female at birth, abandoned at an orphanage as a baby, unaware of her intersex nature, teased in etiquette class, impregnated by a charming stranger, and forced out of the female sex by surgeons after a botched C-section, now self-identifying as a man. And there’s more. If this sounds like excessive plot recap, know that plot is pretty much all the movie has.\u003c/p>\n\u003cp>\u003cem>Predestination\u003c/em> is disorienting, but in a way that suggests narrative chaos rather than narrative control. The film’s mysteries hinge on who Hawke is and who Snook is—information its makers must deliberately withhold by obscuring faces, illustrating only partial flashbacks, that sort of thing. This is the kind of structure that works better in a short story, where authors can skim over visual tells that would bring a film to a halt, and indeed \u003cem>Predestination \u003c/em>is based on one by sci-fi legend Robert Heinlein. The idea was adapted and directed by Australian brothers Michael and Peter Spierig, who previously made the alien/zombie mashup \u003cem>Undead\u003c/em> and \u003cem>Daybreakers\u003c/em>,\u003cem> \u003c/em>an uncommonly stylish vampire flick that turned the formula on its head by making human blood a vanishing resource. \u003cem>Predestination \u003c/em>is a much flatter film than \u003cem>Daybreakers\u003c/em>, but has a distinctive enough concept to be worth a look from genre aficionados. The Spierigs should be commended for continuing to show ambition in their speculative fiction while too many of their peers settle for stagnancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Snook’s character is simultaneously the film’s biggest asset and its most frustrating demerit. The overwritten voiceover and clunky editing of his backstory undermine the subtleties of the actress’s performance—what’s the point of disguising several layers of grief if they’re about to be spelled out anyway? It’s not surprising the character ghost-writes a newspaper column (ridiculous penname: “The Unmarried Mother”), because his narration is flowery and needlessly expository in the manner of the profession’s worst columnists. His noir-lite banter with Hawke grows old fast, and distracts not only from the story’s emotional core but also from the film’s economy of production design: the orphanage’s rusty period look, the white porcelain gleam of a top-secret space program. When the Spierigs do get around to the sci-fi stuff, they must drastically speed up the film’s pacing and tone in order to squeeze it in. Unfortunate that a movie about time machines has such poor time management skills. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Predestination%27%3A+A+Complex+Protagonist+Walks+Into+A+Bar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sci-fi thriller \u003cem>Predestination\u003c/em> is pretty intriguing when it’s not being a sci-fi thriller. A twisty time-paradox movie in the vein of \u003cem>Minority Report \u003c/em>or \u003cem>Primer\u003c/em>, the film is certainly one of the biggest ever to feature an intersex protagonist. The unnamed character is played as both a man (in the present) and woman (in flashbacks) by the versatile actress Sarah Snook (\u003cem>Jessabelle\u003c/em>), who anchors the story’s choppy rhythms with touching clarity. In the movie’s long middle stretch, in-between some overfamiliar time travel business, the character’s tragic life story unfolds: an intermittently fascinating look at a perpetual outcast who can’t fit in on either side of the gender gap.\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/-FcK_UiVV40'\n title='//www.youtube.com/embed/-FcK_UiVV40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only is the hero nameless; so is the man played by Snook’s co-lead, Ethan Hawke, a time-traveling crimestopper whose job is to make sure that people don’t forget this is supposed to be a hokey sci-fi movie. Hawke’s agent works for one of those paradox-flaunting government agencies that sends people back in time to stop crimes that have already occurred, never mind what new crimes might arise as a result. His target is the Fizzle Bomber, whose projectiles have killed—or will kill, or might kill—thousands of New Yorkers in this movie’s version of 1975. The stakes would seem higher if not for the apparent fact that the government can just send another agent should Hawke screw up.\u003c/p>\n\u003cp>Hawke packs his violin-shaped time machine and jumps to 1975 New York to pose as a bartender, which gives the low-budget film a lot of mileage from one basement bar set. The bartender’s purpose involves Snook’s androgynous depressive, who stops in for a drink and unwinds the dense (too dense, given this movie’s small scope) tale of his past life: assigned female at birth, abandoned at an orphanage as a baby, unaware of her intersex nature, teased in etiquette class, impregnated by a charming stranger, and forced out of the female sex by surgeons after a botched C-section, now self-identifying as a man. And there’s more. If this sounds like excessive plot recap, know that plot is pretty much all the movie has.\u003c/p>\n\u003cp>\u003cem>Predestination\u003c/em> is disorienting, but in a way that suggests narrative chaos rather than narrative control. The film’s mysteries hinge on who Hawke is and who Snook is—information its makers must deliberately withhold by obscuring faces, illustrating only partial flashbacks, that sort of thing. This is the kind of structure that works better in a short story, where authors can skim over visual tells that would bring a film to a halt, and indeed \u003cem>Predestination \u003c/em>is based on one by sci-fi legend Robert Heinlein. The idea was adapted and directed by Australian brothers Michael and Peter Spierig, who previously made the alien/zombie mashup \u003cem>Undead\u003c/em> and \u003cem>Daybreakers\u003c/em>,\u003cem> \u003c/em>an uncommonly stylish vampire flick that turned the formula on its head by making human blood a vanishing resource. \u003cem>Predestination \u003c/em>is a much flatter film than \u003cem>Daybreakers\u003c/em>, but has a distinctive enough concept to be worth a look from genre aficionados. The Spierigs should be commended for continuing to show ambition in their speculative fiction while too many of their peers settle for stagnancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Snook’s character is simultaneously the film’s biggest asset and its most frustrating demerit. The overwritten voiceover and clunky editing of his backstory undermine the subtleties of the actress’s performance—what’s the point of disguising several layers of grief if they’re about to be spelled out anyway? It’s not surprising the character ghost-writes a newspaper column (ridiculous penname: “The Unmarried Mother”), because his narration is flowery and needlessly expository in the manner of the profession’s worst columnists. His noir-lite banter with Hawke grows old fast, and distracts not only from the story’s emotional core but also from the film’s economy of production design: the orphanage’s rusty period look, the white porcelain gleam of a top-secret space program. When the Spierigs do get around to the sci-fi stuff, they must drastically speed up the film’s pacing and tone in order to squeeze it in. Unfortunate that a movie about time machines has such poor time management skills. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Predestination%27%3A+A+Complex+Protagonist+Walks+Into+A+Bar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘States of Grace’ Documents Roller-Coaster Healing Process | KQED",
"content": "\u003cp>Doctor-turned-patient Grace Damman was grievously injured in a head-on collision on the Golden Gate Bridge in 2008. After being in a coma for a month and a half and enduring nine surgeries, she was sufficiently recovered to leave the hospital. The choice facing documentary filmmakers Helen S. Cohen and Mark Lipman was to jump or miss the boat.\u003c/p>\n\u003cp>“It was kind of the last moment we could start this film and make it work, because Grace was coming home from a year in rehab hospitals,” Lipman recalls. “I’m not sure we knew what we were getting ourselves into. We expected that something fascinating would unfold. We had no idea what it would look like.”\u003c/p>\n\u003cfigure id=\"attachment_10277731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\" alt=\"Mark Lipman and Helen S. Cohen \" width=\"640\" height=\"489\" class=\"size-full wp-image-10277731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers-400x305.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Lipman and Helen S. Cohen\u003c/figcaption>\u003c/figure>\n\u003cp>That uncertainty, Cohen says, “was both daunting and the most compelling part of making a film like this. Following the story and not knowing what was gong to happen. We were witnessing; we didn’t know where we were going. We expected it to be easier [than it was] because the whole first year after the accident, Grace was in a euphoric place about her life. We didn’t think [her long-term recovery] would be a walk in the park, but filming Grace going through the difficult, dark process was incredibly challenging.”\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> intimately and sensitively portrays Damman’s arduous transition from top-drawer caregiver to dependent care-recipient (with the lingering possibility of regaining her original ability and status). Her partner, Fu Schroeder, and their adopted (and now teenage) daughter, Sabrina, carry the brunt of the weight, which transforms the film into an unflinching study of the bonds and frustrations of human relationships under exceptional stress.\u003c/p>\n\u003cfigure id=\"attachment_10277732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\" alt=\"Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10277732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\u003c/figcaption>\u003c/figure>\n\u003cp>The family lives at the picturesque Green Gulch Farm Zen Center in Muir Beach, and the Buddhist vibe and setting infuses the film with a distinct Northern California flavor. Yet \u003cem>States of Grace\u003c/em>, which screens this week at venues around the Bay Area after premiering at the Mill Valley Film Festival in October, speaks eloquently to viewers whose visceral identification with Grace and Fu’s predicament trumps any geographical, religious, social and sexual differences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So far our sense is it does transcend those boundaries,” Cohen says. “Fu is this [female] Buddhist priest with a shaved head, yet [audiences] just see them as people they can relate to.” Lipman adds, “People forget how idiosyncratic they are because what comes through is the level of caring. It just looks like a regular family struggling to deal.”\u003c/p>\n\u003cp>Cohen is a friend of Dammann’s, and that connection allowed the filmmakers access to the family. But the process turned out to be especially complicated for Cohen, who had to balance her personal relationship with the camera’s (and editor Kenji Yamamoto’s) unflinching perspective.\u003c/p>\n\u003cp>“We wanted to be as true to the experience as we could be,” says Lipman, who shot the film. “Without showing some of the very dark moments and the struggle that Grace went through, not only wouldn’t it be a good movie, but it wouldn’t be useful in the world because it wouldn’t ring true to people’s experiences with situations like this.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Mina Kim speaks to Grace Damman.\u003c/strong>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/184983355″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The result is that \u003cem>States of Grace\u003c/em> achieves a relevance and a power that not only reaches beyond its subjects, but goes well beyond the initial vague intentions of the filmmakers.\u003c/p>\n\u003cp>“I don’t know that we had an agenda at the beginning,” Lipman muses. “Helen and I have a long history of making social issue documentaries where there have been clear agendas, and we’ve done the research and pre-interviews. Of course, it never quite works out that way. But here, it was being grabbed by the situation itself and running with it.”\u003c/p>\n\u003cp>It’s especially gratifying to Cohen and Lipman that their gutsy gamble to seize this project will have ripple effects they couldn’t have imagined.\u003c/p>\n\u003cp>“\u003cem>States of Grace\u003c/em> is a philosophical film about the meaning of life and people reinventing themselves and coming to terms with who they are after a really horrible, tragic accident,” Cohen says. “What the film also does that we didn’t anticipate at all is [serve as] a real resource for medical education, rehab practitioners, caregivers, social workers and psychologists working with families who go through trauma or illness. So it has some work to do in the world that we didn’t anticipate.”\u003c/p>\n\u003cp>Most moviegoers and TV viewers are interested in documentaries solely for their content, but the filmmaker’s choices and compromises, combined with fortuitous accidents, are equally compelling. Embarking on a cinema verité film is taking a leap without a net, but the risk is offset by the freedom. “This kind of filmmaking allows us to bring more of our artist selves to the filmmaking process, which is really gratifying,” Cohen says. “It’s hard to imagine going back to straight-up documentary filmmaking after an experience like this, where we were able to bring so much more poetry and our creative sensibilities.”\u003c/p>\n\u003cp>“When we were finishing this up, I thought I am never doing another film like this again,” Lipman adds. “We are finishing a historical film now, but Helen and I are scheming on another cinema verité project. There’s something compelling about this kind of filmmaking, once you dust yourself off and pick yourself back up.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> screens Monday and Tuesday, January 5-6, 2015 at the Balboa Theater in San Francisco, Jan. 6 at the New Parkway in Oakland, Jan. 7 at the Vogue in San Francisco, Jan. 8 at the Rafael Film Center in San Rafael (with Grace and Fu on hand) and Jan. 12 at the Shattuck Cinemas in Berkeley. For \u003ca href=\"http://openstudioproductions.com/states-of-grace/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to openstudioproductions.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Doctor-turned-patient Grace Damman was grievously injured in a head-on collision on the Golden Gate Bridge in 2008. After being in a coma for a month and a half and enduring nine surgeries, she was sufficiently recovered to leave the hospital. The choice facing documentary filmmakers Helen S. Cohen and Mark Lipman was to jump or miss the boat.\u003c/p>\n\u003cp>“It was kind of the last moment we could start this film and make it work, because Grace was coming home from a year in rehab hospitals,” Lipman recalls. “I’m not sure we knew what we were getting ourselves into. We expected that something fascinating would unfold. We had no idea what it would look like.”\u003c/p>\n\u003cfigure id=\"attachment_10277731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\" alt=\"Mark Lipman and Helen S. Cohen \" width=\"640\" height=\"489\" class=\"size-full wp-image-10277731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers-400x305.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Lipman and Helen S. Cohen\u003c/figcaption>\u003c/figure>\n\u003cp>That uncertainty, Cohen says, “was both daunting and the most compelling part of making a film like this. Following the story and not knowing what was gong to happen. We were witnessing; we didn’t know where we were going. We expected it to be easier [than it was] because the whole first year after the accident, Grace was in a euphoric place about her life. We didn’t think [her long-term recovery] would be a walk in the park, but filming Grace going through the difficult, dark process was incredibly challenging.”\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> intimately and sensitively portrays Damman’s arduous transition from top-drawer caregiver to dependent care-recipient (with the lingering possibility of regaining her original ability and status). Her partner, Fu Schroeder, and their adopted (and now teenage) daughter, Sabrina, carry the brunt of the weight, which transforms the film into an unflinching study of the bonds and frustrations of human relationships under exceptional stress.\u003c/p>\n\u003cfigure id=\"attachment_10277732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\" alt=\"Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10277732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\u003c/figcaption>\u003c/figure>\n\u003cp>The family lives at the picturesque Green Gulch Farm Zen Center in Muir Beach, and the Buddhist vibe and setting infuses the film with a distinct Northern California flavor. Yet \u003cem>States of Grace\u003c/em>, which screens this week at venues around the Bay Area after premiering at the Mill Valley Film Festival in October, speaks eloquently to viewers whose visceral identification with Grace and Fu’s predicament trumps any geographical, religious, social and sexual differences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So far our sense is it does transcend those boundaries,” Cohen says. “Fu is this [female] Buddhist priest with a shaved head, yet [audiences] just see them as people they can relate to.” Lipman adds, “People forget how idiosyncratic they are because what comes through is the level of caring. It just looks like a regular family struggling to deal.”\u003c/p>\n\u003cp>Cohen is a friend of Dammann’s, and that connection allowed the filmmakers access to the family. But the process turned out to be especially complicated for Cohen, who had to balance her personal relationship with the camera’s (and editor Kenji Yamamoto’s) unflinching perspective.\u003c/p>\n\u003cp>“We wanted to be as true to the experience as we could be,” says Lipman, who shot the film. “Without showing some of the very dark moments and the struggle that Grace went through, not only wouldn’t it be a good movie, but it wouldn’t be useful in the world because it wouldn’t ring true to people’s experiences with situations like this.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Mina Kim speaks to Grace Damman.\u003c/strong>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/184983355″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/184983355″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The result is that \u003cem>States of Grace\u003c/em> achieves a relevance and a power that not only reaches beyond its subjects, but goes well beyond the initial vague intentions of the filmmakers.\u003c/p>\n\u003cp>“I don’t know that we had an agenda at the beginning,” Lipman muses. “Helen and I have a long history of making social issue documentaries where there have been clear agendas, and we’ve done the research and pre-interviews. Of course, it never quite works out that way. But here, it was being grabbed by the situation itself and running with it.”\u003c/p>\n\u003cp>It’s especially gratifying to Cohen and Lipman that their gutsy gamble to seize this project will have ripple effects they couldn’t have imagined.\u003c/p>\n\u003cp>“\u003cem>States of Grace\u003c/em> is a philosophical film about the meaning of life and people reinventing themselves and coming to terms with who they are after a really horrible, tragic accident,” Cohen says. “What the film also does that we didn’t anticipate at all is [serve as] a real resource for medical education, rehab practitioners, caregivers, social workers and psychologists working with families who go through trauma or illness. So it has some work to do in the world that we didn’t anticipate.”\u003c/p>\n\u003cp>Most moviegoers and TV viewers are interested in documentaries solely for their content, but the filmmaker’s choices and compromises, combined with fortuitous accidents, are equally compelling. Embarking on a cinema verité film is taking a leap without a net, but the risk is offset by the freedom. “This kind of filmmaking allows us to bring more of our artist selves to the filmmaking process, which is really gratifying,” Cohen says. “It’s hard to imagine going back to straight-up documentary filmmaking after an experience like this, where we were able to bring so much more poetry and our creative sensibilities.”\u003c/p>\n\u003cp>“When we were finishing this up, I thought I am never doing another film like this again,” Lipman adds. “We are finishing a historical film now, but Helen and I are scheming on another cinema verité project. There’s something compelling about this kind of filmmaking, once you dust yourself off and pick yourself back up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> screens Monday and Tuesday, January 5-6, 2015 at the Balboa Theater in San Francisco, Jan. 6 at the New Parkway in Oakland, Jan. 7 at the Vogue in San Francisco, Jan. 8 at the Rafael Film Center in San Rafael (with Grace and Fu on hand) and Jan. 12 at the Shattuck Cinemas in Berkeley. For \u003ca href=\"http://openstudioproductions.com/states-of-grace/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to openstudioproductions.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Leviathan' and 'Two Days' Look for Oscar Gold",
"headTitle": "‘Leviathan’ and ‘Two Days’ Look for Oscar Gold | KQED",
"content": "\u003cp>The week between Christmas and New Year’s is always a boom time for Hollywood — generally the biggest box office week of the year. It is also a time of Oscar hopefuls, a group that included two foreign-language films in 2014: \u003cem>Two Days, One Night\u003c/em> from Belgium, and Russia’s \u003cem>Leviathan\u003c/em>, both of which tackle social issues through the lens of family.\u003c/p>\n\u003cp>A phone rings at the start of \u003cem>Two Days, One Night\u003c/em>, waking up Sandra with bad news about her job. She’d been sidelined by illness — now, just as she’s ready to come back to the assembly line, the Belgian factory she works at has offered its employees a choice: They can have a year-end bonus, or Sandra can return to her job. Their bonus, her job, their vote. And of 16 employees, 14 have voted for the bonus.\u003c/p>\n\u003cp>“You musn’t cry,” she tells herself, and there is one ray of hope. Because a foreman influenced the vote unfairly, management has scheduled a second vote on Monday. So Sandra has the rest of the weekend — two days and one night — to round up support. As she visits her co-workers at home, her dilemma (which is really their shared dilemma) is clear: In an economic downturn, everyone needs the money. Some turn her down flat. Others are more sympathetic. One bursts into tears the moment Sandra broaches the subject and begs her forgiveness for voting in his own self-interest.\u003c/p>\n\u003cp>The awkwardness, the humiliation and the central unfairness of the position these folks have been put in is what filmmakers Luc and Jean-Pierre Dardenne are exploring in \u003cem>Two Days, One Night\u003c/em> — a slice of pressurized middle-class life they’ve made so real, it feels a bit like a documentary.\u003c/p>\n\u003cp>And that’s despite the fact that for the first time, the filmmakers are working with a major star — Marion Cotillard, who’s previously played Edith Piaf and a glamorous Batman nemesis, but who here more or less disappears into mousy, insecure Sandra. Sandra who is stronger than she realizes, but who is in a really tense spot for every minute of those two days and one night.\u003c/p>\n\u003cfigure id=\"attachment_10269948\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/leviathan-d35b6636123d265dc20befe1dc40780c9b4c95cb-e1420242034129.jpg\" alt=\"Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10269948\">\u003cfigcaption class=\"wp-caption-text\">Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\u003c/figcaption>\u003c/figure>\n\u003cp>The Russian film \u003cem>Leviathan\u003c/em> is also about an individual bucking a system, but you’d be forgiven for thinking that it’s really about vodka. The plot centers on a hot-tempered mechanic named Kolya, who consumes enormous amounts of that most Russian of spirits even when things are going well, and when we meet him, things are not going well. He’s about to lose his waterfront home in a land dispute with the town’s crooked mayor. A hotshot lawyer buddy he has called in from Moscow has a plan involving blackmail, but the two of them are three sheets to the wind when the equally soused mayor shows up with his goons, shouting threats and insults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Leviathan\u003c/em> is structured as an intimate suspense story, with a Job-like hero on whom all sorts of hell will be visited by an uncaring state. But it’s also a dark social satire of a Russian society that’s plagued by the same bureaucracy, corruption and pretense that were mocked by Chekhov and Gogol a century ago.\u003c/p>\n\u003cp>Scenes that are about to turn catastrophic for Kolya often begin with flat-out comedy. A birthday picnic, for instance, where alcohol will mix badly with machismo, starts with Kolya’s friends using framed photos of old Soviet leaders for target practice. When Kolya asks if they have anyone more recent — nobody says Vladimir Putin, but the implication is clear — he’s told the newer guys should “ripen” on the walls a bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this is heading to a very dark place for Kolya. When things get about as bad as they can, he drunkenly asks a local priest whether having faith could turn things around for him. The priest quotes a line from the book of Job about pulling in Leviathan with a fish hook, but Kolya is not in the mood for biblical riddles, and the filmmakers are saving their most caustic observations about the church for later. The state, meanwhile, remains implacable, dominating a landscape of visual majesty — and enormous sadness. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Leviathan%27+And+%27Two+Days%27+Look+For+Oscar+Gold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The week between Christmas and the new year often delivers Oscar hopefuls to our screens; NPR's Bob Mondello praises two foreign films that grapple with social issues through the lens of family.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The week between Christmas and New Year’s is always a boom time for Hollywood — generally the biggest box office week of the year. It is also a time of Oscar hopefuls, a group that included two foreign-language films in 2014: \u003cem>Two Days, One Night\u003c/em> from Belgium, and Russia’s \u003cem>Leviathan\u003c/em>, both of which tackle social issues through the lens of family.\u003c/p>\n\u003cp>A phone rings at the start of \u003cem>Two Days, One Night\u003c/em>, waking up Sandra with bad news about her job. She’d been sidelined by illness — now, just as she’s ready to come back to the assembly line, the Belgian factory she works at has offered its employees a choice: They can have a year-end bonus, or Sandra can return to her job. Their bonus, her job, their vote. And of 16 employees, 14 have voted for the bonus.\u003c/p>\n\u003cp>“You musn’t cry,” she tells herself, and there is one ray of hope. Because a foreman influenced the vote unfairly, management has scheduled a second vote on Monday. So Sandra has the rest of the weekend — two days and one night — to round up support. As she visits her co-workers at home, her dilemma (which is really their shared dilemma) is clear: In an economic downturn, everyone needs the money. Some turn her down flat. Others are more sympathetic. One bursts into tears the moment Sandra broaches the subject and begs her forgiveness for voting in his own self-interest.\u003c/p>\n\u003cp>The awkwardness, the humiliation and the central unfairness of the position these folks have been put in is what filmmakers Luc and Jean-Pierre Dardenne are exploring in \u003cem>Two Days, One Night\u003c/em> — a slice of pressurized middle-class life they’ve made so real, it feels a bit like a documentary.\u003c/p>\n\u003cp>And that’s despite the fact that for the first time, the filmmakers are working with a major star — Marion Cotillard, who’s previously played Edith Piaf and a glamorous Batman nemesis, but who here more or less disappears into mousy, insecure Sandra. Sandra who is stronger than she realizes, but who is in a really tense spot for every minute of those two days and one night.\u003c/p>\n\u003cfigure id=\"attachment_10269948\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/leviathan-d35b6636123d265dc20befe1dc40780c9b4c95cb-e1420242034129.jpg\" alt=\"Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10269948\">\u003cfigcaption class=\"wp-caption-text\">Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\u003c/figcaption>\u003c/figure>\n\u003cp>The Russian film \u003cem>Leviathan\u003c/em> is also about an individual bucking a system, but you’d be forgiven for thinking that it’s really about vodka. The plot centers on a hot-tempered mechanic named Kolya, who consumes enormous amounts of that most Russian of spirits even when things are going well, and when we meet him, things are not going well. He’s about to lose his waterfront home in a land dispute with the town’s crooked mayor. A hotshot lawyer buddy he has called in from Moscow has a plan involving blackmail, but the two of them are three sheets to the wind when the equally soused mayor shows up with his goons, shouting threats and insults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Leviathan\u003c/em> is structured as an intimate suspense story, with a Job-like hero on whom all sorts of hell will be visited by an uncaring state. But it’s also a dark social satire of a Russian society that’s plagued by the same bureaucracy, corruption and pretense that were mocked by Chekhov and Gogol a century ago.\u003c/p>\n\u003cp>Scenes that are about to turn catastrophic for Kolya often begin with flat-out comedy. A birthday picnic, for instance, where alcohol will mix badly with machismo, starts with Kolya’s friends using framed photos of old Soviet leaders for target practice. When Kolya asks if they have anyone more recent — nobody says Vladimir Putin, but the implication is clear — he’s told the newer guys should “ripen” on the walls a bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this is heading to a very dark place for Kolya. When things get about as bad as they can, he drunkenly asks a local priest whether having faith could turn things around for him. The priest quotes a line from the book of Job about pulling in Leviathan with a fish hook, but Kolya is not in the mood for biblical riddles, and the filmmakers are saving their most caustic observations about the church for later. The state, meanwhile, remains implacable, dominating a landscape of visual majesty — and enormous sadness. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Leviathan%27+And+%27Two+Days%27+Look+For+Oscar+Gold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Although set in Bruno Dumont’s home region of northern France, \u003cem>L’il Quinquin\u003c/em> finds the writer-director in unexpected territory. The film is a arguably Dumont’s first comedy, and was made as a four-part TV miniseries.\u003c/p>\n\u003cp>Yet with its relaxed pacing, inconclusive plot and elegant widescreen cinematography, the movie doesn’t feel much like TV. And its humor is less a matter of overt gags than bemused attitude, which shows that the Dumont of \u003cem>Humanite\u003c/em> and \u003cem>Hors Satan\u003c/em> has barely relocated at all.\u003c/p>\n\u003cp>The story opens with mischievous Quinquin (Alane Delhaye), who looks to be around 10. He’s named for a 19th-century song that’s a sort of anthem for the remaining speakers of Picard, a vanishing language of the region. He sports a hearing aid and the sort of squashed, off-center nose usually seen only on boxers who’ve lost a few matches.\u003c/p>\n\u003cp>That schnoz is just the first of many remarkable physical characteristics. Dumont likes to work with nonprofessional actors, often cast for faces and bodies that exemplify human imperfection. This can verge on the exploitative, notably when the director employs (as he does here) people with obvious mental or neurological limitations.\u003c/p>\n\u003cp>The boy’s nose also suggests the history of violence written everywhere on the local landscape. Quinquin and girlfriend Eve (Lucy Carron) play around the abandoned seaside bunkers of World War II, where the boy searches for leftover bullets and grenades. None of the latter seem to be live, but Quinquin compensates by always being well-supplied with firecrackers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s inside one of the bunkers that a dead cow is found, apparently stuffed with parts of a dismembered local resident. The carcass is lifted from the underground chamber by a helicopter, recalling the opening of \u003cem>La Dolce Vita\u003c/em>, where an airborne statue of Jesus is flown out of Rome.\u003c/p>\n\u003cp>Enter Capt. Van der Weyden (Bernard Pruvost), a police detective. He’s a solemn yet silly figure, with a face for silent cinema. Rumpled and with ever-twitching eyebrows, Van der Weyden resembles a French Colombo, but without any hidden investigative acumen. He’s accompanied by Lt. Carpentier (Philippe Jore), who’s missing several prominent teeth.\u003c/p>\n\u003cp>Carpentier’s abiding passion is getting his patrol car to travel on just two wheels. With his references to literature and painting, Van der Weyden seems the more refined of the two. But he gets people’s attention by firing his gun randomly into the air, much as Quinquin startles bystanders with firecrackers.\u003c/p>\n\u003cp>The story peaks early, with the first homicide and its aftermath, a shambles of a funeral overseen by two inept priests while Quinquin, in altar boy robes, overdoes the incense. Rather than a funeral homily, the mourners hear an English-language pop song warbled by Eve’s older sister, who aspires to TV-talent-show renown.\u003c/p>\n\u003cp>Bodies — both human and bovine, sometimes intermingled — continue to materialize, yet Van der Weyden can’t discern the person or circumstance that connects them. Not that the stalled investigation is the cop’s fault. Dumont clearly has no interest in a standard murder-mystery narrative or a tidy payoff. That’s one reason \u003cem>L’il Quinquin\u003c/em> has been likened to \u003cem>Twin Peaks\u003c/em>.\u003c/p>\n\u003cp>Instead, Dumont stresses such quietly ridiculous details of local life as the importance of the marching band — Eve plays trumpet — and baton corps. More seriously, he turns his attention to racism and xenophobia: One of Quinquin’s self-assigned tasks is terrorizing boys of Arab and African descent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is not funny stuff, but then Dumont isn’t after the sort of laughter that makes viewers feel better. His idea of the human comedy remains as grim as it is absurd. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Murder%2C+Cows+And+Bad+Funerals+In+The+Absurd+Comedy+Of+%27Li%27l+Quinquin%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although set in Bruno Dumont’s home region of northern France, \u003cem>L’il Quinquin\u003c/em> finds the writer-director in unexpected territory. The film is a arguably Dumont’s first comedy, and was made as a four-part TV miniseries.\u003c/p>\n\u003cp>Yet with its relaxed pacing, inconclusive plot and elegant widescreen cinematography, the movie doesn’t feel much like TV. And its humor is less a matter of overt gags than bemused attitude, which shows that the Dumont of \u003cem>Humanite\u003c/em> and \u003cem>Hors Satan\u003c/em> has barely relocated at all.\u003c/p>\n\u003cp>The story opens with mischievous Quinquin (Alane Delhaye), who looks to be around 10. He’s named for a 19th-century song that’s a sort of anthem for the remaining speakers of Picard, a vanishing language of the region. He sports a hearing aid and the sort of squashed, off-center nose usually seen only on boxers who’ve lost a few matches.\u003c/p>\n\u003cp>That schnoz is just the first of many remarkable physical characteristics. Dumont likes to work with nonprofessional actors, often cast for faces and bodies that exemplify human imperfection. This can verge on the exploitative, notably when the director employs (as he does here) people with obvious mental or neurological limitations.\u003c/p>\n\u003cp>The boy’s nose also suggests the history of violence written everywhere on the local landscape. Quinquin and girlfriend Eve (Lucy Carron) play around the abandoned seaside bunkers of World War II, where the boy searches for leftover bullets and grenades. None of the latter seem to be live, but Quinquin compensates by always being well-supplied with firecrackers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Abel Morales needs people to see him as a good guy. As the heating oil salesman in \u003cem>A Most Violent Year\u003c/em> grows his mini-empire in 1981 New York City, he has several encounters with people he clearly despises — corporate rivals playing dirty, federal investigators, bankers denying loans — where he makes a point to “understand,” “appreciate,” or “respect the work that you do.” He wants his enemies to feel the same way about him.\u003c/p>\n\u003cp>And writer-director J.C. Chandor, who also made the brilliant theatrical Wall Street thriller \u003cem>Margin Call\u003c/em> and the survival tale \u003cem>All Is Lost\u003c/em>, surrounds Abel with a movie that earns its respect.\u003c/p>\n\u003cp>Abel is played by a steely-eyed Oscar Isaac as the embodiment of the American dreamer, a confident businessman with a firm handshake who hides his immigrant background unless he thinks it might help him. But his quietly ruthless wife, Anna (Jessica Chastain, carrying a biting line delivery that makes everyone snap to attention), has used her criminal family connections to help the company along. Her presence undermines Abel’s claims to “always take the path which is most right.” The two race to scare up $1.5 million in time to secure a major property deal, and their tension — between the desire for respect and the need to get dirty — is what gives the film its pulse.\u003c/p>\n\u003cp>The beats of the movie, not to mention the winking title and the time period, make \u003cem>A Most Violent Year\u003c/em> feel like it should be another bloody tale about the dark side of American greed. But Chandor is too smart to go down that path. In fact, the biggest laugh line is when Abel protests having to do business with his partner (Albert Brooks, channeling the elder-statesman qualities of his role in \u003cem>Drive\u003c/em>) while walking outside, because it makes him feel like they’re “gangsters.” Abel is a bad man, but this isn’t the antihero narrative where we watch the protagonist make a series of ethical compromises to stay on top. He knows which choices he is capable of making, and he makes them.\u003c/p>\n\u003cp>The way the film deals with violence is refreshing: The threat of brutality lingers on the precipice without ever making the movie itself brutal. Instead of running straight to guns when the going gets tough, Abel spends much of the movie fighting tooth and nail against an inevitable ratcheting up of weaponry. The head of the Teamsters union demands to arm his truck drivers after a rash of hijackings; Anna buys a purse handgun after an attempted attack on their home; their daughter finds the would-be assailant’s loaded gun outside their front door and plays with it. Like the small girl, Chandor plays with our expectations for violence, toning down the actual gunplay and instead forcing us to consider the ramifications of each firearm introduced into such a volatile environment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chandor also displays a masterful technical control with two gripping chase sequences. In one, a jittery employee (Elyes Gabel) abandons his truck on a bridge and runs across the highway on foot, the camera gliding at a low angle as his feet smack on the pavement. And in the second, Abel follows a truck carrying his stolen cargo down train tracks and through a pitch-black tunnel, squinting because all he can see is the taillight of his hijacked vehicle. Chandor stages these scenes with patience: He uses long, lingering shots and a steady, driving rhythm to create urgency.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a bit of Paul Thomas Anderson’s \u003cem>There Will Be Blood\u003c/em> in \u003cem>A Most Violent Year\u003c/em>, including that film’s frustrating obliqueness. Why does Abel want to be the heating king? Because he does. 2014 was already A Most Stylish Year at the movies, filled with works like \u003cem>Goodbye to Language, Birdman \u003c/em>and \u003cem>Under the Skin \u003c/em>that did unconventional things with form and technique (3-D trickery, single-shot tracking, hidden-camera storytelling) because they could. Chandor and his ambiguous oil baron have ended the year with one final pump of fuel, cool and slick but origins unknown. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Most+Violent+Year%2C%27+But+A+Film+With+Restraint&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Abel Morales needs people to see him as a good guy. As the heating oil salesman in \u003cem>A Most Violent Year\u003c/em> grows his mini-empire in 1981 New York City, he has several encounters with people he clearly despises — corporate rivals playing dirty, federal investigators, bankers denying loans — where he makes a point to “understand,” “appreciate,” or “respect the work that you do.” He wants his enemies to feel the same way about him.\u003c/p>\n\u003cp>And writer-director J.C. Chandor, who also made the brilliant theatrical Wall Street thriller \u003cem>Margin Call\u003c/em> and the survival tale \u003cem>All Is Lost\u003c/em>, surrounds Abel with a movie that earns its respect.\u003c/p>\n\u003cp>Abel is played by a steely-eyed Oscar Isaac as the embodiment of the American dreamer, a confident businessman with a firm handshake who hides his immigrant background unless he thinks it might help him. But his quietly ruthless wife, Anna (Jessica Chastain, carrying a biting line delivery that makes everyone snap to attention), has used her criminal family connections to help the company along. Her presence undermines Abel’s claims to “always take the path which is most right.” The two race to scare up $1.5 million in time to secure a major property deal, and their tension — between the desire for respect and the need to get dirty — is what gives the film its pulse.\u003c/p>\n\u003cp>The beats of the movie, not to mention the winking title and the time period, make \u003cem>A Most Violent Year\u003c/em> feel like it should be another bloody tale about the dark side of American greed. But Chandor is too smart to go down that path. In fact, the biggest laugh line is when Abel protests having to do business with his partner (Albert Brooks, channeling the elder-statesman qualities of his role in \u003cem>Drive\u003c/em>) while walking outside, because it makes him feel like they’re “gangsters.” Abel is a bad man, but this isn’t the antihero narrative where we watch the protagonist make a series of ethical compromises to stay on top. He knows which choices he is capable of making, and he makes them.\u003c/p>\n\u003cp>The way the film deals with violence is refreshing: The threat of brutality lingers on the precipice without ever making the movie itself brutal. Instead of running straight to guns when the going gets tough, Abel spends much of the movie fighting tooth and nail against an inevitable ratcheting up of weaponry. The head of the Teamsters union demands to arm his truck drivers after a rash of hijackings; Anna buys a purse handgun after an attempted attack on their home; their daughter finds the would-be assailant’s loaded gun outside their front door and plays with it. Like the small girl, Chandor plays with our expectations for violence, toning down the actual gunplay and instead forcing us to consider the ramifications of each firearm introduced into such a volatile environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chandor also displays a masterful technical control with two gripping chase sequences. In one, a jittery employee (Elyes Gabel) abandons his truck on a bridge and runs across the highway on foot, the camera gliding at a low angle as his feet smack on the pavement. And in the second, Abel follows a truck carrying his stolen cargo down train tracks and through a pitch-black tunnel, squinting because all he can see is the taillight of his hijacked vehicle. Chandor stages these scenes with patience: He uses long, lingering shots and a steady, driving rhythm to create urgency.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a bit of Paul Thomas Anderson’s \u003cem>There Will Be Blood\u003c/em> in \u003cem>A Most Violent Year\u003c/em>, including that film’s frustrating obliqueness. Why does Abel want to be the heating king? Because he does. 2014 was already A Most Stylish Year at the movies, filled with works like \u003cem>Goodbye to Language, Birdman \u003c/em>and \u003cem>Under the Skin \u003c/em>that did unconventional things with form and technique (3-D trickery, single-shot tracking, hidden-camera storytelling) because they could. Chandor and his ambiguous oil baron have ended the year with one final pump of fuel, cool and slick but origins unknown. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Most+Violent+Year%2C%27+But+A+Film+With+Restraint&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 to Watch: Wintry Depths of Human Nature",
"headTitle": "5 to Watch: Wintry Depths of Human Nature | KQED",
"content": "\u003cp>Our better angels have departed with the tree and the wrapping paper, or so I conclude from the Bay Area’s stalwart film programmers. It appears your New Year’s resolutions and self-improvement campaign, by and large, will receive little encouragement at the movies this month. Delectably flawed human nature is the main course, from Billy Wilder to noir villains to sarcastic Brooklyn bisexuals to chain-smoking German existentialists. Then again, for some of us these are protagonists of various genres of comedy.\u003c/p>\n\u003cfigure id=\"attachment_10264515\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/patema.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/patema.jpg\" alt=\"Patema Inverted\" width=\"640\" height=\"360\" class=\"size-full wp-image-10264515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/patema.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/patema-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Patema Inverted\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Children and adults who didn’t get their fill of bright and shiny objects during the holiday season are encouraged to gorge on \u003cstrong>New Anime!\u003c/strong> at the intimate Yerba Buena Center For the Arts screening room. Film/video curator Joel Shepard, who was honored by the San Francisco Critics Circle last month with its coveted annual Marlon Riggs Award, presents three of 2014’s choicest animated Japanese adventures from Jan. 8-25. \u003cem>Welcome to the Space Show\u003c/em>, \u003cem>Patema Inverted\u003c/em> and potential Oscar nominee \u003cem>The Tale of the Princess Kaguya\u003c/em> each screen three times. For \u003ca href=\"http://www.ybca.org/new-anime\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10264516\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/belovedsisters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/belovedsisters.jpg\" alt=\"Beloved Sisters\" width=\"640\" height=\"427\" class=\"size-full wp-image-10264516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/belovedsisters.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/belovedsisters-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Beloved Sisters\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The German cinema is one of the largest and most vital in the world, but American moviegoers have no idea on account of the ever-worsening state of U.S. distribution. A welcome exception is Dominik Graf’s \u003cem>Beloved Sisters\u003c/em> (opening Jan. 9 at the Opera Plaza), an epic drama about the romantic entanglement of writer Friedrich Schiller with Caroline and Charlotte von Lengefeld that represents Germany’s submission for the Academy Awards’ Best Foreign Language Film category. For a broad and immersive survey of the best of recent German-language cinema, the annual \u003cstrong>Berlin & Beyond\u003c/strong> film festival returns Jan. 29 – Feb. 1 at the Castro and the Goethe-Institut in S.F., the Aquarius in Palo Alto (Feb. 2) and the California in Berkeley (Feb. 3). Festival director Sophoan Sorn’s selections encompass stylish contemporary narratives and risk-taking documentaries, and Austria and Switzerland as well as Germany. For \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/abo/atf/enindex.htm\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit goethe.de.\u003c/p>\n\u003cfigure id=\"attachment_10264517\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/doubleindemnity.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/doubleindemnity.jpg\" alt=\"Double Indemnity\" width=\"640\" height=\"398\" class=\"size-full wp-image-10264517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/doubleindemnity.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/doubleindemnity-400x248.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Double Indemnity\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The fiercest cosmopolitan to emigrate from Europe to Hollywood in the 1930s, Billy Wilder evolved into the most outrageous critic of postwar America. His inventive and beautifully structured movies, notably \u003cem>Sunset Blvd.\u003c/em>, \u003cem>Double Indemnity\u003c/em>, \u003cem>Ace in the Hole\u003c/em>, \u003cem>The Apartment\u003c/em>, \u003cem>Some Like It Hot\u003c/em> and \u003cem>Sabrina\u003c/em>, shine ever brighter every year in the pantheon of American film. \u003cstrong>Ready For His Close-up: The Films of Billy Wilder\u003c/strong> screens Jan. 15 – Feb. 28 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/billwilder\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10264518\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/appropriate.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/appropriate.jpg\" alt=\"Appropriate Behavior\" width=\"640\" height=\"360\" class=\"size-full wp-image-10264518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/appropriate.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/appropriate-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Appropriate Behavior\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirin, the acerbic Iranian-American heroine of \u003cem>Appropriate Behavior\u003c/em>, wants the same thing as every other gal in her 20s — to be accepted for who she is. It doesn’t come easy, even in the melting pot of New York City, but it’s a time-honored recipe for comedy gold. Writer-director Desiree Akhavan, who also plays Shirin, makes her exceptional feature debut with an endearing romantic comedy about a bisexual woman looking for love (and generally settling for sex) in photogenic places. Her parents don’t know her orientation, which adds another kink to the screwball plot. \u003cem>Appropriate Behavior\u003c/em> opens Jan. 16 at the Roxie in San Francisco. For \u003ca href=\"http://www.roxie.com/ai1ec_event/appropriate-behavior/?instance_id=5945\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_10264519\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/womanonrun.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/womanonrun.jpg\" alt=\"Woman On the Run\" width=\"640\" height=\"471\" class=\"size-full wp-image-10264519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/womanonrun.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/womanonrun-400x294.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Woman On the Run\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Lust and betrayal are the high-octane catalysts for much of film noir, as every aficionado knows. Noir City boss Eddie Muller acknowledges that sordid truth by choosing matrimony as the theme of this year’s celebration of born liars, skilled seductresses, trench coats and tight blouses. The hottest ducats, without question, will be the new 35mm restorations of the San Francisco-set \u003cem>Woman On the Run\u003c/em> (opening night) and \u003cem>The Guilty\u003c/em> (Jan. 23), adapted from a Cornell Woolrich story. Only a mug would wait for the last minute to nab tickets. \u003cstrong>Noir City 13: ‘Til Death Do Us Part\u003c/strong> unspools Jan. 16-25 at the Castro in San Francsico. For \u003ca href=\"http://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit noircity.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our better angels have departed with the tree and the wrapping paper, or so I conclude from the Bay Area’s stalwart film programmers. It appears your New Year’s resolutions and self-improvement campaign, by and large, will receive little encouragement at the movies this month. Delectably flawed human nature is the main course, from Billy Wilder to noir villains to sarcastic Brooklyn bisexuals to chain-smoking German existentialists. Then again, for some of us these are protagonists of various genres of comedy.\u003c/p>\n\u003cfigure id=\"attachment_10264515\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/patema.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/patema.jpg\" alt=\"Patema Inverted\" width=\"640\" height=\"360\" class=\"size-full wp-image-10264515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/patema.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/patema-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Patema Inverted\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Children and adults who didn’t get their fill of bright and shiny objects during the holiday season are encouraged to gorge on \u003cstrong>New Anime!\u003c/strong> at the intimate Yerba Buena Center For the Arts screening room. Film/video curator Joel Shepard, who was honored by the San Francisco Critics Circle last month with its coveted annual Marlon Riggs Award, presents three of 2014’s choicest animated Japanese adventures from Jan. 8-25. \u003cem>Welcome to the Space Show\u003c/em>, \u003cem>Patema Inverted\u003c/em> and potential Oscar nominee \u003cem>The Tale of the Princess Kaguya\u003c/em> each screen three times. For \u003ca href=\"http://www.ybca.org/new-anime\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10264516\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/belovedsisters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/belovedsisters.jpg\" alt=\"Beloved Sisters\" width=\"640\" height=\"427\" class=\"size-full wp-image-10264516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/belovedsisters.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/belovedsisters-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Beloved Sisters\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The German cinema is one of the largest and most vital in the world, but American moviegoers have no idea on account of the ever-worsening state of U.S. distribution. A welcome exception is Dominik Graf’s \u003cem>Beloved Sisters\u003c/em> (opening Jan. 9 at the Opera Plaza), an epic drama about the romantic entanglement of writer Friedrich Schiller with Caroline and Charlotte von Lengefeld that represents Germany’s submission for the Academy Awards’ Best Foreign Language Film category. For a broad and immersive survey of the best of recent German-language cinema, the annual \u003cstrong>Berlin & Beyond\u003c/strong> film festival returns Jan. 29 – Feb. 1 at the Castro and the Goethe-Institut in S.F., the Aquarius in Palo Alto (Feb. 2) and the California in Berkeley (Feb. 3). Festival director Sophoan Sorn’s selections encompass stylish contemporary narratives and risk-taking documentaries, and Austria and Switzerland as well as Germany. For \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/abo/atf/enindex.htm\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit goethe.de.\u003c/p>\n\u003cfigure id=\"attachment_10264517\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/doubleindemnity.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/doubleindemnity.jpg\" alt=\"Double Indemnity\" width=\"640\" height=\"398\" class=\"size-full wp-image-10264517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/doubleindemnity.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/doubleindemnity-400x248.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Double Indemnity\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The fiercest cosmopolitan to emigrate from Europe to Hollywood in the 1930s, Billy Wilder evolved into the most outrageous critic of postwar America. His inventive and beautifully structured movies, notably \u003cem>Sunset Blvd.\u003c/em>, \u003cem>Double Indemnity\u003c/em>, \u003cem>Ace in the Hole\u003c/em>, \u003cem>The Apartment\u003c/em>, \u003cem>Some Like It Hot\u003c/em> and \u003cem>Sabrina\u003c/em>, shine ever brighter every year in the pantheon of American film. \u003cstrong>Ready For His Close-up: The Films of Billy Wilder\u003c/strong> screens Jan. 15 – Feb. 28 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/billwilder\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10264518\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/appropriate.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/appropriate.jpg\" alt=\"Appropriate Behavior\" width=\"640\" height=\"360\" class=\"size-full wp-image-10264518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/appropriate.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/appropriate-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Appropriate Behavior\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirin, the acerbic Iranian-American heroine of \u003cem>Appropriate Behavior\u003c/em>, wants the same thing as every other gal in her 20s — to be accepted for who she is. It doesn’t come easy, even in the melting pot of New York City, but it’s a time-honored recipe for comedy gold. Writer-director Desiree Akhavan, who also plays Shirin, makes her exceptional feature debut with an endearing romantic comedy about a bisexual woman looking for love (and generally settling for sex) in photogenic places. Her parents don’t know her orientation, which adds another kink to the screwball plot. \u003cem>Appropriate Behavior\u003c/em> opens Jan. 16 at the Roxie in San Francisco. For \u003ca href=\"http://www.roxie.com/ai1ec_event/appropriate-behavior/?instance_id=5945\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_10264519\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/womanonrun.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/womanonrun.jpg\" alt=\"Woman On the Run\" width=\"640\" height=\"471\" class=\"size-full wp-image-10264519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/womanonrun.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/womanonrun-400x294.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Woman On the Run\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Lust and betrayal are the high-octane catalysts for much of film noir, as every aficionado knows. Noir City boss Eddie Muller acknowledges that sordid truth by choosing matrimony as the theme of this year’s celebration of born liars, skilled seductresses, trench coats and tight blouses. The hottest ducats, without question, will be the new 35mm restorations of the San Francisco-set \u003cem>Woman On the Run\u003c/em> (opening night) and \u003cem>The Guilty\u003c/em> (Jan. 23), adapted from a Cornell Woolrich story. Only a mug would wait for the last minute to nab tickets. \u003cstrong>Noir City 13: ‘Til Death Do Us Part\u003c/strong> unspools Jan. 16-25 at the Castro in San Francsico. For \u003ca href=\"http://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit noircity.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you’ve watched any movies in the past thirty years, chances are you’ve seen at least one featuring \u003ca href=\"http://www.imdb.com/name/nm0000115/\" target=\"_blank\" rel=\"noopener\">Nicolas Cage\u003c/a>. In 2014, I watched more movies featuring Nicolas Cage than movies not featuring Nicolas Cage . . . on purpose. After “Cage Raging” for 12 months, I have still only glimpsed a small portion of the nearly eighty movies Nicolas Cage has acted in since 1981.\u003c/p>\n\u003cp>Around this time last year, my friends and I opened a package at a holiday party sent to us from Afghanistan by a mutual friend stationed there with the U.S. Army. Under an array of colorful pashmina scarves, we discovered Nicolas Cage’s face staring up at us from the bottom of the box.\u003c/p>\n\u003cfigure id=\"attachment_10179726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Cage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10179726\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Cage.jpg\" alt=\"Tal Kamran, Nicolas Cage Fan Art, 2014.\" width=\"640\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Cage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Cage-400x499.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Cage-480x600.jpg 480w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tal Kamran, Nicolas Cage Fan Art, 2014. \u003ccite>(Adrienne Blaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our initial shock was followed by confusion and glee as we realized our friend had sent us a “Nicoalse (sic) Cage All Movies Collection” box set. The exact provenance of this particular box is indeterminate, however, it contains twenty-five plain DVDs with handwritten numbers, which you can draw your own conclusions about.\u003c/p>\n\u003cp>Although there is a long list of titles on the outside of the box, we never knew which movies to expect on each disc. Most marathoners opt for the Cage cult classics, such as \u003ca href=\"http://www.imdb.com/title/tt0450345/?ref_=nm_flmg_act_31\" target=\"_blank\" rel=\"noopener\">\u003ci>The Wicker Man\u003c/i>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0118880/?ref_=nm_flmg_act_50\" target=\"_blank\" rel=\"noopener\">\u003ci>Con Air\u003c/i>\u003c/a> or \u003ca href=\"http://www.imdb.com/title/tt0119094/?ref_=nm_flmg_act_49\" target=\"_blank\" rel=\"noopener\">\u003ci>Face/Off\u003c/i>\u003c/a>, which feature Cage at his rage-y-ist. But we diligently sat through blockbuster movies (\u003ca href=\"http://www.imdb.com/title/tt0368891/?ref_=nm_flmg_act_36\" target=\"_blank\" rel=\"noopener\">\u003ci>National Treasure\u003c/i>\u003c/a>), kids’ movies (\u003ca href=\"http://www.imdb.com/title/tt0963966/?ref_=nm_flmg_act_20\" target=\"_blank\" rel=\"noopener\">\u003ci>The Sorcerer’s Apprentice\u003c/i>\u003c/a>) and movies that didn’t even appear to have Cage in them (\u003ca href=\"http://www.imdb.com/title/tt0462322/?ref_=nm_flmg_act_29\" target=\"_blank\" rel=\"noopener\">\u003ci>Grindhouse\u003c/i>\u003c/a>).\u003c/p>\n\u003cp>It wasn’t until we encountered \u003ca href=\"http://www.imdb.com/title/tt0238112/?ref_=nm_flmg_act_42\" target=\"_blank\" rel=\"noopener\">\u003ci>Captain Corelli’s Mandolin\u003c/i>\u003c/a> that we finally broke down and watched the majority of the film on fast-forward. For this slow-moving period film, watching Cage move and speak at double speed was not so different from the Cage we had come to know and love in other films. See the video below for supercut of Cage’s notable freak-outs (warning: contains explicit language).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=AN88tGvlwcU\u003c/p>\n\u003cp>I am embarrassed to admit that for many years I considered Nicolas Cage to be one of my favorite actors. The early Cage classic, \u003ca href=\"http://www.imdb.com/title/tt0093822/?ref_=nm_flmg_act_69\" target=\"_blank\" rel=\"noopener\">\u003ci>Raising Arizona\u003c/i>\u003c/a> by the Coen Brothers has always been one of my favorite films. Cast as an incompetent petty-thief-turned-earnest-baby-snatcher, Cage shines. As a youngin’ I also saw Cage in \u003ca>\u003ci>Peggy Sue Got Married\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0093565/?ref_=nm_flmg_act_68\" target=\"_blank\" rel=\"noopener\">\u003ci>Moonstruck\u003c/i>\u003c/a>, playing similarly ungainly young men.\u003c/p>\n\u003cp>Bless my parents for shielding me from his lesser works for as long as they could. Eventually, I was exposed to trailers for his bigger blockbuster hits like \u003ca href=\"http://www.imdb.com/title/tt0187078/?ref_=nm_flmg_act_44\" target=\"_blank\" rel=\"noopener\">\u003ci>Gone in Sixty Seconds\u003c/i>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0259324/?ref_=nm_flmg_act_30\" target=\"_blank\" rel=\"noopener\">\u003ci>Ghost Rider\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0814022/?ref_=nm_flmg_act_26\" target=\"_blank\" rel=\"noopener\">\u003ci>Bangkok Dangerous\u003c/i>\u003c/a>, which cleared things up quickly.\u003c/p>\n\u003cp>When I learned Cage was the nephew of Francis Ford Coppola, everything seemed to make sense . . . for a brief moment. When I was faced with such anomalies as \u003ca href=\"http://www.imdb.com/title/tt0268126/?ref_=nm_flmg_act_38\" target=\"_blank\" rel=\"noopener\">\u003ci>Adaptation\u003c/i>\u003c/a>, I was forced to reconsider my stance once again. Since then, I have come to appreciate the inconsistency of Cage’s tenacious and prolific career.\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.imdb.com/name/nm0000115/bio?ref_=nm_dyk_trv_sm#trivia\" target=\"_blank\" rel=\"noopener\">IMDB\u003c/a>, Cage’s trademark is playing “flamboyant and/or eccentric characters.” The director, David Lynch, called him the “jazz musician of acting.” Cage has described his own acting style as “nouveau shamanic,” and \u003ca href=\"http://www.youtube.com/watch?v=caxMBk1__-Y\" target=\"_blank\" rel=\"noopener\">“western kabuki.”\u003c/a> He elaborates on the former style in the video below.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=Z1JyukEGjb0\u003c/p>\n\u003cp>For as many hours as we watched Cage’s movies, my friends and I spent just as many evenings debating how intentional Cage’s techniques have been. Some of us would prefer to believe his entire career has been an elaborate form of meta performance art. Others believe that his acting expresses a latent insanity bubbling up to the surface.\u003c/p>\n\u003cp>The television show, \u003ca href=\"http://www.nbc.com/community\" target=\"_blank\" rel=\"noopener\">\u003cem>Community\u003c/em>\u003c/a>, tackled this subject in its \u003ca href=\"https://itunes.apple.com/us/tv-season/introduction-to-teaching/id766894690?i=786714782&ign-mpt=uo%3D4\" target=\"_blank\" rel=\"noopener\">fifth season\u003c/a>, when its characters took a two-day course titled, “Nicolas Cage: Good or Bad?” The movie-obsessed character, Abed says, “Nicolas Cage is one of pop culture’s greatest mysteries,” and becomes determined to find an answer to the course’s question. His professor warns him not to engage in any marathons or to watch more than five Cage movies. When he disregards this advice, you can see what happens in the clip below. Watch the \u003ca href=\"http://www.hulu.com/watch/574710\" target=\"_blank\" rel=\"noopener\">entire episode\u003c/a> for the full Cage exploration.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=KUhAomup4E0\u003c/p>\n\u003cp>Delving into a world populated with Cage movies, memes, references and fan art, I even began dreaming about good ol’ Nic. In one such dream I had the opportunity to interview him and ask him all my pressing questions. In many ways this dream was more coherent than any of my experiences with Cage thus far. Because if there’s anything I’ve learned this year, it’s that the more you learn about Cage, the less you know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the Internet is a fertile ground for Cage’s persona. There is a Reddit forum dedicated to Cage under the title, \u003ca href=\"http://www.reddit.com/r/onetruegod\" target=\"_blank\" rel=\"noopener\">“One True God,”\u003c/a> with nearly 80,000 “Believers.” For a list of Cage’s movies, visit \u003ca href=\"http://www.imdb.com/name/nm0000115/\" target=\"_blank\" rel=\"noopener\">IMBD\u003c/a>. To see another person’s systematic attempt to make it through Cage’s filmography, visit \u003ca href=\"http://unlockingthecage.tumblr.com/\" target=\"_blanlk\" rel=\"noopener\">“Unlocking the Cage”\u003c/a> on Tumblr.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve watched any movies in the past thirty years, chances are you’ve seen at least one featuring \u003ca href=\"http://www.imdb.com/name/nm0000115/\" target=\"_blank\" rel=\"noopener\">Nicolas Cage\u003c/a>. In 2014, I watched more movies featuring Nicolas Cage than movies not featuring Nicolas Cage . . . on purpose. After “Cage Raging” for 12 months, I have still only glimpsed a small portion of the nearly eighty movies Nicolas Cage has acted in since 1981.\u003c/p>\n\u003cp>Around this time last year, my friends and I opened a package at a holiday party sent to us from Afghanistan by a mutual friend stationed there with the U.S. Army. Under an array of colorful pashmina scarves, we discovered Nicolas Cage’s face staring up at us from the bottom of the box.\u003c/p>\n\u003cfigure id=\"attachment_10179726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Cage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10179726\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Cage.jpg\" alt=\"Tal Kamran, Nicolas Cage Fan Art, 2014.\" width=\"640\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Cage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Cage-400x499.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Cage-480x600.jpg 480w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tal Kamran, Nicolas Cage Fan Art, 2014. \u003ccite>(Adrienne Blaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our initial shock was followed by confusion and glee as we realized our friend had sent us a “Nicoalse (sic) Cage All Movies Collection” box set. The exact provenance of this particular box is indeterminate, however, it contains twenty-five plain DVDs with handwritten numbers, which you can draw your own conclusions about.\u003c/p>\n\u003cp>Although there is a long list of titles on the outside of the box, we never knew which movies to expect on each disc. Most marathoners opt for the Cage cult classics, such as \u003ca href=\"http://www.imdb.com/title/tt0450345/?ref_=nm_flmg_act_31\" target=\"_blank\" rel=\"noopener\">\u003ci>The Wicker Man\u003c/i>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0118880/?ref_=nm_flmg_act_50\" target=\"_blank\" rel=\"noopener\">\u003ci>Con Air\u003c/i>\u003c/a> or \u003ca href=\"http://www.imdb.com/title/tt0119094/?ref_=nm_flmg_act_49\" target=\"_blank\" rel=\"noopener\">\u003ci>Face/Off\u003c/i>\u003c/a>, which feature Cage at his rage-y-ist. But we diligently sat through blockbuster movies (\u003ca href=\"http://www.imdb.com/title/tt0368891/?ref_=nm_flmg_act_36\" target=\"_blank\" rel=\"noopener\">\u003ci>National Treasure\u003c/i>\u003c/a>), kids’ movies (\u003ca href=\"http://www.imdb.com/title/tt0963966/?ref_=nm_flmg_act_20\" target=\"_blank\" rel=\"noopener\">\u003ci>The Sorcerer’s Apprentice\u003c/i>\u003c/a>) and movies that didn’t even appear to have Cage in them (\u003ca href=\"http://www.imdb.com/title/tt0462322/?ref_=nm_flmg_act_29\" target=\"_blank\" rel=\"noopener\">\u003ci>Grindhouse\u003c/i>\u003c/a>).\u003c/p>\n\u003cp>It wasn’t until we encountered \u003ca href=\"http://www.imdb.com/title/tt0238112/?ref_=nm_flmg_act_42\" target=\"_blank\" rel=\"noopener\">\u003ci>Captain Corelli’s Mandolin\u003c/i>\u003c/a> that we finally broke down and watched the majority of the film on fast-forward. For this slow-moving period film, watching Cage move and speak at double speed was not so different from the Cage we had come to know and love in other films. See the video below for supercut of Cage’s notable freak-outs (warning: contains explicit language).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AN88tGvlwcU'\n title='//www.youtube.com/embed/AN88tGvlwcU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I am embarrassed to admit that for many years I considered Nicolas Cage to be one of my favorite actors. The early Cage classic, \u003ca href=\"http://www.imdb.com/title/tt0093822/?ref_=nm_flmg_act_69\" target=\"_blank\" rel=\"noopener\">\u003ci>Raising Arizona\u003c/i>\u003c/a> by the Coen Brothers has always been one of my favorite films. Cast as an incompetent petty-thief-turned-earnest-baby-snatcher, Cage shines. As a youngin’ I also saw Cage in \u003ca>\u003ci>Peggy Sue Got Married\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0093565/?ref_=nm_flmg_act_68\" target=\"_blank\" rel=\"noopener\">\u003ci>Moonstruck\u003c/i>\u003c/a>, playing similarly ungainly young men.\u003c/p>\n\u003cp>Bless my parents for shielding me from his lesser works for as long as they could. Eventually, I was exposed to trailers for his bigger blockbuster hits like \u003ca href=\"http://www.imdb.com/title/tt0187078/?ref_=nm_flmg_act_44\" target=\"_blank\" rel=\"noopener\">\u003ci>Gone in Sixty Seconds\u003c/i>\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0259324/?ref_=nm_flmg_act_30\" target=\"_blank\" rel=\"noopener\">\u003ci>Ghost Rider\u003c/i>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0814022/?ref_=nm_flmg_act_26\" target=\"_blank\" rel=\"noopener\">\u003ci>Bangkok Dangerous\u003c/i>\u003c/a>, which cleared things up quickly.\u003c/p>\n\u003cp>When I learned Cage was the nephew of Francis Ford Coppola, everything seemed to make sense . . . for a brief moment. When I was faced with such anomalies as \u003ca href=\"http://www.imdb.com/title/tt0268126/?ref_=nm_flmg_act_38\" target=\"_blank\" rel=\"noopener\">\u003ci>Adaptation\u003c/i>\u003c/a>, I was forced to reconsider my stance once again. Since then, I have come to appreciate the inconsistency of Cage’s tenacious and prolific career.\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.imdb.com/name/nm0000115/bio?ref_=nm_dyk_trv_sm#trivia\" target=\"_blank\" rel=\"noopener\">IMDB\u003c/a>, Cage’s trademark is playing “flamboyant and/or eccentric characters.” The director, David Lynch, called him the “jazz musician of acting.” Cage has described his own acting style as “nouveau shamanic,” and \u003ca href=\"http://www.youtube.com/watch?v=caxMBk1__-Y\" target=\"_blank\" rel=\"noopener\">“western kabuki.”\u003c/a> He elaborates on the former style in the video below.\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/Z1JyukEGjb0'\n title='//www.youtube.com/embed/Z1JyukEGjb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For as many hours as we watched Cage’s movies, my friends and I spent just as many evenings debating how intentional Cage’s techniques have been. Some of us would prefer to believe his entire career has been an elaborate form of meta performance art. Others believe that his acting expresses a latent insanity bubbling up to the surface.\u003c/p>\n\u003cp>The television show, \u003ca href=\"http://www.nbc.com/community\" target=\"_blank\" rel=\"noopener\">\u003cem>Community\u003c/em>\u003c/a>, tackled this subject in its \u003ca href=\"https://itunes.apple.com/us/tv-season/introduction-to-teaching/id766894690?i=786714782&ign-mpt=uo%3D4\" target=\"_blank\" rel=\"noopener\">fifth season\u003c/a>, when its characters took a two-day course titled, “Nicolas Cage: Good or Bad?” The movie-obsessed character, Abed says, “Nicolas Cage is one of pop culture’s greatest mysteries,” and becomes determined to find an answer to the course’s question. His professor warns him not to engage in any marathons or to watch more than five Cage movies. When he disregards this advice, you can see what happens in the clip below. Watch the \u003ca href=\"http://www.hulu.com/watch/574710\" target=\"_blank\" rel=\"noopener\">entire episode\u003c/a> for the full Cage exploration.\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/KUhAomup4E0'\n title='//www.youtube.com/embed/KUhAomup4E0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Delving into a world populated with Cage movies, memes, references and fan art, I even began dreaming about good ol’ Nic. In one such dream I had the opportunity to interview him and ask him all my pressing questions. In many ways this dream was more coherent than any of my experiences with Cage thus far. Because if there’s anything I’ve learned this year, it’s that the more you learn about Cage, the less you know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, the Internet is a fertile ground for Cage’s persona. There is a Reddit forum dedicated to Cage under the title, \u003ca href=\"http://www.reddit.com/r/onetruegod\" target=\"_blank\" rel=\"noopener\">“One True God,”\u003c/a> with nearly 80,000 “Believers.” For a list of Cage’s movies, visit \u003ca href=\"http://www.imdb.com/name/nm0000115/\" target=\"_blank\" rel=\"noopener\">IMBD\u003c/a>. To see another person’s systematic attempt to make it through Cage’s filmography, visit \u003ca href=\"http://unlockingthecage.tumblr.com/\" target=\"_blanlk\" rel=\"noopener\">“Unlocking the Cage”\u003c/a> on Tumblr.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Top 10 Movie Moments of 2014 | KQED",
"content": "\u003cp>The year just ending wasn’t a terrible one for movies, but it will be remembered as depressingly uninspired. Earnest craftsmanship is the mantra of the moment, particularly in the risk-phobic American cinema. Consider the siege we’ve endured (especially since Labor Day) of serious, solid movies — including \u003cem>Gone Girl\u003c/em>, \u003cem>Foxcatcher\u003c/em>, \u003cem>Exodus: Gods and Kings\u003c/em>, \u003cem>American Sniper,\u003c/em> \u003cem>The Imitation Game\u003c/em>, \u003cem>Unbroken\u003c/em>, \u003cem>A Most Violent Year\u003c/em> and \u003cem>Still Alice — \u003c/em>that demanded our attention for long hours and repaid us with the briefest flashes of transcendent joy, insight or pathos.\u003c/p>\n\u003cp>It was no easy task summoning memorable moments from the year’s morass, yet here in chronological order are the sequences that, for me, best captured the vitality and intelligent power that movies are capable of expressing.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ida2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ida2.jpg\" alt=\"ida2\" width=\"640\" height=\"420\" class=\"alignright size-full wp-image-10238620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ida2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ida2-400x262.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Ida\u003c/h3>\n\u003cp>Polish-born, English-based writer-director Pawel Pawlikowski returned to his birthplace to make a stark black-and-white moral tale that was not only set in the early 1960s, but designed to look and feel like a movie from that period. Pawlikowski cast a non-professional as a blank-faced, convent-raised young woman on the verge of taking her vows who is first sent to meet the aunt she didn’t know she had. The women consequently embark on a road trip to a nightmare past and potentially freeing future. Among countless haunting sequences in this profound, stripped-down movie, I see the aunt — brilliantly depicted by Agata Kulesz as a ruthlessly idealistic and savagely disappointed Communist long mired in 100 proof cynicism — lighting a cigarette in a bare-bones restaurant and scoping out a nearby male with all the warmth and empathy of a Siberian wolf.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/leweekend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/leweekend.jpg\" alt=\"leweekend\" width=\"640\" height=\"399\" class=\"alignright size-full wp-image-10238621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/leweekend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/leweekend-400x249.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Le Week-End\u003c/h3>\n\u003cp>Leading roles for women were in short supply (so what’s new?), especially for actresses of a certain age. Hanif Kureishi’s screenplay about a long-married and palpably frustrated British couple channeling happier days and looking for lost magic in Paris paired the astonishing Lindsay Duncan with national treasure Jim Broadbent. Duncan is a delicious revelation, by turns scathing and rambunctious, flirty and brutally direct. Her playing of a restaurant scene with Broadbent, especially after the shockingly large check arrives, was one of the year’s high points.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/strangelove.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/strangelove.jpg\" alt=\"strangelove\" width=\"640\" height=\"397\" class=\"alignright size-full wp-image-10238636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/strangelove.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/strangelove-400x248.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Love Is Strange\u003c/h3>\n\u003cp>Another older couple, the newly married gay men portrayed by Alfred Molina and John Lithgow, supplies the heart and soulfulness of Ira Sachs’ endearing yet rigorously unsentimental family drama. You may relish conflict in movies; I savor unexpected moments of connection and tenderness. \u003cem>Love is Strange\u003c/em> gives us a precious handful, notably a late-night conversation in which Lithgow’s usually oblivious character offers encouragement — and conveys some understanding — to the justifiably resentful teenager compelled by circumstances to share his personal space (i.e., his bunk bed) with an much older gay relative.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/boyhood.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/boyhood.jpg\" alt=\"boyhood\" width=\"640\" height=\"449\" class=\"alignright size-full wp-image-10238742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/boyhood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/boyhood-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Boyhood\u003c/h3>\n\u003cp>My first three choices suggest that I identify more with older characters each passing year. In my defense, how could you connect with the bland, blank slate that Richard Linklater chose as the focus of his lengthy, superficial opus? Consequently, the moments I most vividly recall involve Ethan Hawke. Linklater’s decision to use the same actors over a decade-plus of filming produce some unique results — hence \u003cem>Boyhood\u003c/em>’s inclusion on this list — but the film has surprisingly little to say about the way this child’s passions and values were influenced by his family and society. For a coming-of-age story with exceptional character insight that also punches you in the gut, revisit Francois Truffaut’s \u003cem>The 400 Blows\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/calvary2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/calvary2.jpg\" alt=\"calvary2\" width=\"640\" height=\"449\" class=\"alignright size-full wp-image-10238750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/calvary2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/calvary2-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Calvary\u003c/h3>\n\u003cp>The gripping opening scene of John Michael McDonagh’s existential Irish mortality play comprises a single, static shot of a priest’s face in the confession booth as he listens to an unidentified parishioner promise to kill him the following Sunday. Brendan Gleeson’s hulking yet ambivalent portrayal — in complete partnership with McDonagh’s literate, grown-up script — carries the scene and the movie into dark, rich places.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/chelseagirls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/chelseagirls.jpg\" alt=\"chelseagirls\" width=\"640\" height=\"231\" class=\"alignright size-full wp-image-10238749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/chelseagirls.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/chelseagirls-400x144.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Chelsea Girls\u003c/h3>\n\u003cp>Revived by San Francisco Cinematheque at the Castro in November, Andy Warhol’s 1966 double projection, three-and-a half-hour quasi-fictional portrait of denizens of New York’s Chelsea Hotel was one of the weirder pleasures of the year. The parade of fanatically long takes was quintessentially Warholian in that the interminable moments were as central to Warhol’s conception as the compelling ones. I shall long remember Nico standing in a kitchen endlessly trimming her bangs in a hand mirror (file under Innocence), beloved cult figure and in-person guest Mary Woronov skulking and glowering onscreen (No-method Acting) and Pope Ondine shooting speed and going off on some poor woman (Mania).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/listenup2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/listenup2.jpg\" alt=\"listenup2\" width=\"640\" height=\"450\" class=\"alignright size-full wp-image-10238747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/listenup2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/listenup2-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Listen Up Philip \u003c/h3>\n\u003cp>Alex Ross Perry’s frenetic tale of a self-obsessed young novelist features a relentless performance by Jason Schwartzman as the most insufferable subspecies of educated urban schmuck — the kind who thinks that being self-aware and owning it somehow redeems his schmuckiness. Perry, wisely recognizing that audiences need a break from this egomaniac, dispatches Philip for a good, long while to follow his erstwhile girlfriend.\u003c/p>\n\u003cp>Elisabeth Moss (\u003cem>Mad Men\u003c/em>) delivers the best pure, concentrated acting to grace a screen this year, most memorably in a sequence where she wordlessly glides through a sequence of four or five emotions in response to a piece of news.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/overnighters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/overnighters.jpg\" alt=\"overnighters\" width=\"640\" height=\"360\" class=\"alignright size-full wp-image-10238746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/overnighters.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/overnighters-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>The Overnighters\u003c/h3>\n\u003cp>A North Dakota pastor risks alienating his congregation by providing shelter and assistance to the horde of homeless men who’ve come from all over seeking oil-related jobs in this riveting profile by Bay Area documentary filmmaker Jesse Moss. In a strong year for documentaries (so what’s new?), \u003cem>The Overnighters\u003c/em> exposed the post-Depression dislocation and desperation that is pervasive yet somehow invisible (at least on television). I have questions about the doc’s structure and ethics, but there’s no denying the unsettling effectiveness of an awkward dinner-table scene with the minister’s family.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma2.jpg\" alt=\"selma2\" width=\"640\" height=\"360\" class=\"alignright size-full wp-image-10238745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma2-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Selma\u003c/h3>\n\u003cp>I am ticked off, to tell you the truth, that Ava DuVernay’s impeccably mounted and frequently moving reenactment of a pivotal chain of events in the Civil Rights Movement wasn’t booked into theaters a month before Election Day. It’s all about money, of course: Opening on Christmas Day when children are out of school (and will be for the next week or two) will likely result in better box office than an October run. OK, but if the film’s goals include \u003cem>making a difference\u003c/em> — well, you get my point. I suppose I’ll embrace the silver lining, namely that \u003cem>Annie\u003c/em> won’t be the only screen representation of black people that white people will see this holiday season.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mrturner.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mrturner.jpg\" alt=\"mrturner\" width=\"640\" height=\"384\" class=\"alignright size-full wp-image-10238744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mrturner.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mrturner-400x240.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Mr. Turner\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A lovingly rendered period piece that’s all nuance, shadow and light, Mike Leigh’s portrait of British painter J.M.W. Turner consists almost entirely of small moments. There are no heart-wrenching revelations or confessions, no knockdown, drag-out fights. So how to choose a defining image from Leigh’s compositions or Timothy Spall’s fully inhabited performance? I can’t, except to cite any of the many instances of the rotund, top-heavy Turner walking — navigating whatever terrain with supreme self-confidence, accepting the labor required without hesitation, oblivious to other people and seeing what only he can see. We feel we have the experience of being privy to a man living his life, not an actor playing a role or following a script. That may or may not be a kind of magic or miracle, but it is transcendent.\u003c/p>\n\n",
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"excerpt": "A handful of scenes resonate from a mediocre year for film.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year just ending wasn’t a terrible one for movies, but it will be remembered as depressingly uninspired. Earnest craftsmanship is the mantra of the moment, particularly in the risk-phobic American cinema. Consider the siege we’ve endured (especially since Labor Day) of serious, solid movies — including \u003cem>Gone Girl\u003c/em>, \u003cem>Foxcatcher\u003c/em>, \u003cem>Exodus: Gods and Kings\u003c/em>, \u003cem>American Sniper,\u003c/em> \u003cem>The Imitation Game\u003c/em>, \u003cem>Unbroken\u003c/em>, \u003cem>A Most Violent Year\u003c/em> and \u003cem>Still Alice — \u003c/em>that demanded our attention for long hours and repaid us with the briefest flashes of transcendent joy, insight or pathos.\u003c/p>\n\u003cp>It was no easy task summoning memorable moments from the year’s morass, yet here in chronological order are the sequences that, for me, best captured the vitality and intelligent power that movies are capable of expressing.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ida2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ida2.jpg\" alt=\"ida2\" width=\"640\" height=\"420\" class=\"alignright size-full wp-image-10238620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ida2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ida2-400x262.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Ida\u003c/h3>\n\u003cp>Polish-born, English-based writer-director Pawel Pawlikowski returned to his birthplace to make a stark black-and-white moral tale that was not only set in the early 1960s, but designed to look and feel like a movie from that period. Pawlikowski cast a non-professional as a blank-faced, convent-raised young woman on the verge of taking her vows who is first sent to meet the aunt she didn’t know she had. The women consequently embark on a road trip to a nightmare past and potentially freeing future. Among countless haunting sequences in this profound, stripped-down movie, I see the aunt — brilliantly depicted by Agata Kulesz as a ruthlessly idealistic and savagely disappointed Communist long mired in 100 proof cynicism — lighting a cigarette in a bare-bones restaurant and scoping out a nearby male with all the warmth and empathy of a Siberian wolf.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/leweekend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/leweekend.jpg\" alt=\"leweekend\" width=\"640\" height=\"399\" class=\"alignright size-full wp-image-10238621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/leweekend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/leweekend-400x249.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Le Week-End\u003c/h3>\n\u003cp>Leading roles for women were in short supply (so what’s new?), especially for actresses of a certain age. Hanif Kureishi’s screenplay about a long-married and palpably frustrated British couple channeling happier days and looking for lost magic in Paris paired the astonishing Lindsay Duncan with national treasure Jim Broadbent. Duncan is a delicious revelation, by turns scathing and rambunctious, flirty and brutally direct. Her playing of a restaurant scene with Broadbent, especially after the shockingly large check arrives, was one of the year’s high points.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/strangelove.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/strangelove.jpg\" alt=\"strangelove\" width=\"640\" height=\"397\" class=\"alignright size-full wp-image-10238636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/strangelove.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/strangelove-400x248.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Love Is Strange\u003c/h3>\n\u003cp>Another older couple, the newly married gay men portrayed by Alfred Molina and John Lithgow, supplies the heart and soulfulness of Ira Sachs’ endearing yet rigorously unsentimental family drama. You may relish conflict in movies; I savor unexpected moments of connection and tenderness. \u003cem>Love is Strange\u003c/em> gives us a precious handful, notably a late-night conversation in which Lithgow’s usually oblivious character offers encouragement — and conveys some understanding — to the justifiably resentful teenager compelled by circumstances to share his personal space (i.e., his bunk bed) with an much older gay relative.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/boyhood.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/boyhood.jpg\" alt=\"boyhood\" width=\"640\" height=\"449\" class=\"alignright size-full wp-image-10238742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/boyhood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/boyhood-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Boyhood\u003c/h3>\n\u003cp>My first three choices suggest that I identify more with older characters each passing year. In my defense, how could you connect with the bland, blank slate that Richard Linklater chose as the focus of his lengthy, superficial opus? Consequently, the moments I most vividly recall involve Ethan Hawke. Linklater’s decision to use the same actors over a decade-plus of filming produce some unique results — hence \u003cem>Boyhood\u003c/em>’s inclusion on this list — but the film has surprisingly little to say about the way this child’s passions and values were influenced by his family and society. For a coming-of-age story with exceptional character insight that also punches you in the gut, revisit Francois Truffaut’s \u003cem>The 400 Blows\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/calvary2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/calvary2.jpg\" alt=\"calvary2\" width=\"640\" height=\"449\" class=\"alignright size-full wp-image-10238750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/calvary2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/calvary2-400x280.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Calvary\u003c/h3>\n\u003cp>The gripping opening scene of John Michael McDonagh’s existential Irish mortality play comprises a single, static shot of a priest’s face in the confession booth as he listens to an unidentified parishioner promise to kill him the following Sunday. Brendan Gleeson’s hulking yet ambivalent portrayal — in complete partnership with McDonagh’s literate, grown-up script — carries the scene and the movie into dark, rich places.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/chelseagirls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/chelseagirls.jpg\" alt=\"chelseagirls\" width=\"640\" height=\"231\" class=\"alignright size-full wp-image-10238749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/chelseagirls.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/chelseagirls-400x144.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Chelsea Girls\u003c/h3>\n\u003cp>Revived by San Francisco Cinematheque at the Castro in November, Andy Warhol’s 1966 double projection, three-and-a half-hour quasi-fictional portrait of denizens of New York’s Chelsea Hotel was one of the weirder pleasures of the year. The parade of fanatically long takes was quintessentially Warholian in that the interminable moments were as central to Warhol’s conception as the compelling ones. I shall long remember Nico standing in a kitchen endlessly trimming her bangs in a hand mirror (file under Innocence), beloved cult figure and in-person guest Mary Woronov skulking and glowering onscreen (No-method Acting) and Pope Ondine shooting speed and going off on some poor woman (Mania).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/listenup2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/listenup2.jpg\" alt=\"listenup2\" width=\"640\" height=\"450\" class=\"alignright size-full wp-image-10238747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/listenup2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/listenup2-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Listen Up Philip \u003c/h3>\n\u003cp>Alex Ross Perry’s frenetic tale of a self-obsessed young novelist features a relentless performance by Jason Schwartzman as the most insufferable subspecies of educated urban schmuck — the kind who thinks that being self-aware and owning it somehow redeems his schmuckiness. Perry, wisely recognizing that audiences need a break from this egomaniac, dispatches Philip for a good, long while to follow his erstwhile girlfriend.\u003c/p>\n\u003cp>Elisabeth Moss (\u003cem>Mad Men\u003c/em>) delivers the best pure, concentrated acting to grace a screen this year, most memorably in a sequence where she wordlessly glides through a sequence of four or five emotions in response to a piece of news.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/overnighters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/overnighters.jpg\" alt=\"overnighters\" width=\"640\" height=\"360\" class=\"alignright size-full wp-image-10238746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/overnighters.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/overnighters-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>The Overnighters\u003c/h3>\n\u003cp>A North Dakota pastor risks alienating his congregation by providing shelter and assistance to the horde of homeless men who’ve come from all over seeking oil-related jobs in this riveting profile by Bay Area documentary filmmaker Jesse Moss. In a strong year for documentaries (so what’s new?), \u003cem>The Overnighters\u003c/em> exposed the post-Depression dislocation and desperation that is pervasive yet somehow invisible (at least on television). I have questions about the doc’s structure and ethics, but there’s no denying the unsettling effectiveness of an awkward dinner-table scene with the minister’s family.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma2.jpg\" alt=\"selma2\" width=\"640\" height=\"360\" class=\"alignright size-full wp-image-10238745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma2-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Selma\u003c/h3>\n\u003cp>I am ticked off, to tell you the truth, that Ava DuVernay’s impeccably mounted and frequently moving reenactment of a pivotal chain of events in the Civil Rights Movement wasn’t booked into theaters a month before Election Day. It’s all about money, of course: Opening on Christmas Day when children are out of school (and will be for the next week or two) will likely result in better box office than an October run. OK, but if the film’s goals include \u003cem>making a difference\u003c/em> — well, you get my point. I suppose I’ll embrace the silver lining, namely that \u003cem>Annie\u003c/em> won’t be the only screen representation of black people that white people will see this holiday season.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mrturner.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mrturner.jpg\" alt=\"mrturner\" width=\"640\" height=\"384\" class=\"alignright size-full wp-image-10238744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mrturner.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mrturner-400x240.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003ch3>Mr. Turner\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A lovingly rendered period piece that’s all nuance, shadow and light, Mike Leigh’s portrait of British painter J.M.W. Turner consists almost entirely of small moments. There are no heart-wrenching revelations or confessions, no knockdown, drag-out fights. So how to choose a defining image from Leigh’s compositions or Timothy Spall’s fully inhabited performance? I can’t, except to cite any of the many instances of the rotund, top-heavy Turner walking — navigating whatever terrain with supreme self-confidence, accepting the labor required without hesitation, oblivious to other people and seeing what only he can see. We feel we have the experience of being privy to a man living his life, not an actor playing a role or following a script. That may or may not be a kind of magic or miracle, but it is transcendent.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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