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"title": "Latin American Icon Simon Bolivar Gets Biopic Treatment In 'Liberator'",
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"content": "\u003cp>The new film \u003cem>The Liberator\u003c/em> is an attempt to bring the epic story of Simon Bolivar, the George Washington of Latin America, to international audiences. Directed by Venezuelan filmmaker Alberto Arvelo, it’s one of the most expensive Latin American productions to date and features epic battle scenes, rousing speeches and stunning landscapes in the spirit of historical epics like \u003cem>Braveheart\u003c/em>.\u003c/p>\n\u003cp>Bolivar liberated six Latin American countries from Spanish rule in the early 19th century and dreamed of forming a unified Latin America. Although he died almost 200 years ago, Arvelo says his legacy lives on in the politics and artistic life of the continent today: “It’s this energy that people felt that’s still alive. … For me and for all the people behind the film, we didn’t understand at the beginning why we don’t have a film about Simon Bolivar. I mean, that’s incredible.”\u003c/p>\n\u003cp>http://youtu.be/Ws0xmkOYYVk\u003c/p>\n\u003cp>\u003cem>The Liberator\u003c/em> was independently financed by Spanish and Venezuelan producers and its wide release speaks to an attempt by the filmmakers to make a global, Spanish-language epic. It stars Edgar Ramirez (an emerging star of both independent and Hollywood cinema), features an international cast and has an original score written by renowned Venezuelan conductor Gustavo Dudamel.\u003c/p>\n\u003cp>Edgar Ramirez says the film’s international style reflects Latin America itself: “It’s a film from Latin America that has influences from a lot of different ways of making movies, and that’s fundamentally what Latin America is all about: having different influences from all over the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the U.S., the film will be shown in art-house cinemas in cities like New York and Los Angeles, as well as in Spanish-speaking communities in California and Texas. According to\u003cstrong> \u003c/strong>film distributor Daniel Battsek, \u003cem>The Liberator\u003c/em> addresses the absence of quality Latin American stories in a country with a growing Hispanic community.\u003c/p>\n\u003cp>“I don’t know that much about South America and I think that film is a great medium for both entertaining but also giving information,” he says. “And I think \u003cem>The Liberator\u003c/em> does a very good job of sort of being entertaining and giving you an interesting piece of history that is inspiring.”\u003c/p>\n\u003cp>But \u003ca href=\"http://www.npr.org/2013/04/13/176783269/enshrined-and-oft-invoked-simon-bolivar-lives-on\">Bolivar biographer Marie Arana\u003c/a> says while the film is certainly beautiful, “there’s the matter of history — the small matter of history!” Arana was invited to introduce the film at the American Film Institute and as she watched the finished version, she was disappointed by what she found to be a shallow reading of Bolivar’s life and legacy. For one, she says lead actor Edgar Ramirez looks nothing like Simon Bolivar.\u003c/p>\n\u003cp>“He was a physically slight man: He was 5’6″, barely 130 pounds; he had a very meager chest, he had spindly legs, he had hands that were small and delicate like a woman’s almost,” she says. “And the figure that we see on the screen, Edgar Ramirez, is big, handsome, chunky, hunky.”\u003c/p>\n\u003cp>Arana says it’s especially important to get Bolivar’s story right because of all the ways in which it’s been wronged.\u003c/p>\n\u003cp>“In the past 200 years since Bolivar died, his legacy has been manipulated in so many ways. I mean, two Venezuelan presidents exhumed his bones and reburied him and tried to cloak themselves in his glory. … You know, Francisco Franco, who was the right-wing dictator of Spain, and Augusto Pinochet, who was the right-wing dictator of Chile, took him as their hero, and so did the revolutionaries, like Fidel Castro and Che Guevera. So this is a life that has been used for many purposes.”\u003c/p>\n\u003cp>One of the ideas the film gets right, Arana says, is the multiracial face of Bolivar’s revolution. On screen, as in real life, Bolivar sees a colonial system steeped in inequality, racial hierarchy and slavery, and fights to dismantle those divisions. For Edgar Ramirez, that legacy of Bolivar’s liberation still matters because “one of the greatest debates in Latin America will always be the social gap between rich people and poor people and that is something we inherited from colonial times. … There were so many privileges within the colonial system given by social position and racial background. That, I think, has affected how our societies developed and Bolivar was very aware of that.”\u003c/p>\n\u003cp>And because of Bolivar’s impassioned campaign for abolition, Ramirez says, his story in South America is connected to the North American story. “Abolition had started, the process had started, already in South America three or four decades before Lincoln’s time,” he says. “But those three generations — Washington, Bolivar and Lincoln — they are probably the greatest generations that this entire continent has ever given. And the values of Enlightenment were completely carried out about by these generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the film’s imperfections, biographer Marie Arana says she hopes that audiences will see it as an entry point to understand the man and the landscape that made modern Latin America. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Latin+American+Icon+Simon+Bolivar+Gets+Biopic+Treatment+In+%27Liberator%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new film \u003cem>The Liberator\u003c/em> is an attempt to bring the epic story of Simon Bolivar, the George Washington of Latin America, to international audiences. Directed by Venezuelan filmmaker Alberto Arvelo, it’s one of the most expensive Latin American productions to date and features epic battle scenes, rousing speeches and stunning landscapes in the spirit of historical epics like \u003cem>Braveheart\u003c/em>.\u003c/p>\n\u003cp>Bolivar liberated six Latin American countries from Spanish rule in the early 19th century and dreamed of forming a unified Latin America. Although he died almost 200 years ago, Arvelo says his legacy lives on in the politics and artistic life of the continent today: “It’s this energy that people felt that’s still alive. … For me and for all the people behind the film, we didn’t understand at the beginning why we don’t have a film about Simon Bolivar. I mean, that’s incredible.”\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/Ws0xmkOYYVk'\n title='//www.youtube.com/embed/Ws0xmkOYYVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Liberator\u003c/em> was independently financed by Spanish and Venezuelan producers and its wide release speaks to an attempt by the filmmakers to make a global, Spanish-language epic. It stars Edgar Ramirez (an emerging star of both independent and Hollywood cinema), features an international cast and has an original score written by renowned Venezuelan conductor Gustavo Dudamel.\u003c/p>\n\u003cp>Edgar Ramirez says the film’s international style reflects Latin America itself: “It’s a film from Latin America that has influences from a lot of different ways of making movies, and that’s fundamentally what Latin America is all about: having different influences from all over the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the U.S., the film will be shown in art-house cinemas in cities like New York and Los Angeles, as well as in Spanish-speaking communities in California and Texas. According to\u003cstrong> \u003c/strong>film distributor Daniel Battsek, \u003cem>The Liberator\u003c/em> addresses the absence of quality Latin American stories in a country with a growing Hispanic community.\u003c/p>\n\u003cp>“I don’t know that much about South America and I think that film is a great medium for both entertaining but also giving information,” he says. “And I think \u003cem>The Liberator\u003c/em> does a very good job of sort of being entertaining and giving you an interesting piece of history that is inspiring.”\u003c/p>\n\u003cp>But \u003ca href=\"http://www.npr.org/2013/04/13/176783269/enshrined-and-oft-invoked-simon-bolivar-lives-on\">Bolivar biographer Marie Arana\u003c/a> says while the film is certainly beautiful, “there’s the matter of history — the small matter of history!” Arana was invited to introduce the film at the American Film Institute and as she watched the finished version, she was disappointed by what she found to be a shallow reading of Bolivar’s life and legacy. For one, she says lead actor Edgar Ramirez looks nothing like Simon Bolivar.\u003c/p>\n\u003cp>“He was a physically slight man: He was 5’6″, barely 130 pounds; he had a very meager chest, he had spindly legs, he had hands that were small and delicate like a woman’s almost,” she says. “And the figure that we see on the screen, Edgar Ramirez, is big, handsome, chunky, hunky.”\u003c/p>\n\u003cp>Arana says it’s especially important to get Bolivar’s story right because of all the ways in which it’s been wronged.\u003c/p>\n\u003cp>“In the past 200 years since Bolivar died, his legacy has been manipulated in so many ways. I mean, two Venezuelan presidents exhumed his bones and reburied him and tried to cloak themselves in his glory. … You know, Francisco Franco, who was the right-wing dictator of Spain, and Augusto Pinochet, who was the right-wing dictator of Chile, took him as their hero, and so did the revolutionaries, like Fidel Castro and Che Guevera. So this is a life that has been used for many purposes.”\u003c/p>\n\u003cp>One of the ideas the film gets right, Arana says, is the multiracial face of Bolivar’s revolution. On screen, as in real life, Bolivar sees a colonial system steeped in inequality, racial hierarchy and slavery, and fights to dismantle those divisions. For Edgar Ramirez, that legacy of Bolivar’s liberation still matters because “one of the greatest debates in Latin America will always be the social gap between rich people and poor people and that is something we inherited from colonial times. … There were so many privileges within the colonial system given by social position and racial background. That, I think, has affected how our societies developed and Bolivar was very aware of that.”\u003c/p>\n\u003cp>And because of Bolivar’s impassioned campaign for abolition, Ramirez says, his story in South America is connected to the North American story. “Abolition had started, the process had started, already in South America three or four decades before Lincoln’s time,” he says. “But those three generations — Washington, Bolivar and Lincoln — they are probably the greatest generations that this entire continent has ever given. And the values of Enlightenment were completely carried out about by these generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the film’s imperfections, biographer Marie Arana says she hopes that audiences will see it as an entry point to understand the man and the landscape that made modern Latin America. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Latin+American+Icon+Simon+Bolivar+Gets+Biopic+Treatment+In+%27Liberator%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 to Watch: Local Filmmakers at the Mill Valley Film Festival",
"headTitle": "5 to Watch: Local Filmmakers at the Mill Valley 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/events/pick/mill-valley-film-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Mill Valley Film Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Local filmmakers lead the pack\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 2 – 12\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">various Marin theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/mill-valley-film-festival/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Once upon a time, Marin County’s lifestyle of laidback luxury — hot tubs, peacock feathers, Stinson Beach, Bolinas weed, mountain hikes and mountain bikes, wine-soaked sunsets, teenage BMW drivers — was a popular target for \u003ci>Tonight Show\u003c/i> monologists and \u003ca href=\"http://en.wikipedia.org/wiki/Holy_City_Zoo\" target=\"_blank\" rel=\"noopener\">Holy City Zoo\u003c/a> comics. Its flagship movie shindig, the Mill Valley Film Festival, was dismissed by San Franciscans as a Hollywood star-speckled excuse for spoiled housefraus to model their designer dresses and gems. The perception lingered that provocative films were avoided lest they prick the audience’s balloon of complacency.\u003c/p>\n\u003cp>Nowadays, San Francisco is the Northern California capital of nouveau riche self-indulgence. Meanwhile, population growth in Marin County and the wine country has made commuting on 101 (especially around San Rafael) a daily headache. Most interestingly, the Mill Valley Film Festival (October 2-12, 2014) has evolved into a prime showcase for social-issue filmmaking, with a commitment to premiering new work by Bay Area directors. Here are five choice cuts from the dozen or so titles by locals.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Bridge to a Border\u003c/em>\u003c/strong>\u003cbr>by Rob Nilsson\u003c/p>\n\u003cp>The East Bay’s prolific poet laureate of grit-streaked, would-be American dreamers has been given a seemingly permanent home at MVFF to present his latest film every fall. As MVFF’s de facto artist in residence, Nilsson is a powerful corrective — with his dramas of working-class men and women raging against the machine’s cogs — to the archaic notion that the festival’s core crowd is one per-centers. A thriller about a radical group bent on galvanizing the world’s attention through a domestic action, \u003cem>A Bridge to a Border\u003c/em> expresses Nilsson’s lifelong populist convictions with greater-than-usual urgency.\u003c/p>\n\u003cfigure id=\"attachment_10143200\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/inplainsight_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/inplainsight_tkt.jpg\" alt=\"<i>In Plain Sight</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/inplainsight_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/inplainsight_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>In Plain Sight\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>In Plain Sight\u003c/em>\u003c/strong>\u003cbr>by Erica Jordan\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Best known as a director of ephemeral, beautifully shot and deeply personal narrative features made on a shoestring (\u003cem>In the Wake\u003c/em>, \u003cem>Walls of Sand\u003c/em>), Jordan shadows kindred spirit and portrait photographer Lisa Kristine in this rewarding one-hour documentary. Kristine’s work marries fine art and social justice to redefine photojournalism. Kristine embarks on a quest, with Jordan by her side, to photograph the enslaved prostitutes of Kolkata, India, and we are privileged to be witnesses.\u003c/p>\n\u003cfigure id=\"attachment_10143201\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/racingtozero_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/racingtozero_tkt.jpg\" alt=\"<em>Racing to Zero: In Pursuit of Zero Waste</em>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/racingtozero_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/racingtozero_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Racing to Zero: In Pursuit of Zero Waste\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Racing to Zero: In Pursuit of Zero Waste\u003c/em>\u003c/strong>\u003cbr>by Christopher Beaver\u003c/p>\n\u003cp>This kinetic documentary unfolds, literally, in our own extended backyard. Venerable San Francisco filmmaker Chris Beaver (\u003cem>Dark Circle\u003c/em>; \u003cem>Tulare, The Phantom Lake\u003c/em>) takes us on a colorful, fast-paced tour of the various processes, entities and protagonists catalyzed by S.F.’s Department of the Environment to recycle, reuse and compost our garbage. By making the invisible visible, and showing tangible results, \u003cem>Racing to Zero\u003c/em> serves as a gratifying prod to continue our individual efforts to reduce waste and global warming. God knows I need reassurance whenever I consider all the carbons emitted to fly Dick Cheney to a Sunday talk show or to make ice cubes for John Boehner’s highballs.\u003c/p>\n\u003cfigure id=\"attachment_10143202\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/plasticman_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/plasticman_tkt.jpg\" alt=\"<em>Plastic Man: The Artful Life of Jerry Ross Barrish</em>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/plasticman_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/plasticman_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Plastic Man: The Artful Life of Jerry Ross Barrish\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Plastic Man: The Artful Life of Jerry Ross Barrish\u003c/em>\u003c/strong>\u003cbr>by William Farley\u003c/p>\n\u003cp>I first heard of Jerry Barrish in the late ‘80s when the Roxie showed his wonderfully adult and insightful indie feature \u003cem>Shuttlecock\u003c/em>, starring the terrific Ann Block opposite a relatively unknown comedian named Will Durst. Many other people knew Barrish from his bail bonds office across the street from the Hall of Justice on Bryant. Believe it or not, these may be the two least interesting aspects of the man’s life, which has been defined in recent years by the multitude of whimsical, poignant sculptures he crafts from surplus auto parts. Barrish is one of a kind, a San Francisco character and a Bay Area treasure, and Bill Farley’s wide-ranging film captures the man in all his gruff glory.\u003c/p>\n\u003cfigure id=\"attachment_10143203\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt.jpg\" alt=\"States of Grace\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>States of Grace\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>States of Grace\u003c/em>\u003c/strong>\u003cbr>by Helen S. Cohen and Mark Lipman\u003c/p>\n\u003cp>The beloved Dr. Grace Damman was seriously injured in a head-on collision on the Golden Gate Bridge in 2008. Helen Cohen and Mark Lipman diligently documented Damman’s recovery and reinvented life at Green Gulch Farm Zen Center in Muir Beach, where the good doctor reluctantly accepted a change of roles from caregiver to care recipient. It’s a complicated, arduous journey, with partner Fu Schroeder and their adolescent daughter onboard for the sometimes painful, sometimes acerbic, sometimes enlightened ride. Damman’s philosophical-spiritual grounding gives \u003cem>States of Grace\u003c/em> an unmistakable Marin vibe. Some will consider that an enticement while others, stuck in the ‘80s, will nod with knowing condescension. As one-time Marin County resident Van Morrison sang, it’s not easy bein’ green.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Mill Valley Film Festival runs October 2-12, 2014 at various Marin County locations. For \u003ca href=\"http://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit mvff.com.\u003cbr>\n \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/events/pick/mill-valley-film-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Mill Valley Film Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Local filmmakers lead the pack\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 2 – 12\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">various Marin theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/mill-valley-film-festival/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Once upon a time, Marin County’s lifestyle of laidback luxury — hot tubs, peacock feathers, Stinson Beach, Bolinas weed, mountain hikes and mountain bikes, wine-soaked sunsets, teenage BMW drivers — was a popular target for \u003ci>Tonight Show\u003c/i> monologists and \u003ca href=\"http://en.wikipedia.org/wiki/Holy_City_Zoo\" target=\"_blank\" rel=\"noopener\">Holy City Zoo\u003c/a> comics. Its flagship movie shindig, the Mill Valley Film Festival, was dismissed by San Franciscans as a Hollywood star-speckled excuse for spoiled housefraus to model their designer dresses and gems. The perception lingered that provocative films were avoided lest they prick the audience’s balloon of complacency.\u003c/p>\n\u003cp>Nowadays, San Francisco is the Northern California capital of nouveau riche self-indulgence. Meanwhile, population growth in Marin County and the wine country has made commuting on 101 (especially around San Rafael) a daily headache. Most interestingly, the Mill Valley Film Festival (October 2-12, 2014) has evolved into a prime showcase for social-issue filmmaking, with a commitment to premiering new work by Bay Area directors. Here are five choice cuts from the dozen or so titles by locals.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Bridge to a Border\u003c/em>\u003c/strong>\u003cbr>by Rob Nilsson\u003c/p>\n\u003cp>The East Bay’s prolific poet laureate of grit-streaked, would-be American dreamers has been given a seemingly permanent home at MVFF to present his latest film every fall. As MVFF’s de facto artist in residence, Nilsson is a powerful corrective — with his dramas of working-class men and women raging against the machine’s cogs — to the archaic notion that the festival’s core crowd is one per-centers. A thriller about a radical group bent on galvanizing the world’s attention through a domestic action, \u003cem>A Bridge to a Border\u003c/em> expresses Nilsson’s lifelong populist convictions with greater-than-usual urgency.\u003c/p>\n\u003cfigure id=\"attachment_10143200\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/inplainsight_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/inplainsight_tkt.jpg\" alt=\"<i>In Plain Sight</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/inplainsight_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/inplainsight_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>In Plain Sight\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>In Plain Sight\u003c/em>\u003c/strong>\u003cbr>by Erica Jordan\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Best known as a director of ephemeral, beautifully shot and deeply personal narrative features made on a shoestring (\u003cem>In the Wake\u003c/em>, \u003cem>Walls of Sand\u003c/em>), Jordan shadows kindred spirit and portrait photographer Lisa Kristine in this rewarding one-hour documentary. Kristine’s work marries fine art and social justice to redefine photojournalism. Kristine embarks on a quest, with Jordan by her side, to photograph the enslaved prostitutes of Kolkata, India, and we are privileged to be witnesses.\u003c/p>\n\u003cfigure id=\"attachment_10143201\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/racingtozero_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/racingtozero_tkt.jpg\" alt=\"<em>Racing to Zero: In Pursuit of Zero Waste</em>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/racingtozero_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/racingtozero_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Racing to Zero: In Pursuit of Zero Waste\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Racing to Zero: In Pursuit of Zero Waste\u003c/em>\u003c/strong>\u003cbr>by Christopher Beaver\u003c/p>\n\u003cp>This kinetic documentary unfolds, literally, in our own extended backyard. Venerable San Francisco filmmaker Chris Beaver (\u003cem>Dark Circle\u003c/em>; \u003cem>Tulare, The Phantom Lake\u003c/em>) takes us on a colorful, fast-paced tour of the various processes, entities and protagonists catalyzed by S.F.’s Department of the Environment to recycle, reuse and compost our garbage. By making the invisible visible, and showing tangible results, \u003cem>Racing to Zero\u003c/em> serves as a gratifying prod to continue our individual efforts to reduce waste and global warming. God knows I need reassurance whenever I consider all the carbons emitted to fly Dick Cheney to a Sunday talk show or to make ice cubes for John Boehner’s highballs.\u003c/p>\n\u003cfigure id=\"attachment_10143202\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/plasticman_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/plasticman_tkt.jpg\" alt=\"<em>Plastic Man: The Artful Life of Jerry Ross Barrish</em>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/plasticman_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/plasticman_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Plastic Man: The Artful Life of Jerry Ross Barrish\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Plastic Man: The Artful Life of Jerry Ross Barrish\u003c/em>\u003c/strong>\u003cbr>by William Farley\u003c/p>\n\u003cp>I first heard of Jerry Barrish in the late ‘80s when the Roxie showed his wonderfully adult and insightful indie feature \u003cem>Shuttlecock\u003c/em>, starring the terrific Ann Block opposite a relatively unknown comedian named Will Durst. Many other people knew Barrish from his bail bonds office across the street from the Hall of Justice on Bryant. Believe it or not, these may be the two least interesting aspects of the man’s life, which has been defined in recent years by the multitude of whimsical, poignant sculptures he crafts from surplus auto parts. Barrish is one of a kind, a San Francisco character and a Bay Area treasure, and Bill Farley’s wide-ranging film captures the man in all his gruff glory.\u003c/p>\n\u003cfigure id=\"attachment_10143203\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt.jpg\" alt=\"States of Grace\" width=\"640\" height=\"360\" class=\"size-full wp-image-10143203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/statesofgrace_tkt-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>States of Grace\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>States of Grace\u003c/em>\u003c/strong>\u003cbr>by Helen S. Cohen and Mark Lipman\u003c/p>\n\u003cp>The beloved Dr. Grace Damman was seriously injured in a head-on collision on the Golden Gate Bridge in 2008. Helen Cohen and Mark Lipman diligently documented Damman’s recovery and reinvented life at Green Gulch Farm Zen Center in Muir Beach, where the good doctor reluctantly accepted a change of roles from caregiver to care recipient. It’s a complicated, arduous journey, with partner Fu Schroeder and their adolescent daughter onboard for the sometimes painful, sometimes acerbic, sometimes enlightened ride. Damman’s philosophical-spiritual grounding gives \u003cem>States of Grace\u003c/em> an unmistakable Marin vibe. Some will consider that an enticement while others, stuck in the ‘80s, will nod with knowing condescension. As one-time Marin County resident Van Morrison sang, it’s not easy bein’ green.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Mill Valley Film Festival runs October 2-12, 2014 at various Marin County locations. For \u003ca href=\"http://www.mvff.com/\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit mvff.com.\u003cbr>\n \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>PLEASE NOTE: Streaming rights to this film expired on October 7, 2014.\u003c/b>\u003c/p>\n\u003cp>Narrated by Henry Rollins, \u003ci>Last Fast Ride: The Life, Love and Death of a Punk Goddess\u003c/i> tells the story of Marian Anderson, the lead singer of The Insaints. She exploded onto the Bay Area punk scene shortly after arriving from Modesto, California, and established herself as a powerful live act who lived each moment fearlessly until her tragic overdose in 2001.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>By the 1960s, twins George and Mike Kuchar were shaping the underground film scene alongside Andy Warhol and Kenneth Anger. The embodiment of artistic obsession, compulsion, and inspiration, the Kuchars began making no-budget epics in their Bronx neighborhood as kids. Known as the “8mm Mozarts,” the Kuchar brothers openly explored their strict Catholic upbringing and sexual anxiety with campy, irreverent theatrics. Their films have inspired many filmmakers, including John Waters, Atom Egoyan, Guy Maddin, Buck Henry, and Wayne Wang, all interviewed in the film.\u003c/p>\n\u003cp>Tired of the twins gimmick, the Kuchars’ work partnership split so they could explore their own distinct styles. George was outrageously funny, childlike, and prolific, while Mike was deeply consumed with the mysteries of the universe. Nonetheless, the twins shared many motifs: sexuality and obsession, the occult and UFOs, insecurity and loneliness, weather and nature, comics, and perhaps their strongest bond, humor. Like George and Mike, \u003ci>It Came from Kuchar\u003c/i> is quirky, outrageous and invigorating — a film about two brothers who loved to make movies and how their DIY passion has inspired others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>With Cy Musiker out this week, Suzie Racho and David Wiegand scout the Bay Area for things to do and turn up movie stars in Marin, big-time art on the Rock, dueling dancers and plenty more.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/09/20140926tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1433\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/charlies.jpg\" alt=\"Charlie's Country\" width=\"400\" height=\"217\">Mill Valley Film Festival\u003c/h3>\n\u003cp>Despite Metallica as this year’s artists-in-residence, the Mill Valley Film Festival is known as a pretty laid-back affair. The venerable Marin County bash smoothly blends character-driven dramas accompanied by glamorous stars with incisive documentaries introduced by their (often local) filmmakers. 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The Los Angeles garage rockers recently released \u003cem>Ganglion Reef\u003c/em> on the record imprint of garage-pop darling Ty Segall, with whom they’ve been touring for the past few months. Right now, catch them at Rickshaw Stop before they head back into the L.A. foothills. \u003ca href=\"http://ww2.kqed.org/events/pick/wand/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1460\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Yatra.jpg\" alt=\"Yatra: Masters of Kathak and Flamenco\" width=\"400\" height=\"257\">‘Yatra: Masters of Kathak and Flamenco’\u003c/h3>\n\u003cp>Pandit Chitresh Das and Antonio Hidalgo Paz go foot-to-foot to present this amazing collaboration, featuring two distinct yet complimentary styles of regional dance—Kathak and Flamenco. 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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/this-aint-no-mouse-music/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘This Ain’t No Mouse Music’\u003c/h4>\n\u003cdiv class=\"event-desc\">Documentary on Arhoolie Records’ Chris Strachwitz.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 19-25, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Roxie Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/this-aint-no-mouse-music/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you ever wondered what the secret ingredient was in Bay Area documentaries that set them apart, here’s Chris Simon riffing on \u003cem>This Ain’t No Mouse Music\u003c/em>, the soul-recharging portrait of El Cerrito roots-music maven Chris Strachwitz she co-directed with Maureen Gosling. “I think it’s a beautifully handcrafted film,” she says. “It’s down home. And documentaries today, it’s all character or story-driven or politically-driven. Our film is beautiful in all aspects and a lot of people don’t recognize the craft in it because now it seems like [docs are] all about the subject. Chris, of course, is a great subject, but there’s a lot more going on in this film than just the story.”\u003c/p>\n\u003cfigure id=\"attachment_10142471\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pineboys.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pineboys.jpg\" alt=\"Pine Leaf Boys\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pineboys.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pineboys-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pineboys-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pine Leaf Boys\u003c/figcaption>\u003c/figure>\n\u003cp>A rambunctious slice of a life well lived, \u003cem>This Ain’t No Mouse Music\u003c/em> is best described as an experiential documentary. Yes, you’ll learn something about German immigrant Chris Strachwitz, the founder of El Cerrito-based Arhoolie Records and longtime champion of all kinds of indigenous American music rarely heard outside their community. Yes, there’s the sociocultural issue of traditional, authentic music perpetually threatened by mass-marketed “mouse music” (as Strachwitz derisively refers to mainstream fodder).\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Erik Neumann’s KQED News report on \u003ci>This Ain’t No Mouse Music\u003c/i>.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/09/ArhoolieFeature.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Primarily, though, this good-time movie consists of hanging out with Strachwitz and listening to his friends (aka his recording artists) swing, strum, pick and sing. As Simon says, “We wanted to make it like the folks that are watching the film are part of the film.”\u003c/p>\n\u003cfigure id=\"attachment_10142472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/chrisandmaureen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/chrisandmaureen.jpg\" alt=\"Chris and Maureen\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/chrisandmaureen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/chrisandmaureen-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/chrisandmaureen-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris and Maureen\u003c/figcaption>\u003c/figure>\n\u003cp>This approach will sound familiar to fans of the late, great East Bay filmmaker Les Blank (\u003cem>Garlic Is As Good As Ten Mothers\u003c/em>) whose subjects included Lightnin’ Hopkins, Mance Lipscomb, Marc Savoy and numerous other musicians. Simon and Gosling were introduced to documentary filmmaking by Blank and collaborated with him for many years. (Simon was even married to him for two decades.) While it’s accurate to place \u003cem>This Ain’t No Mouse Music\u003c/em> in the Blank mode and tradition, Gosling gently points out that she and Simon were important, long-time contributors to the so-called Blank ethos.\u003c/p>\n\u003cp>Their friendship and association with Strachwitz goes back nearly four decades to \u003cem>Chulas Fronteras\u003c/em> (1976), which brought wider attention to the talents of Flaco Jimenez and other musicians on the Texas-Mexico border. I don’t know how long Simon and Gosling prodded Strachwitz before he agreed to be the focus of \u003cem>This Ain’t No Mouse Music\u003c/em>, but more than a year after the film debuted at SXSW (and exactly a year after its local premiere in the Mill Valley Film Festival) he still sounds reluctant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No, I didn’t want to have a movie made about me,” Starchwitz says with a shy laugh. “I don’t like to be seen and now I feel sort of weird. Can’t hide any more, after these things are out there. But anything to try and sell this music to keep it going. I figure it’s a nice idea and I’m very happy to have lived this incredibly happy life that I’m lucky enough to be part of. So I figured, well, what the heck, it doesn’t hurt. Ain’t gonna kill me.”\u003c/p>\n\u003cp>As the assorted laughter fades, Simon notes, “Certainly it was a problem while we were shooting because we would turn the camera on Chris and he’d go ‘No, no, shoot the musicians.’ He really did not want to be the focus of the film. He wanted the music to shine. Of course, when we got back to the editing room, that was reflected in our footage. So we cut out a lot of great music so we would have a little more of Chris and make him the through line.”\u003c/p>\n\u003cp>“And we had, altogether, over a hundred hours of footage that we shot,” Gosling adds, “and the music, and the archive of his home movies, Les’ films, and Chris’ massive photo archive. I don’t know how many hours, [but] if you added all that up it would be a huge amount to choose from, so it was painful to have to leave out whole musical traditions that couldn’t fit.”\u003c/p>\n\u003cp>Rest assured that the music that made it into the movie, and the scenes of Strachwitz interacting with the musicians (as well as lesser mortals for whom he has little patience) is choice stuff. What’s the secret ingredient? Heart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Ain’t No Mouse Music\u003c/em> opens Friday, Sept. 9, 2014 at the Roxie Theater in San Francisco, Rialto Cinemas Elmwood in Berkeley, Rafael Film Center in San Rafael and Rialto Cinemas Sebastopol in Sebastopol. The filmmakers and/or musical guests will be at various screenings opening weekend. For \u003ca href=\"http://www.argotpictures.com/nomousemusic.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit argotpictures.com.\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/events/pick/this-aint-no-mouse-music/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘This Ain’t No Mouse Music’\u003c/h4>\n\u003cdiv class=\"event-desc\">Documentary on Arhoolie Records’ Chris Strachwitz.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 19-25, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Roxie Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/this-aint-no-mouse-music/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you ever wondered what the secret ingredient was in Bay Area documentaries that set them apart, here’s Chris Simon riffing on \u003cem>This Ain’t No Mouse Music\u003c/em>, the soul-recharging portrait of El Cerrito roots-music maven Chris Strachwitz she co-directed with Maureen Gosling. “I think it’s a beautifully handcrafted film,” she says. “It’s down home. And documentaries today, it’s all character or story-driven or politically-driven. Our film is beautiful in all aspects and a lot of people don’t recognize the craft in it because now it seems like [docs are] all about the subject. Chris, of course, is a great subject, but there’s a lot more going on in this film than just the story.”\u003c/p>\n\u003cfigure id=\"attachment_10142471\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pineboys.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/pineboys.jpg\" alt=\"Pine Leaf Boys\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pineboys.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pineboys-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/pineboys-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pine Leaf Boys\u003c/figcaption>\u003c/figure>\n\u003cp>A rambunctious slice of a life well lived, \u003cem>This Ain’t No Mouse Music\u003c/em> is best described as an experiential documentary. Yes, you’ll learn something about German immigrant Chris Strachwitz, the founder of El Cerrito-based Arhoolie Records and longtime champion of all kinds of indigenous American music rarely heard outside their community. Yes, there’s the sociocultural issue of traditional, authentic music perpetually threatened by mass-marketed “mouse music” (as Strachwitz derisively refers to mainstream fodder).\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Erik Neumann’s KQED News report on \u003ci>This Ain’t No Mouse Music\u003c/i>.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>Primarily, though, this good-time movie consists of hanging out with Strachwitz and listening to his friends (aka his recording artists) swing, strum, pick and sing. As Simon says, “We wanted to make it like the folks that are watching the film are part of the film.”\u003c/p>\n\u003cfigure id=\"attachment_10142472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/chrisandmaureen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/chrisandmaureen.jpg\" alt=\"Chris and Maureen\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/chrisandmaureen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/chrisandmaureen-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/chrisandmaureen-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris and Maureen\u003c/figcaption>\u003c/figure>\n\u003cp>This approach will sound familiar to fans of the late, great East Bay filmmaker Les Blank (\u003cem>Garlic Is As Good As Ten Mothers\u003c/em>) whose subjects included Lightnin’ Hopkins, Mance Lipscomb, Marc Savoy and numerous other musicians. Simon and Gosling were introduced to documentary filmmaking by Blank and collaborated with him for many years. (Simon was even married to him for two decades.) While it’s accurate to place \u003cem>This Ain’t No Mouse Music\u003c/em> in the Blank mode and tradition, Gosling gently points out that she and Simon were important, long-time contributors to the so-called Blank ethos.\u003c/p>\n\u003cp>Their friendship and association with Strachwitz goes back nearly four decades to \u003cem>Chulas Fronteras\u003c/em> (1976), which brought wider attention to the talents of Flaco Jimenez and other musicians on the Texas-Mexico border. I don’t know how long Simon and Gosling prodded Strachwitz before he agreed to be the focus of \u003cem>This Ain’t No Mouse Music\u003c/em>, but more than a year after the film debuted at SXSW (and exactly a year after its local premiere in the Mill Valley Film Festival) he still sounds reluctant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No, I didn’t want to have a movie made about me,” Starchwitz says with a shy laugh. “I don’t like to be seen and now I feel sort of weird. Can’t hide any more, after these things are out there. But anything to try and sell this music to keep it going. I figure it’s a nice idea and I’m very happy to have lived this incredibly happy life that I’m lucky enough to be part of. So I figured, well, what the heck, it doesn’t hurt. Ain’t gonna kill me.”\u003c/p>\n\u003cp>As the assorted laughter fades, Simon notes, “Certainly it was a problem while we were shooting because we would turn the camera on Chris and he’d go ‘No, no, shoot the musicians.’ He really did not want to be the focus of the film. He wanted the music to shine. Of course, when we got back to the editing room, that was reflected in our footage. So we cut out a lot of great music so we would have a little more of Chris and make him the through line.”\u003c/p>\n\u003cp>“And we had, altogether, over a hundred hours of footage that we shot,” Gosling adds, “and the music, and the archive of his home movies, Les’ films, and Chris’ massive photo archive. I don’t know how many hours, [but] if you added all that up it would be a huge amount to choose from, so it was painful to have to leave out whole musical traditions that couldn’t fit.”\u003c/p>\n\u003cp>Rest assured that the music that made it into the movie, and the scenes of Strachwitz interacting with the musicians (as well as lesser mortals for whom he has little patience) is choice stuff. What’s the secret ingredient? Heart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Ain’t No Mouse Music\u003c/em> opens Friday, Sept. 9, 2014 at the Roxie Theater in San Francisco, Rialto Cinemas Elmwood in Berkeley, Rafael Film Center in San Rafael and Rialto Cinemas Sebastopol in Sebastopol. The filmmakers and/or musical guests will be at various screenings opening weekend. For \u003ca href=\"http://www.argotpictures.com/nomousemusic.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit argotpictures.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "5 Old Movies That Actually Should Be Remade",
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"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cstrong>\u003cimg class=\"aligncenter wp-image-13498\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/poster.png\" alt=\"poster\" width=\"640\" height=\"460\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/poster.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/poster-400x287.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">By Adam Wenger\u003c/strong>\u003c/p>\n\u003cp>Afraid of risk and happy to continuously mine the past, Hollywood has become remake happy. But rarely do the studios redo movies that actually should be remade. Another Spider-Man? No thank you. A Michael Bay adulterated Teenage Mutant Ninja Turtles? Cowabunga-no. What Hollywood needs to do is remake old films that are either forgotten or had promise but failed to deliver. Here are five that deserve another chance.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Super Mario Bros.\u003c/strong> (1993)\u003c/p>\n\u003cp>http://youtu.be/wtMZKYnLg5c\u003c/p>\n\u003cp>The world's greatest video game franchise spawned one of the most bizarre, disappointing movies of the '90s. A critical and commercial disaster, \u003cem>Super Mario Bros.\u003c/em> flushed away the hopes and dreams of a built-in fanbase.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bob Hoskins, who played Mario, hated the movie. He told \u003cem>The Guardian\u003c/em> in a 2011 interview that \u003cem>Super Mario Bros.\u003c/em> was the biggest disappointment of his life, the worst job he's ever done, and the one thing he would like to edit from his past. John Leguizamo, who played Luigi, wrote in his 2007 autobiography that he and Hoskins repeatedly got drunk on set in order to alleviate the pain associated with filming.\u003c/p>\n\u003cp>It's time the classic video game got a second chance on the big screen. Personal nostalgia notwithstanding, the Italian plumbers remain culturally relevant, and commercially viable. Case in point: Nintendo's \u003ca href=\"http://www.ign.com/articles/2014/05/07/nintendo-updates-best-selling-wii-u-and-3ds-games-list\">best-selling Wii U game\u003c/a> of 2014 is Super Mario Bros. U, while three of the top five best-selling Nintendo 3DS games are Mario-related titles.\u003c/p>\n\u003cp>\u003cem>Fun fact: You can \u003ca href=\"https://www.youtube.com/watch?v=UGGS0YozIgk\">watch the entire 1993 movie on YouTube\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>1984\u003c/strong> (1984)\u003c/p>\n\u003cp>http://youtu.be/Z4rBDUJTnNU\u003c/p>\n\u003cp>George Orwell's dystopian masterpiece has inspired a slew of post-apocalyptic screenplays. Yet 1984 hasn't had a big screen adaptation in 30 years. The British film that fittingly came out in 1984 is wonderfully underrated. It's also dated and due for a big-budget makeover.\u003c/p>\n\u003cp>Thanks to the NSA's omnipresent web of surveillance, Orwell's vision of Big Brother becomes more prescient by the day. The book, originally published in 1949, is currently the 65th best-selling novel (and No. 1 satire) on Amazon. What's Hollywood waiting for?\u003c/p>\n\u003cp>\u003cem>Fun fact: The film's hero, Winston Smith, is played by British actor John Hurt, who ironically stars as the sinister Big Brother-like High Chancellor in \u003c/em>V for Vendetta.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Long Goodbye\u003c/strong> (1973)\u003c/p>\n\u003cp>http://youtu.be/GeNyD9UFXHs\u003c/p>\n\u003cp>In 1973, Elliot Gould (a.k.a. Ross' dad in \u003cem>Friends\u003c/em>) starred in a very strange adaptation of Raymond Chandler's \u003cem>The Long Goodbye\u003c/em>. It's not a bad movie by any stretch. It's just nothing like the actual novel. Given over 125,000 words of a best-selling, critically-acclaimed book to work with, director Robert Altman chose to deviate wildly from the source material, creating a neo-noir, '70s satire, that left fans of the novel bemused, if not angry.\u003c/p>\n\u003cp>It's been ages since Hollywood gave us great noir. So long that, when the last excellent entry, \u003cem>LA Confidential\u003c/em>, hit theaters, just one in five Americans used the Internet. The year was 1997.\u003c/p>\n\u003cp>For an industry that's seemingly terrified of risk, \u003cem>The Long Goodbye\u003c/em> offers Hollywood a gripping, brooding story that's proven to entertain, and deserving of another big screen go.\u003c/p>\n\u003cp>\u003cem> Fun fact: A shirtless Arnold Schwarzenegger has a bit role in the film.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Troy\u003c/strong> (2004)\u003c/p>\n\u003cp>http://youtu.be/IKQhUzxlml8\u003c/p>\n\u003cp>Epic battles. Swordplay. Seduction. Peter O'Toole's eyes. Brad Pitt's hair. \u003cem>Troy\u003c/em>, based on Homer's \u003cem>The Iliad\u003c/em>, should have been the Greek mythology version of \u003cem>Gladiator\u003c/em> -- an arresting celebration of stylized, testosterone-packed drama. Instead it was overblown, overlong (163 minutes, to be exact) and filled with clichés.\u003c/p>\n\u003cp>All that potential, wasted. But that's okay because Hollywood champions the second chance. Or in the case of \u003cem>The Three Musketeers\u003c/em>, a few dozen chances...but I digress. Of Hollywood's myriad fantasy-adventure failures (think: \u003cem>Clash of the Titans\u003c/em>, \u003cem>Beowulf\u003c/em>, \u003cem>King Arthur\u003c/em>) only Troy deserves a proper do over. Why? Because if the Coen brothers could turn Homer's \u003cem>Odyssey\u003c/em> into a brilliant, quasi folk musical, surely someone can do \u003cem>The Iliad\u003c/em> justice.\u003c/p>\n\u003cp>\u003cem>Fun fact: The director's cut is 196 minutes long, if you were looking to torture yourself.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Indian in the Cupboard\u003c/strong> (1995)\u003c/p>\n\u003cp>http://vimeo.com/44058212\u003c/p>\n\u003cp>Based off the wildly successful children's book of the same name, \u003cem>The Indian in the Cupboard\u003c/em> nevertheless flopped at the box office. Not because it was misunderstood, but because it was bad. Mediocre special effects and racist stereotypes weren't enough to distract from canned dialogue and bad child acting. But the story itself is the stuff of every kid's dream: put your toys in a cupboard and watch them magically come to life! What little boy wouldn't instantly trade every dime in his piggy bank for that ability?\u003c/p>\n\u003cp>\u003cem>Fun fact: The film was directed by Frank Oz, better known as the voice of Miss Piggy, Cookie Monster and Yoda.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Honorable mentions:\u003c/strong> Any Zack Snyder movie, the Star Wars prequels, and \u003cem>Hercules in New York\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cimg class=\"aligncenter wp-image-13498\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/poster.png\" alt=\"poster\" width=\"640\" height=\"460\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/poster.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/poster-400x287.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">By Adam Wenger\u003c/strong>\u003c/p>\n\u003cp>Afraid of risk and happy to continuously mine the past, Hollywood has become remake happy. But rarely do the studios redo movies that actually should be remade. Another Spider-Man? No thank you. A Michael Bay adulterated Teenage Mutant Ninja Turtles? Cowabunga-no. What Hollywood needs to do is remake old films that are either forgotten or had promise but failed to deliver. Here are five that deserve another chance.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Super Mario Bros.\u003c/strong> (1993)\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/wtMZKYnLg5c'\n title='//www.youtube.com/embed/wtMZKYnLg5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The world's greatest video game franchise spawned one of the most bizarre, disappointing movies of the '90s. A critical and commercial disaster, \u003cem>Super Mario Bros.\u003c/em> flushed away the hopes and dreams of a built-in fanbase.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bob Hoskins, who played Mario, hated the movie. He told \u003cem>The Guardian\u003c/em> in a 2011 interview that \u003cem>Super Mario Bros.\u003c/em> was the biggest disappointment of his life, the worst job he's ever done, and the one thing he would like to edit from his past. John Leguizamo, who played Luigi, wrote in his 2007 autobiography that he and Hoskins repeatedly got drunk on set in order to alleviate the pain associated with filming.\u003c/p>\n\u003cp>It's time the classic video game got a second chance on the big screen. Personal nostalgia notwithstanding, the Italian plumbers remain culturally relevant, and commercially viable. Case in point: Nintendo's \u003ca href=\"http://www.ign.com/articles/2014/05/07/nintendo-updates-best-selling-wii-u-and-3ds-games-list\">best-selling Wii U game\u003c/a> of 2014 is Super Mario Bros. U, while three of the top five best-selling Nintendo 3DS games are Mario-related titles.\u003c/p>\n\u003cp>\u003cem>Fun fact: You can \u003ca href=\"https://www.youtube.com/watch?v=UGGS0YozIgk\">watch the entire 1993 movie on YouTube\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>1984\u003c/strong> (1984)\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/Z4rBDUJTnNU'\n title='//www.youtube.com/embed/Z4rBDUJTnNU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>George Orwell's dystopian masterpiece has inspired a slew of post-apocalyptic screenplays. Yet 1984 hasn't had a big screen adaptation in 30 years. The British film that fittingly came out in 1984 is wonderfully underrated. It's also dated and due for a big-budget makeover.\u003c/p>\n\u003cp>Thanks to the NSA's omnipresent web of surveillance, Orwell's vision of Big Brother becomes more prescient by the day. The book, originally published in 1949, is currently the 65th best-selling novel (and No. 1 satire) on Amazon. What's Hollywood waiting for?\u003c/p>\n\u003cp>\u003cem>Fun fact: The film's hero, Winston Smith, is played by British actor John Hurt, who ironically stars as the sinister Big Brother-like High Chancellor in \u003c/em>V for Vendetta.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Long Goodbye\u003c/strong> (1973)\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/GeNyD9UFXHs'\n title='//www.youtube.com/embed/GeNyD9UFXHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1973, Elliot Gould (a.k.a. Ross' dad in \u003cem>Friends\u003c/em>) starred in a very strange adaptation of Raymond Chandler's \u003cem>The Long Goodbye\u003c/em>. It's not a bad movie by any stretch. It's just nothing like the actual novel. Given over 125,000 words of a best-selling, critically-acclaimed book to work with, director Robert Altman chose to deviate wildly from the source material, creating a neo-noir, '70s satire, that left fans of the novel bemused, if not angry.\u003c/p>\n\u003cp>It's been ages since Hollywood gave us great noir. So long that, when the last excellent entry, \u003cem>LA Confidential\u003c/em>, hit theaters, just one in five Americans used the Internet. The year was 1997.\u003c/p>\n\u003cp>For an industry that's seemingly terrified of risk, \u003cem>The Long Goodbye\u003c/em> offers Hollywood a gripping, brooding story that's proven to entertain, and deserving of another big screen go.\u003c/p>\n\u003cp>\u003cem> Fun fact: A shirtless Arnold Schwarzenegger has a bit role in the film.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Troy\u003c/strong> (2004)\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/IKQhUzxlml8'\n title='//www.youtube.com/embed/IKQhUzxlml8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Epic battles. Swordplay. Seduction. Peter O'Toole's eyes. Brad Pitt's hair. \u003cem>Troy\u003c/em>, based on Homer's \u003cem>The Iliad\u003c/em>, should have been the Greek mythology version of \u003cem>Gladiator\u003c/em> -- an arresting celebration of stylized, testosterone-packed drama. Instead it was overblown, overlong (163 minutes, to be exact) and filled with clichés.\u003c/p>\n\u003cp>All that potential, wasted. But that's okay because Hollywood champions the second chance. Or in the case of \u003cem>The Three Musketeers\u003c/em>, a few dozen chances...but I digress. Of Hollywood's myriad fantasy-adventure failures (think: \u003cem>Clash of the Titans\u003c/em>, \u003cem>Beowulf\u003c/em>, \u003cem>King Arthur\u003c/em>) only Troy deserves a proper do over. Why? 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Based off the wildly successful children's book of the same name, \u003cem>The Indian in the Cupboard\u003c/em> nevertheless flopped at the box office. Not because it was misunderstood, but because it was bad. Mediocre special effects and racist stereotypes weren't enough to distract from canned dialogue and bad child acting. But the story itself is the stuff of every kid's dream: put your toys in a cupboard and watch them magically come to life! What little boy wouldn't instantly trade every dime in his piggy bank for that ability?\u003c/p>\n\u003cp>\u003cem>Fun fact: The film was directed by Frank Oz, better known as the voice of Miss Piggy, Cookie Monster and Yoda.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Honorable mentions:\u003c/strong> Any Zack Snyder movie, the Star Wars prequels, and \u003cem>Hercules in New York\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Memphis\u003c/em> and \u003cem>God Help the Girl\u003c/em> are both musicals of a sort, and portraits of musical capitals of a sort. The first is set in the home of some of soul music’s greatest stars, but is too wispy and diffident for the average Otis Redding or Al Green fan. The second plays at being a more mainstream effort, but will appeal mostly to people who are such fervent Belle & Sebastian enthusiasts that they actually think of Glasgow as being in the same league as Memphis.\u003c/p>\n\u003cfigure id=\"attachment_10142294\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/godhelp.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/godhelp.jpg\" alt=\"God Help the Girl\" width=\"640\" height=\"480\" class=\"size-full wp-image-10142294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/godhelp.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/godhelp-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/godhelp-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>God Help the Girl\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Begun a decade ago as a concept album, \u003cem>God Help the Girl\u003c/em> is B&S singer-songwriter Stuart Murdoch’s attempt to translate his band’s formula — melancholic musings set to fizzy melodies and fussy arrangements — into a full-blown narrative. It’s the tale of three young people who decide to start a band, whose retro-pop turns out to sound just like Belle & Sebastian’s.\u003c/p>\n\u003cp>Introduced during a music-video-like credit sequence, Eve (Emily Browning) seems to be a schoolgirl on her way to an indie-rock venue. There she meets James (Olly Alexander), whose band has just broken up onstage. She turns ill, and he takes her home. Her real home, we then learn, is a Glasgow mental hospital; she’s depressive and anorexic.\u003c/p>\n\u003cp>http://youtu.be/1zYFJHaZO_Y\u003c/p>\n\u003cp>Released on the promise that music will repair her, Eve moves into an room in James’ house. He takes her to meet Cassie (Hannah Murray), a high-schooler to whom he gives guitar lessons. The three hit it off and decide they’re a band, a status that consists largely of talking, hanging out and messing about in boats. (The movie owes as much to \u003cem>The Wind in the Willows\u003c/em> as \u003cem>A Hard Day’s Night\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mid-’60s French pop has always been central to Murdoch’s soft-rock vision, and this movie’s offhand moments echo Godard and Truffaut’s early films. Just before she leaves the hospital, Eve gets a new bob that makes her look like Anna Karina, Godard’s early-’60s muse. Also, there are more French accents than thick Scottish ones in Murdoch’s idealized summertime Glasgow.\u003c/p>\n\u003cp>Despite aimless story and an inconclusive ending, \u003cem>Girl \u003c/em>has winning vitality and considerable charm. Its weaknesses include clumsy staging, notably of dance sequences, and a score that — like most B&S albums — includes more than a few clunkers. The movie relies too heavily on the appeal of Browning, who’s probably best known for the girlie action flick \u003cem>Sucker Punch\u003c/em>. And it assumes an audience that cherishes Murdoch’s music and shares his interests, which include Scottish identity, the question of God and the inherent coolness of old vinyl and used clothes.\u003c/p>\n\u003cp>Murdoch, who clearly loves women, depicts Eve and Cassie adoringly. But \u003cem>God Help the Girl\u003c/em> has a boy’s sensibility. In one scene, a Swiss rocker takes Eve to a thrift shop and dresses her like a mannequin; in another, James stands outside the bathroom while Eve’s in the tub and sings about how he’d like to bathe her. The movie might have been more profound if it had openly acknowledged that its passions are not so innocent.\u003c/p>\n\u003cp>http://youtu.be/QIY2X7Bhc1c\u003c/p>\n\u003cp>The interpersonal dynamic is simpler in writer-director Tim Sutton’s \u003cem>Memphis\u003c/em>, in which only one character even has a name. That’s Willis, played by left-field R&B revivalist Willis Earl Beal. He wanders the titular city on foot or in a white Cadillac Eldorado, mostly avoiding the recording studio where he’s supposed to be making a new record. He’s enjoying a low-key existential crisis in a city where, all around him, signs beckon to the unsaved.\u003c/p>\n\u003cp>There’s no back story and no explanation of the other main characters: a joyful bike-riding boy, a buddy who’s lost a leg and a woman who seems to be Willis’ indulgent girlfriend. The music is largely ambient sound — train whistles, rustling breezes, overheard songs.\u003c/p>\n\u003cp>Soul music buffs will enjoy a session that features some grizzled veterans, one of whom plays guitar while breathing oxygen through a tube. There are also a couple of visits to a gospel church, where Willis decides he’s unworthy to sing. That might be failure of confidence or lack of blessedness, although Willis talks more like Sartre than an everyday lapsed Christian. “Life is an artifice, man,” he muses.\u003c/p>\n\u003cp>He also claims to be a wizard who’s created a reality. If that’s the world we see, it’s one that’s at once shabby and strange, naturalistic and dream-like.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shot by Chris Dapkins, \u003cem>Memphis\u003c/em> proceeds as a series of moody, elegantly framed still photographs that happen to move. Typical is a moment in which Willis tries to write a song on a electric keyboard in a near-dark attic, framed by silvery insulation tubes. It’s muted, lovely and cryptic, just like Sutton’s film. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=The+Music+Of+Memphis+And+Glasgow+Plays+In+Two+New+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Memphis\u003c/em> and \u003cem>God Help the Girl\u003c/em> are both musicals of a sort, and portraits of musical capitals of a sort. The first is set in the home of some of soul music’s greatest stars, but is too wispy and diffident for the average Otis Redding or Al Green fan. The second plays at being a more mainstream effort, but will appeal mostly to people who are such fervent Belle & Sebastian enthusiasts that they actually think of Glasgow as being in the same league as Memphis.\u003c/p>\n\u003cfigure id=\"attachment_10142294\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/godhelp.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/godhelp.jpg\" alt=\"God Help the Girl\" width=\"640\" height=\"480\" class=\"size-full wp-image-10142294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/godhelp.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/godhelp-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/godhelp-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>God Help the Girl\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Begun a decade ago as a concept album, \u003cem>God Help the Girl\u003c/em> is B&S singer-songwriter Stuart Murdoch’s attempt to translate his band’s formula — melancholic musings set to fizzy melodies and fussy arrangements — into a full-blown narrative. It’s the tale of three young people who decide to start a band, whose retro-pop turns out to sound just like Belle & Sebastian’s.\u003c/p>\n\u003cp>Introduced during a music-video-like credit sequence, Eve (Emily Browning) seems to be a schoolgirl on her way to an indie-rock venue. There she meets James (Olly Alexander), whose band has just broken up onstage. She turns ill, and he takes her home. Her real home, we then learn, is a Glasgow mental hospital; she’s depressive and anorexic.\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/1zYFJHaZO_Y'\n title='//www.youtube.com/embed/1zYFJHaZO_Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Released on the promise that music will repair her, Eve moves into an room in James’ house. He takes her to meet Cassie (Hannah Murray), a high-schooler to whom he gives guitar lessons. The three hit it off and decide they’re a band, a status that consists largely of talking, hanging out and messing about in boats. (The movie owes as much to \u003cem>The Wind in the Willows\u003c/em> as \u003cem>A Hard Day’s Night\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mid-’60s French pop has always been central to Murdoch’s soft-rock vision, and this movie’s offhand moments echo Godard and Truffaut’s early films. Just before she leaves the hospital, Eve gets a new bob that makes her look like Anna Karina, Godard’s early-’60s muse. Also, there are more French accents than thick Scottish ones in Murdoch’s idealized summertime Glasgow.\u003c/p>\n\u003cp>Despite aimless story and an inconclusive ending, \u003cem>Girl \u003c/em>has winning vitality and considerable charm. Its weaknesses include clumsy staging, notably of dance sequences, and a score that — like most B&S albums — includes more than a few clunkers. The movie relies too heavily on the appeal of Browning, who’s probably best known for the girlie action flick \u003cem>Sucker Punch\u003c/em>. And it assumes an audience that cherishes Murdoch’s music and shares his interests, which include Scottish identity, the question of God and the inherent coolness of old vinyl and used clothes.\u003c/p>\n\u003cp>Murdoch, who clearly loves women, depicts Eve and Cassie adoringly. But \u003cem>God Help the Girl\u003c/em> has a boy’s sensibility. In one scene, a Swiss rocker takes Eve to a thrift shop and dresses her like a mannequin; in another, James stands outside the bathroom while Eve’s in the tub and sings about how he’d like to bathe her. The movie might have been more profound if it had openly acknowledged that its passions are not so innocent.\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/QIY2X7Bhc1c'\n title='//www.youtube.com/embed/QIY2X7Bhc1c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The interpersonal dynamic is simpler in writer-director Tim Sutton’s \u003cem>Memphis\u003c/em>, in which only one character even has a name. That’s Willis, played by left-field R&B revivalist Willis Earl Beal. He wanders the titular city on foot or in a white Cadillac Eldorado, mostly avoiding the recording studio where he’s supposed to be making a new record. He’s enjoying a low-key existential crisis in a city where, all around him, signs beckon to the unsaved.\u003c/p>\n\u003cp>There’s no back story and no explanation of the other main characters: a joyful bike-riding boy, a buddy who’s lost a leg and a woman who seems to be Willis’ indulgent girlfriend. The music is largely ambient sound — train whistles, rustling breezes, overheard songs.\u003c/p>\n\u003cp>Soul music buffs will enjoy a session that features some grizzled veterans, one of whom plays guitar while breathing oxygen through a tube. There are also a couple of visits to a gospel church, where Willis decides he’s unworthy to sing. That might be failure of confidence or lack of blessedness, although Willis talks more like Sartre than an everyday lapsed Christian. “Life is an artifice, man,” he muses.\u003c/p>\n\u003cp>He also claims to be a wizard who’s created a reality. If that’s the world we see, it’s one that’s at once shabby and strange, naturalistic and dream-like.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shot by Chris Dapkins, \u003cem>Memphis\u003c/em> proceeds as a series of moody, elegantly framed still photographs that happen to move. Typical is a moment in which Willis tries to write a song on a electric keyboard in a near-dark attic, framed by silvery insulation tubes. It’s muted, lovely and cryptic, just like Sutton’s film. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=The+Music+Of+Memphis+And+Glasgow+Plays+In+Two+New+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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