window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10135293": {
"type": "attachments",
"id": "arts_10135293",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10135293",
"found": true
},
"parent": 10135284,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation.jpg",
"width": 1440,
"height": 810
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/Damnation-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1398808488,
"modified": 1398808488,
"caption": "Screen capture from the movie \u003ci>Damnation,\u003c/i> which opens the 2014 San Francisco Green Film Festival",
"description": "Screen capture from the movie \u003ci>Damnation,\u003c/i> which opens the 2014 San Francisco Green Film Festival",
"title": "Damnation",
"credit": "Courtesy of San Francisco Green Film Festival",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_11973": {
"type": "attachments",
"id": "pop_11973",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "11973",
"found": true
},
"parent": 11972,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1398797546,
"modified": 1398797546,
"caption": "Photo: 20th Century Fox",
"description": null,
"title": "princess-leia-jabba",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10135236": {
"type": "attachments",
"id": "arts_10135236",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10135236",
"found": true
},
"parent": 10135234,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/brickmansions-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1398450040,
"modified": 1398450040,
"caption": "Paul Walker stars in Brick Mansions.",
"description": "Paul Walker stars in Brick Mansions.",
"title": "brickmansions",
"credit": "Relativity Media",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10135230": {
"type": "attachments",
"id": "arts_10135230",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10135230",
"found": true
},
"parent": 0,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/otherwoman-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1398448481,
"modified": 1398448481,
"caption": "Leslie Mann, Nicki Minaj, Cameron Diaz and Kate Upton have nothing to do in The Other Woman.",
"description": "Leslie Mann, Nicki Minaj, Cameron Diaz and Kate Upton have nothing to do in The Other Woman.",
"title": "otherwoman",
"credit": "Barry Wetcher/Twentieth Century Fox",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10135157": {
"type": "attachments",
"id": "arts_10135157",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10135157",
"found": true
},
"parent": 10135121,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/ThreeLettersFromChina_02-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1398281635,
"modified": 1398281635,
"caption": "A scene from Luc Schaedler's THREE LETTERS FROM CHINA, playing at the 57th San Franicsco International Film Festival, April 24 - May 8, 2014.",
"description": "A scene from Luc Schaedler's THREE LETTERS FROM CHINA, playing at the 57th San Franicsco International Film Festival, April 24 - May 8, 2014.",
"title": "ThreeLettersFromChina_02",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10135046": {
"type": "attachments",
"id": "arts_10135046",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10135046",
"found": true
},
"parent": 10135020,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair-400x208.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 208
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair.jpg",
"width": 640,
"height": 334
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair-300x156.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 156
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/badhair-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1398040052,
"modified": 1398040052,
"caption": "\u003ci>Bad Hair\u003c/i>",
"description": null,
"title": "badhair",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_9847": {
"type": "attachments",
"id": "pop_9847",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "9847",
"found": true
},
"parent": 9833,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-400x225.png",
"width": 400,
"mimeType": "image/png",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire.png",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1384817641,
"modified": 1384817641,
"caption": "Photo: 20th Century Fox",
"description": null,
"title": "doubtfire",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10134993": {
"type": "attachments",
"id": "arts_10134993",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10134993",
"found": true
},
"parent": 10134992,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-400x299.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 299
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-e1398279139163.jpg",
"width": 640,
"height": 480
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-1440x1079.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1079
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-300x224.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 224
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/tr-04770rv2-2f14ec4da8062f222b6b6e18cb5a9b42d205679c-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1397771376,
"modified": 1397771376,
"caption": null,
"description": "Morgan Freeman, Cillian Murphy, Rebecca Hall, and the floating head of Johnny Depp in \u003cem>Transcendence\u003c/em>.",
"title": "Morgan Freeman, Cillian Murphy, Rebecca Hall, and the floating head of Johnny Depp in Transcendence.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10134989": {
"type": "attachments",
"id": "arts_10134989",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10134989",
"found": true
},
"parent": 10134988,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-400x299.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 299
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269.jpg",
"width": 3199,
"height": 2397
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-1440x1078.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1078
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-300x224.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 224
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/11-0d9a322f0ca40cb9b48ef996a2e71ef8ce9f2269-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1397771213,
"modified": 1397771213,
"caption": null,
"description": "Tom Hiddleston and Tilda Swinton play some really hip vampires in Jim Jarmusch's \u003cem>Only Lovers Left Alive\u003c/em>.",
"title": "Tom Hiddleston and Tilda Swinton play some really hip vampires in Jim Jarmusch's Only Lovers Left Alive.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10134986": {
"type": "attachments",
"id": "arts_10134986",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10134986",
"found": true
},
"parent": 10134985,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-400x224.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 224
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-e1397864577633.jpg",
"width": 800,
"height": 449
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-1440x808.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 808
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/railway_wide-2ae6ee0a9d012795b4adc14c30f0f50cb35cd823-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1397770921,
"modified": 1397770921,
"caption": null,
"description": "Colin Firth and Nicole Kidman as Eric and Patti Lomax, the couple at the center of \u003cem>The Railway Man\u003c/em>.",
"title": "Colin Firth and Nicole Kidman as Eric and Patti Lomax, the couple at the center of The Railway Man.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10135332": {
"type": "attachments",
"id": "arts_10135332",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10135332",
"found": true
},
"parent": 10135331,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/10135331-thumb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1398892925,
"modified": 1398892925,
"caption": null,
"description": null,
"title": "Thumbnail for 10135331",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10134896": {
"type": "attachments",
"id": "arts_10134896",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10134896",
"found": true
},
"parent": 10134891,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-640x372.jpg",
"width": 640,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish.jpg",
"width": 640,
"height": 427
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-300x200.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 200
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/amazing-catfish-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1397598262,
"modified": 1397598262,
"caption": "\u003ci>The Amazing Catfish\u003c/i>",
"description": null,
"title": "amazing-catfish",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"128436": {
"type": "authors",
"id": "128436",
"meta": {
"override": true
},
"slug": "128436",
"name": "Jon Brooks",
"firstName": "Jon",
"lastName": "Brooks",
"bio": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
"email": "jbrooks@kqed.org",
"isLoading": false
},
"byline_arts_10135234": {
"type": "authors",
"id": "byline_arts_10135234",
"meta": {
"override": true
},
"slug": "byline_arts_10135234",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_10135232": {
"type": "authors",
"id": "byline_arts_10135232",
"meta": {
"override": true
},
"slug": "byline_arts_10135232",
"name": "Linda Holmes",
"isLoading": false
},
"byline_arts_10134992": {
"type": "authors",
"id": "byline_arts_10134992",
"meta": {
"override": true
},
"slug": "byline_arts_10134992",
"name": "Ian Buckwalter",
"isLoading": false
},
"byline_arts_10134988": {
"type": "authors",
"id": "byline_arts_10134988",
"meta": {
"override": true
},
"slug": "byline_arts_10134988",
"name": "Bob Mondello",
"isLoading": false
},
"byline_arts_10134985": {
"type": "authors",
"id": "byline_arts_10134985",
"meta": {
"override": true
},
"slug": "byline_arts_10134985",
"name": "Linda Holmes",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"ehapsis": {
"type": "authors",
"id": "27",
"meta": {
"index": "authors_1716337520",
"id": "27",
"found": true
},
"name": "Emmanuel Hapsis",
"firstName": "Emmanuel",
"lastName": "Hapsis",
"slug": "ehapsis",
"email": "ehapsis@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emmanuel Hapsis is the creator and editor of KQED Pop and also the host of \u003cem>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>\u003c/em>. He studied creative writing at University of Maryland and went on to receive his MFA in the field from California College of the Arts. In his free time, he sings his heart out at karaoke.",
"avatar": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twitter": "xcusemybeauty",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emmanuel Hapsis | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ehapsis"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
},
"tonybravo": {
"type": "authors",
"id": "2436",
"meta": {
"index": "authors_1716337520",
"id": "2436",
"found": true
},
"name": "Tony Bravo",
"firstName": "Tony",
"lastName": "Bravo",
"slug": "tonybravo",
"email": "mrtonybravo@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Tony Bravo is a San Francisco freelancer covering fashion, menswear, lifestyle and entertainment stories. He is a regular contributor to The Bold Italic and the San Francisco Chronicle's Style section.",
"avatar": "https://secure.gravatar.com/avatar/dbf4e1ca0ae547c324ab218b5b01c466?s=600&d=blank&r=g",
"twitter": "velvetgoldminer",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Tony Bravo | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/dbf4e1ca0ae547c324ab218b5b01c466?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/dbf4e1ca0ae547c324ab218b5b01c466?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/tonybravo"
}
},
"pagesReducer": {
"arts_category_movies": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"score": 12.557161
},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"title": "Movies",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 225
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=movies",
"seeMore": false,
"paginated": true,
"page": 225
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_10135284": {
"type": "posts",
"id": "arts_10135284",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10135284",
"score": null,
"sort": [
1398862840000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1398862840,
"format": "standard",
"title": "Light and Dark: 5 Film Events to Watch This May",
"headTitle": "Light and Dark: 5 Film Events to Watch This May | KQED",
"content": "\u003cp>Hollywood starts rolling out its mess o’ would-be summer blockbusters Friday night with \u003ci>The Amazing Spider-Man 2\u003c/i>, which prompts a question: If it/he isn’t as amazing as \u003ci>The Amazing Spider-Man\u003c/i>, is Sony guilty of false advertising? Or simply petty theft? \u003c/p>\n\u003cp>Actually, there’s a related though much bigger issue that perturbs me around this time every year — what’s the film-going state of our relationship between fantasy and reality? The movies have always provided an escape, but it’s almost as if we’re required to shut our brains off when we walk in a theater during the summer. Herewith is a thinking person’s guide to the month’s top offerings.\u003c/p>\n\u003cfigure id=\"attachment_10135294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Spirited-Away.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Spirited-Away.jpg\" alt=\"Spirited Away\" width=\"800\" height=\"488\" class=\"size-full wp-image-10135294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Spirited-Away.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Spirited-Away-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Spirited-Away-300x183.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from Spirited Away\u003c/figcaption>\u003c/figure>\n\u003ch2>The Films of Hayao Miyazaki\u003c/h2>\n\u003cp>Thanks to that visionary autocrat Walt Disney, animation has long been the most eagerly anticipated mode of children’s movies. One of the most gifted practitioners in the field over the last 30 years has been the Japanese filmmaker Hayao Miyazaki, who announced his retirement with last year’s \u003ci>The Wind Rises\u003c/i>. Yerba Buena Center For the Arts’ delirious 15-film retrospective, \u003cb>Astonishing Animation: The Films of Hayao Miyazaki and Studio Ghibli\u003c/b> (May 1-June 1) offers a fantastic opportunity to introduce your children to—or flat-out binge on—a master storyteller who’s also one of the greatest visual artists in the history of animation. Most titles will be presented in Japanese with subtitles, but English-language versions will be screened at the first show on Sunday to accommodate younger children. \u003ca href=\"http://www.ybca.org/studio-ghibli\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> go to www.ybca.org/studio-ghibli.\u003c/p>\n\u003cfigure id=\"attachment_10135296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/The-Uprising.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/The-Uprising.jpg\" alt=\"Scene from <i>The Uprising</i>\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/The-Uprising.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/The-Uprising-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/The-Uprising-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>The Uprising\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ci>The Uprising\u003c/i>\u003c/h2>\n\u003cp>The British journalist and filmmaker Peter Snowdon had many friends in Egypt that he made during his stint as a Cairo-based correspondent a decade before the revolution began in 2011. But after the upheaval began that year, he found he was only able to reach them through Twitter. That, in turn, led him to YouTube and a vast trove of citizen footage shot on the streets and in homes before being uploaded to the Internet and made available to the world. Snowdon diligently edited nearly a hundred amateur videos into a feature-length, found-footage narrative, \u003cb>\u003ci>The Uprising\u003c/i>\u003c/b>, which combines the immediacy and intimacy of cinema verité with the emotional power of morally freighted and skillfully shaped storytelling. \u003ci>The Uprising\u003c/i> has its West Coast premiere Saturday, May 10 at the Other Cinema at ATA. \u003ca href=\"http://www.othercinema.com/calendar/index.html\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit www.othercinema.com/calendar/index.html.\u003c/p>\n\u003cfigure id=\"attachment_10135297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor.jpg\" alt=\"Poster for <i>Stranger On The Third Floor</i>\" width=\"800\" height=\"624\" class=\"size-full wp-image-10135297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor-300x234.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Stranger On The Third Floor\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch2>2014 ‘I Wake Up Dreaming’ film noir festival\u003c/h2>\n\u003cp>Depending on your view of human nature and city living, film noir tilts more toward escapism or realism. One thing’s for sure, noir offers nostalgia—‘40s style has substance, at least in hindsight—with timeless themes. The 30-odd crime yarns and cautionary tales unearthed by programmer extraordinaire Elliot Lavine for \u003cb>I Wake Up Dreaming! Dark Treasures from the Warner Archive\u003c/b>, his latest compilation of bantering bilkers and femme fatales of the last century, ranges from pre-Code revelations of 1932 through bruising dramas from 1965. The Roxie hosts this existential treasure hunt from May 16-25; visit \u003ca href=\"http://www.roxie.com/ai1ec_event/i-wake-2014/?instance_id=2155\" target=\"_blank\" rel=\"noopener\">www.roxie.com/ai1ec_event/i-wake-2014/?instance_id=2155\u003c/a> for the schedule.\u003c/p>\n\u003cfigure id=\"attachment_10135292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center.jpg\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center.jpg\" alt=\"Scene from the movie Watershed, which was shown on Earth Day as part of San Francisco Green Film Festival\" width=\"800\" class=\"size-full wp-image-10135292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center-300x168.jpg 300w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from the movie \u003ci>Watershed,\u003c/i> which was shown on Earth Day as part of San Francisco Green Film Festival \u003ccite>(Courtesy of the Redford Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Green Film Festival\u003c/h2>\n\u003cp>From the very beginning, the \u003cb>San Francisco Green Film Festival\u003c/b> has adamantly refused to dispense the guilt, fatalism, fury and victimization that plague so many environmental documentaries. Part celebration, part inspiration and part education, the festival aims to energize audiences through the good works that so many people are doing to preserve the beauty and health of our planet. That’s not to say that the festival traffics in escapism and denies reality, only that it seeks out films that empower audiences — rather than bum them out — while conveying the state of things. The fourth edition of the S.F. Green Film Festival runs May 29 through June 4 at the Roxie. \u003ca href=\"http://sfgreenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit sfgreenfilmfest.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Fantasia_583x336.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Fantasia_583x336.jpg\" alt=\"Fantasia_583x336\" width=\"800\" height=\"461\" class=\"aligncenter size-full wp-image-10135298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Fantasia_583x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Fantasia_583x336-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Fantasia_583x336-300x172.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>\u003ci>Fantasia\u003c/i>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>I mentioned Walt Disney at the outset and, like the old saw about mentioning a gun in the first act, he reenters the picture. If you (or your kids) have never seen \u003cb>\u003ci>Fantasia\u003c/i>\u003c/b>, his 1940 masterwork, there is arguably no better way to experience it than at Davies Symphony Hall in the company of the San Francisco Symphony. You’ll have to move fast for tickets to the May 31 and June 1 shows, available at \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2013-2014/Film-Fantasia-in-Concert.aspx\" target=\"_blank\" rel=\"noopener\">www.sfsymphony.org/Buy-Tickets/2013-2014/Film-Fantasia-in-Concert.aspx.\u003c/a>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 811,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705049052,
"excerpt": "Movies have always provided an escape, but it’s almost as if we’re required to shut our brains off when we walk in a theater during the summer. Herewith is a thinking person’s guide to the month’s top offerings.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Movies have always provided an escape, but it’s almost as if we’re required to shut our brains off when we walk in a theater during the summer. Herewith is a thinking person’s guide to the month’s top offerings.",
"title": "Light and Dark: 5 Film Events to Watch This May | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Light and Dark: 5 Film Events to Watch This May",
"datePublished": "2014-04-30T06:00:40-07:00",
"dateModified": "2024-01-12T00:44:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "light-and-dark-5-film-events-to-watch-this-summer",
"status": "publish",
"sticky": false,
"source": "Film",
"path": "/arts/10135284/light-and-dark-5-film-events-to-watch-this-summer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood starts rolling out its mess o’ would-be summer blockbusters Friday night with \u003ci>The Amazing Spider-Man 2\u003c/i>, which prompts a question: If it/he isn’t as amazing as \u003ci>The Amazing Spider-Man\u003c/i>, is Sony guilty of false advertising? Or simply petty theft? \u003c/p>\n\u003cp>Actually, there’s a related though much bigger issue that perturbs me around this time every year — what’s the film-going state of our relationship between fantasy and reality? The movies have always provided an escape, but it’s almost as if we’re required to shut our brains off when we walk in a theater during the summer. Herewith is a thinking person’s guide to the month’s top offerings.\u003c/p>\n\u003cfigure id=\"attachment_10135294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Spirited-Away.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Spirited-Away.jpg\" alt=\"Spirited Away\" width=\"800\" height=\"488\" class=\"size-full wp-image-10135294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Spirited-Away.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Spirited-Away-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Spirited-Away-300x183.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from Spirited Away\u003c/figcaption>\u003c/figure>\n\u003ch2>The Films of Hayao Miyazaki\u003c/h2>\n\u003cp>Thanks to that visionary autocrat Walt Disney, animation has long been the most eagerly anticipated mode of children’s movies. One of the most gifted practitioners in the field over the last 30 years has been the Japanese filmmaker Hayao Miyazaki, who announced his retirement with last year’s \u003ci>The Wind Rises\u003c/i>. Yerba Buena Center For the Arts’ delirious 15-film retrospective, \u003cb>Astonishing Animation: The Films of Hayao Miyazaki and Studio Ghibli\u003c/b> (May 1-June 1) offers a fantastic opportunity to introduce your children to—or flat-out binge on—a master storyteller who’s also one of the greatest visual artists in the history of animation. Most titles will be presented in Japanese with subtitles, but English-language versions will be screened at the first show on Sunday to accommodate younger children. \u003ca href=\"http://www.ybca.org/studio-ghibli\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> go to www.ybca.org/studio-ghibli.\u003c/p>\n\u003cfigure id=\"attachment_10135296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/The-Uprising.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/The-Uprising.jpg\" alt=\"Scene from <i>The Uprising</i>\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/The-Uprising.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/The-Uprising-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/The-Uprising-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>The Uprising\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ci>The Uprising\u003c/i>\u003c/h2>\n\u003cp>The British journalist and filmmaker Peter Snowdon had many friends in Egypt that he made during his stint as a Cairo-based correspondent a decade before the revolution began in 2011. But after the upheaval began that year, he found he was only able to reach them through Twitter. That, in turn, led him to YouTube and a vast trove of citizen footage shot on the streets and in homes before being uploaded to the Internet and made available to the world. Snowdon diligently edited nearly a hundred amateur videos into a feature-length, found-footage narrative, \u003cb>\u003ci>The Uprising\u003c/i>\u003c/b>, which combines the immediacy and intimacy of cinema verité with the emotional power of morally freighted and skillfully shaped storytelling. \u003ci>The Uprising\u003c/i> has its West Coast premiere Saturday, May 10 at the Other Cinema at ATA. \u003ca href=\"http://www.othercinema.com/calendar/index.html\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit www.othercinema.com/calendar/index.html.\u003c/p>\n\u003cfigure id=\"attachment_10135297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor.jpg\" alt=\"Poster for <i>Stranger On The Third Floor</i>\" width=\"800\" height=\"624\" class=\"size-full wp-image-10135297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/stranger-on-the-third-floor-300x234.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Stranger On The Third Floor\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch2>2014 ‘I Wake Up Dreaming’ film noir festival\u003c/h2>\n\u003cp>Depending on your view of human nature and city living, film noir tilts more toward escapism or realism. One thing’s for sure, noir offers nostalgia—‘40s style has substance, at least in hindsight—with timeless themes. The 30-odd crime yarns and cautionary tales unearthed by programmer extraordinaire Elliot Lavine for \u003cb>I Wake Up Dreaming! Dark Treasures from the Warner Archive\u003c/b>, his latest compilation of bantering bilkers and femme fatales of the last century, ranges from pre-Code revelations of 1932 through bruising dramas from 1965. The Roxie hosts this existential treasure hunt from May 16-25; visit \u003ca href=\"http://www.roxie.com/ai1ec_event/i-wake-2014/?instance_id=2155\" target=\"_blank\" rel=\"noopener\">www.roxie.com/ai1ec_event/i-wake-2014/?instance_id=2155\u003c/a> for the schedule.\u003c/p>\n\u003cfigure id=\"attachment_10135292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center.jpg\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center.jpg\" alt=\"Scene from the movie Watershed, which was shown on Earth Day as part of San Francisco Green Film Festival\" width=\"800\" class=\"size-full wp-image-10135292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Delta_WATERSHED_courtesy-of-Redford-Center-300x168.jpg 300w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scene from the movie \u003ci>Watershed,\u003c/i> which was shown on Earth Day as part of San Francisco Green Film Festival \u003ccite>(Courtesy of the Redford Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Green Film Festival\u003c/h2>\n\u003cp>From the very beginning, the \u003cb>San Francisco Green Film Festival\u003c/b> has adamantly refused to dispense the guilt, fatalism, fury and victimization that plague so many environmental documentaries. Part celebration, part inspiration and part education, the festival aims to energize audiences through the good works that so many people are doing to preserve the beauty and health of our planet. That’s not to say that the festival traffics in escapism and denies reality, only that it seeks out films that empower audiences — rather than bum them out — while conveying the state of things. The fourth edition of the S.F. Green Film Festival runs May 29 through June 4 at the Roxie. \u003ca href=\"http://sfgreenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit sfgreenfilmfest.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Fantasia_583x336.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/Fantasia_583x336.jpg\" alt=\"Fantasia_583x336\" width=\"800\" height=\"461\" class=\"aligncenter size-full wp-image-10135298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Fantasia_583x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Fantasia_583x336-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/Fantasia_583x336-300x172.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003ch2>\u003ci>Fantasia\u003c/i>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>I mentioned Walt Disney at the outset and, like the old saw about mentioning a gun in the first act, he reenters the picture. If you (or your kids) have never seen \u003cb>\u003ci>Fantasia\u003c/i>\u003c/b>, his 1940 masterwork, there is arguably no better way to experience it than at Davies Symphony Hall in the company of the San Francisco Symphony. You’ll have to move fast for tickets to the May 31 and June 1 shows, available at \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2013-2014/Film-Fantasia-in-Concert.aspx\" target=\"_blank\" rel=\"noopener\">www.sfsymphony.org/Buy-Tickets/2013-2014/Film-Fantasia-in-Concert.aspx.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10135284/light-and-dark-5-film-events-to-watch-this-summer",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10135293",
"label": "source_arts_10135284"
},
"pop_11972": {
"type": "posts",
"id": "pop_11972",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "11972",
"score": null,
"sort": [
1398798547000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1398798547,
"format": "aside",
"disqusTitle": "Star Wars Episode VII Cast Announced: There's No Gender Equality in Space Either",
"title": "Star Wars Episode VII Cast Announced: There's No Gender Equality in Space Either",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_11973\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/29/star-wars-episode-vii-cast-announced-theres-no-gender-equality-in-space-either/princess-leia-jabba/\" rel=\"attachment wp-att-11973\">\u003cimg class=\"wp-image-11973 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/princess-leia-jabba.jpg\" alt=\"Photo: 20th Century Fox\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: 20th Century Fox\u003c/figcaption>\u003c/figure>\n\u003cp>The much anticipated sequel to the \u003cem>Star Wars\u003c/em> series might be set years after where \u003cem>Return of the Jedi\u003c/em> left off, but it seems as though gender equality does not move at the speed of light, even in fictional outer space. The cast of the J.J. Abrams film was \u003ca href=\"http://starwars.com/news/star-wars-episode-7-cast-announced.html\">announced\u003c/a> this morning and the category is: dudes! Lots of them!\u003c/p>\n\u003cp>There's the \u003cem>Inside Llewyn Davis\u003c/em> dude (\u003ca href=\"http://www.imdb.com/name/nm1209966/?ref_=tt_cl_t7\">Oscar Isaac\u003c/a>). There's the manic boyfriend from \u003cem>Girls\u003c/em> dude (\u003ca href=\"http://www.imdb.com/name/nm3485845/?ref_=tt_cl_t6\">Adam Driver\u003c/a>). There's the relatively unknown British-Nigerian dude who was in that adaptation of \u003ca href=\"http://blogs.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\">Chimamanda Ngozi Adichie\u003c/a>'s \u003cem>Half of a Yellow Sun\u003c/em> (\u003ca href=\"http://www.imdb.com/name/nm3915784/?ref_=tt_cl_t12\">John Boyega\u003c/a>). And there's even the accessory-obsessed Gollum dude (\u003ca href=\"http://www.imdb.com/name/nm0785227/?ref_=tt_cl_t1\">Andy Serkis\u003c/a>). And one girl who is sadly not Lupita Nyong'o (\u003ca href=\"http://www.imdb.com/name/nm5397459/\">Daisy Ridley\u003c/a>). \u003ca href=\"http://media.thedailytouch.com/2014/03/slow-clap.gif\">Slow clap\u003c/a>, everyone.\u003c/p>\n\u003cp>It's understandable that J.J. Abrams and co. are not trying to mess with the original \u003cem>Star Wars\u003c/em> formula of hella-dudes-and-one-lady-in-a-bikini, as that was a major success last time around, but you would think that the man who brought us great stories of women (\u003ca href=\"http://blogs.kqed.org/pop/2014/04/29/felicitys-ben-or-noel-conundrum-how-the-side-you-took-predicted-your-entire-love-life/\">\u003cem>Felicity\u003c/em>\u003c/a> and \u003cem>Alias\u003c/em>) would usher us into a new era of sci-fi, where women are more than just a love interest or trophy. But who knows? Maybe this lone female character will be bad ass and single-handedly change everything (a new hope, if you will). From this keyboard to George Lucas' ears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"disqusIdentifier": "11972 http://blogs.kqed.org/pop/?p=11972",
"disqusUrl": "https://ww2.kqed.org/pop/2014/04/29/star-wars-episode-vii-cast-announced-theres-no-gender-equality-in-space-either/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 245,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1398798589,
"excerpt": "The cast of the J.J. Abrams film was announced this morning and the category is: dudes! Lots of them!",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The cast of the J.J. Abrams film was announced this morning and the category is: dudes! Lots of them!",
"title": "Star Wars Episode VII Cast Announced: There's No Gender Equality in Space Either | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Star Wars Episode VII Cast Announced: There's No Gender Equality in Space Either",
"datePublished": "2014-04-29T12:09:07-07:00",
"dateModified": "2014-04-29T12:09:49-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "star-wars-episode-vii-cast-announced-theres-no-gender-equality-in-space-either",
"status": "publish",
"path": "/pop/11972/star-wars-episode-vii-cast-announced-theres-no-gender-equality-in-space-either",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11973\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/29/star-wars-episode-vii-cast-announced-theres-no-gender-equality-in-space-either/princess-leia-jabba/\" rel=\"attachment wp-att-11973\">\u003cimg class=\"wp-image-11973 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/princess-leia-jabba.jpg\" alt=\"Photo: 20th Century Fox\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/princess-leia-jabba-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: 20th Century Fox\u003c/figcaption>\u003c/figure>\n\u003cp>The much anticipated sequel to the \u003cem>Star Wars\u003c/em> series might be set years after where \u003cem>Return of the Jedi\u003c/em> left off, but it seems as though gender equality does not move at the speed of light, even in fictional outer space. The cast of the J.J. Abrams film was \u003ca href=\"http://starwars.com/news/star-wars-episode-7-cast-announced.html\">announced\u003c/a> this morning and the category is: dudes! Lots of them!\u003c/p>\n\u003cp>There's the \u003cem>Inside Llewyn Davis\u003c/em> dude (\u003ca href=\"http://www.imdb.com/name/nm1209966/?ref_=tt_cl_t7\">Oscar Isaac\u003c/a>). There's the manic boyfriend from \u003cem>Girls\u003c/em> dude (\u003ca href=\"http://www.imdb.com/name/nm3485845/?ref_=tt_cl_t6\">Adam Driver\u003c/a>). There's the relatively unknown British-Nigerian dude who was in that adaptation of \u003ca href=\"http://blogs.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\">Chimamanda Ngozi Adichie\u003c/a>'s \u003cem>Half of a Yellow Sun\u003c/em> (\u003ca href=\"http://www.imdb.com/name/nm3915784/?ref_=tt_cl_t12\">John Boyega\u003c/a>). And there's even the accessory-obsessed Gollum dude (\u003ca href=\"http://www.imdb.com/name/nm0785227/?ref_=tt_cl_t1\">Andy Serkis\u003c/a>). And one girl who is sadly not Lupita Nyong'o (\u003ca href=\"http://www.imdb.com/name/nm5397459/\">Daisy Ridley\u003c/a>). \u003ca href=\"http://media.thedailytouch.com/2014/03/slow-clap.gif\">Slow clap\u003c/a>, everyone.\u003c/p>\n\u003cp>It's understandable that J.J. Abrams and co. are not trying to mess with the original \u003cem>Star Wars\u003c/em> formula of hella-dudes-and-one-lady-in-a-bikini, as that was a major success last time around, but you would think that the man who brought us great stories of women (\u003ca href=\"http://blogs.kqed.org/pop/2014/04/29/felicitys-ben-or-noel-conundrum-how-the-side-you-took-predicted-your-entire-love-life/\">\u003cem>Felicity\u003c/em>\u003c/a> and \u003cem>Alias\u003c/em>) would usher us into a new era of sci-fi, where women are more than just a love interest or trophy. But who knows? Maybe this lone female character will be bad ass and single-handedly change everything (a new hope, if you will). From this keyboard to George Lucas' ears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/11972/star-wars-episode-vii-cast-announced-theres-no-gender-equality-in-space-either",
"authors": [
"27"
],
"categories": [
"pop_51"
],
"tags": [
"pop_197",
"pop_904"
],
"featImg": "pop_11973",
"label": "pop"
},
"arts_10135234": {
"type": "posts",
"id": "arts_10135234",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10135234",
"score": null,
"sort": [
1398378652000
]
},
"guestAuthors": [],
"slug": "a-punching-movie-that-packs-a-punch-for-people-who-like-punching",
"title": "A Punching Movie That Packs A Punch For People Who Like Punching",
"publishDate": 1398378652,
"format": "standard",
"headTitle": "A Punching Movie That Packs A Punch For People Who Like Punching | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>It is never not awkward to talk about a film after one of the stars has died. That’s perhaps never any more true than it is in the case of \u003cem>Brick Mansions\u003c/em>, one of the last films of Paul Walker. Walker died in November of last year after a career that included a lot of movies like this one: silly, hyper action thrillers that often included, as this one does, moments in which everybody in the theater chortled at their insane, cartoonish brutality.\u003c/p>\n\u003cp>There is no way to make there be anything elegiac about \u003cem>Brick Mansions\u003c/em>, or out of the experience of seeing it. To try to make it a celebration of life or to find in it any lessons whatsoever would be absurd and, in its way, disrespectful to the 50 percent serious (plus or minus one percent) way in which it’s made.\u003c/p>\n\u003cp>\u003cem>Brick Mansions\u003c/em> is a remake of the 2004 French film \u003cem>Banlieue 13\u003c/em>, which you can find for rent in the United States as \u003cem>District B13\u003c/em> — a film for which the dialogue is so relatively insignificant that they serve it up dubbed rather than subtitled. \u003cem>District B13\u003c/em> came from screenwriters Luc Besson and Bibi Naceri, who also wrote \u003cem>Brick Mansions\u003c/em>. What’s more, the original and this remake share a star: French actor and stunt coordinator David Belle, one of the originators of Parkour, a discipline that sends guys running through the streets, flipping and climbing walls for the benefit of, very often, YouTube.\u003c/p>\n\u003cp>In this version, Belle plays Lino, the honest man who happens to be the only person left who really cares about Brick Mansions, a Detroit housing project that’s been walled off by the police and left to rot. The place is run by Tremaine (RZA), who you know is the ringleader because at the police station, it says “RING LEADER” next to his picture. Lino takes some of Tremaine’s drugs and destroys them, Tremaine kidnaps Lino’s girlfriend, and Lino teams up with cop Damien — played by Paul Walker — who also wants to bring down Tremaine and save the girl.\u003c/p>\n\u003cp>Fighting ensues. Running ensues. Jumping ensues. There’s a bomb with a prominent readout. Back flips ensue. Bonking each other with props ensues. And at the end, there’s an intriguing little twist that’s intended to inject a little social commentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But mostly, it’s a fighting movie. If you’ve always wondered why more guys don’t beat each other with steering wheels, this is your movie! If you’ve always wondered how you could gruesomely kill someone from inside a cell, this is your movie! If you’ve always wondered how two smaller guys might defeat a huge guy, this is your movie!\u003c/p>\n\u003cp>There’s a sort of good-natured goofiness to \u003cem>Brick Mansions\u003c/em>, and particularly to how ill-equipped Walker really is to keep pace with Belle (who, himself, may be ill-equipped to keep pace with himself from ten years ago). There are a couple of nice references to the fact that Lino’s way of navigating Fake Detroit is pretty intimidating, even to a cop who earlier pulls off a rousingly entertaining unauthorized entry into a speeding car.\u003c/p>\n\u003cp>Parkour is \u003cem>really fun\u003c/em> to watch; that’s why YouTube likes it. The guys who do it are crazily, anti-gravitationally athletic, and it doesn’t need a lot of kinetic editing to look kinetic. It is kinetic already, and in the original \u003cem>District B13\u003c/em>, while there’s still more editing than it probably needs, the camera does sometimes pause long enough to watch Belle do his thing, which is why the people are there.\u003c/p>\n\u003cp>Of course, that was 2004. We are now in 2014, and chaos cinema — as a fine \u003ca href=\"http://blogs.indiewire.com/pressplay/video_essay_matthias_stork_calls_out_the_chaos_cinema\" target=\"_blank\" rel=\"noopener\">video essay\u003c/a> by Matthias Stork called it — is dominant. Post-Bourne, post-Michael-Bay, and, yes, post-six \u003cem>Fast-And-Furious\u003c/em> movies, action sequences are typically shot with such a manic camera that you can barely keep track of what’s happening. When all you’re missing out on is cars flipping and regular actors having a fight, it’s one thing. But when you’re missing out on David Belle doing Parkour, it’s \u003cem>hugely\u003c/em> frustrating, because — again — it’s the best reason to see the movie.\u003c/p>\n\u003cp>Furthermore, \u003cem>Brick Mansions\u003c/em> suffers from another weird tic of action directors and cinematographers, which is that weird, jumpy, sticky effect that I have long recognized but only recently came to know by the apt name “staccato shutter.” It’s the camera effect Steven Spielberg and cinematographer Janusz Kaminski used to get a sort of ultra-real look at the beginning of \u003cem>Saving Private Ryan\u003c/em>, and it’s also often associated with \u003cem>Gladiator\u003c/em>. It creates stuttery-looking action scenes, and \u003cem>Brick Mansions \u003c/em>uses it a \u003cem>lot\u003c/em>. Not only that, but they use a more extreme version of it than I can remember seeing in the past, so that you’re getting a very disorienting shutter effect \u003cem>combined with \u003c/em>the crazy-fast editing that’s disorienting already. (You can see it in \u003ca href=\"https://www.youtube.com/watch?v=gBevHl9Hvgs\" target=\"_blank\" rel=\"noopener\">this clip\u003c/a>. Spoiler alert: there’s punching.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And all of this has the effect of dampening the impact of what Belle is bringing to this movie that’s legitimately different from what you get in most action movies. It’s too bad, though the movie still has some enjoyably over the top sequences and some funny moments between Walker and Belle. It feels like it was fun to make. It feels like, despite being a remake, it was made with some zazz and with, at the least, some desire that it be a hoot to watch. And it is a hoot to watch, even if, to be honest, there’s little reason for it to exist. \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=A+Punching+Movie+That+Packs+A+Punch+For+People+Who+Like+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "'Brick Mansions,' a completely inessential remake of the French film \u003cem>District B13\u003c/em>, follows a war of good guys and gangsters up and down the walls of a hypothetical Detroit under siege.",
"status": "publish",
"parent": 0,
"modified": 1726705712,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 1017
},
"headData": {
"title": "A Punching Movie That Packs A Punch For People Who Like Punching | KQED",
"description": "'Brick Mansions,' a completely inessential remake of the French film District B13, follows a war of good guys and gangsters up and down the walls of a hypothetical Detroit under siege.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Punching Movie That Packs A Punch For People Who Like Punching",
"datePublished": "2014-04-24T15:30:52-07:00",
"dateModified": "2024-09-18T17:28:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Linda Holmes",
"nprStoryId": "306525431",
"nprApiLink": "http://api.npr.org/query?id=306525431&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/blogs/monkeysee/2014/04/24/306525431/a-punching-movie-that-packs-a-punch-for-people-who-like-punching?ft=3&f=306525431",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 24 Apr 2014 15:33:00 -0400",
"nprStoryDate": "Thu, 24 Apr 2014 15:24:00 -0400",
"nprLastModifiedDate": "Thu, 24 Apr 2014 15:33:57 -0400",
"path": "/arts/10135234/a-punching-movie-that-packs-a-punch-for-people-who-like-punching",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is never not awkward to talk about a film after one of the stars has died. That’s perhaps never any more true than it is in the case of \u003cem>Brick Mansions\u003c/em>, one of the last films of Paul Walker. Walker died in November of last year after a career that included a lot of movies like this one: silly, hyper action thrillers that often included, as this one does, moments in which everybody in the theater chortled at their insane, cartoonish brutality.\u003c/p>\n\u003cp>There is no way to make there be anything elegiac about \u003cem>Brick Mansions\u003c/em>, or out of the experience of seeing it. To try to make it a celebration of life or to find in it any lessons whatsoever would be absurd and, in its way, disrespectful to the 50 percent serious (plus or minus one percent) way in which it’s made.\u003c/p>\n\u003cp>\u003cem>Brick Mansions\u003c/em> is a remake of the 2004 French film \u003cem>Banlieue 13\u003c/em>, which you can find for rent in the United States as \u003cem>District B13\u003c/em> — a film for which the dialogue is so relatively insignificant that they serve it up dubbed rather than subtitled. \u003cem>District B13\u003c/em> came from screenwriters Luc Besson and Bibi Naceri, who also wrote \u003cem>Brick Mansions\u003c/em>. What’s more, the original and this remake share a star: French actor and stunt coordinator David Belle, one of the originators of Parkour, a discipline that sends guys running through the streets, flipping and climbing walls for the benefit of, very often, YouTube.\u003c/p>\n\u003cp>In this version, Belle plays Lino, the honest man who happens to be the only person left who really cares about Brick Mansions, a Detroit housing project that’s been walled off by the police and left to rot. The place is run by Tremaine (RZA), who you know is the ringleader because at the police station, it says “RING LEADER” next to his picture. Lino takes some of Tremaine’s drugs and destroys them, Tremaine kidnaps Lino’s girlfriend, and Lino teams up with cop Damien — played by Paul Walker — who also wants to bring down Tremaine and save the girl.\u003c/p>\n\u003cp>Fighting ensues. Running ensues. Jumping ensues. There’s a bomb with a prominent readout. Back flips ensue. Bonking each other with props ensues. And at the end, there’s an intriguing little twist that’s intended to inject a little social commentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But mostly, it’s a fighting movie. If you’ve always wondered why more guys don’t beat each other with steering wheels, this is your movie! If you’ve always wondered how you could gruesomely kill someone from inside a cell, this is your movie! If you’ve always wondered how two smaller guys might defeat a huge guy, this is your movie!\u003c/p>\n\u003cp>There’s a sort of good-natured goofiness to \u003cem>Brick Mansions\u003c/em>, and particularly to how ill-equipped Walker really is to keep pace with Belle (who, himself, may be ill-equipped to keep pace with himself from ten years ago). There are a couple of nice references to the fact that Lino’s way of navigating Fake Detroit is pretty intimidating, even to a cop who earlier pulls off a rousingly entertaining unauthorized entry into a speeding car.\u003c/p>\n\u003cp>Parkour is \u003cem>really fun\u003c/em> to watch; that’s why YouTube likes it. The guys who do it are crazily, anti-gravitationally athletic, and it doesn’t need a lot of kinetic editing to look kinetic. It is kinetic already, and in the original \u003cem>District B13\u003c/em>, while there’s still more editing than it probably needs, the camera does sometimes pause long enough to watch Belle do his thing, which is why the people are there.\u003c/p>\n\u003cp>Of course, that was 2004. We are now in 2014, and chaos cinema — as a fine \u003ca href=\"http://blogs.indiewire.com/pressplay/video_essay_matthias_stork_calls_out_the_chaos_cinema\" target=\"_blank\" rel=\"noopener\">video essay\u003c/a> by Matthias Stork called it — is dominant. Post-Bourne, post-Michael-Bay, and, yes, post-six \u003cem>Fast-And-Furious\u003c/em> movies, action sequences are typically shot with such a manic camera that you can barely keep track of what’s happening. When all you’re missing out on is cars flipping and regular actors having a fight, it’s one thing. But when you’re missing out on David Belle doing Parkour, it’s \u003cem>hugely\u003c/em> frustrating, because — again — it’s the best reason to see the movie.\u003c/p>\n\u003cp>Furthermore, \u003cem>Brick Mansions\u003c/em> suffers from another weird tic of action directors and cinematographers, which is that weird, jumpy, sticky effect that I have long recognized but only recently came to know by the apt name “staccato shutter.” It’s the camera effect Steven Spielberg and cinematographer Janusz Kaminski used to get a sort of ultra-real look at the beginning of \u003cem>Saving Private Ryan\u003c/em>, and it’s also often associated with \u003cem>Gladiator\u003c/em>. It creates stuttery-looking action scenes, and \u003cem>Brick Mansions \u003c/em>uses it a \u003cem>lot\u003c/em>. Not only that, but they use a more extreme version of it than I can remember seeing in the past, so that you’re getting a very disorienting shutter effect \u003cem>combined with \u003c/em>the crazy-fast editing that’s disorienting already. (You can see it in \u003ca href=\"https://www.youtube.com/watch?v=gBevHl9Hvgs\" target=\"_blank\" rel=\"noopener\">this clip\u003c/a>. Spoiler alert: there’s punching.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And all of this has the effect of dampening the impact of what Belle is bringing to this movie that’s legitimately different from what you get in most action movies. It’s too bad, though the movie still has some enjoyably over the top sequences and some funny moments between Walker and Belle. It feels like it was fun to make. It feels like, despite being a remake, it was made with some zazz and with, at the least, some desire that it be a hoot to watch. And it is a hoot to watch, even if, to be honest, there’s little reason for it to exist. \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=A+Punching+Movie+That+Packs+A+Punch+For+People+Who+Like+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10135234/a-punching-movie-that-packs-a-punch-for-people-who-like-punching",
"authors": [
"byline_arts_10135234"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10135236",
"label": "arts_137"
},
"arts_10135232": {
"type": "posts",
"id": "arts_10135232",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10135232",
"score": null,
"sort": [
1398366010000
]
},
"guestAuthors": [],
"slug": "the-other-woman-when-terrible-movies-happen-to-funny-actresses",
"title": "'The Other Woman': When Terrible Movies Happen To Funny Actresses",
"publishDate": 1398366010,
"format": "standard",
"headTitle": "‘The Other Woman’: When Terrible Movies Happen To Funny Actresses | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>There is a moment in \u003cem>The Other Woman \u003c/em>in which Leslie Mann and Cameron Diaz, playing a wife and her husband’s former mistress — now friends — fall into a hedge together. When they’re spotted, there’s a little bit of physical business that’s legitimately funny. If you can ignore the fact that the moments of this kind scattered through the film are decorating such a conceptually odious, stupid-to-the-bone enterprise, some of them may make you laugh.\u003c/p>\n\u003cp>But it may also occur to you just how bad — how \u003cem>bad\u003c/em> — it is that this is what we have to offer Mann and Diaz, who show themselves in these moments to be really able comic actresses: a story in which they play idiots with no interests of any kind except bickering over an utterly charmless man and then satisfying themselves that giving him explosive diarrhea and prominent nipples constitutes satisfying revenge for his having apparently robbed both of them of whatever souls and outside interests they once possessed.\u003c/p>\n\u003cp>It is the most grotesque pantomime of girl power, these beautiful women clinking glasses and ultimately trading what must be the weakest and least earned high-five in cinema history after executing a plot made possible by one of their daddies and done with considerably more panache in the painfully generic but at least mildly agreeable 1987 Michael J. Fox film \u003cem>The Secret of My Success\u003c/em>.\u003c/p>\n\u003cp>When we first meet them, both Kate (Mann) and Carly (Diaz) believe they are happy women, because they are both under the spell, such as it is, of Mark (Nikolaj Coster-Waldau), a man with all the inscrutable charisma of a tennis ball with a face drawn on it. Kate babbles at him and pees in front of him and doesn’t know she should groom her intimate areas, because that’s how wives are, right? Carly has wine with him at sundown and has lots of impetuous sex with him and talks to her secretary (Nicki Minaj) about him, because that’s how lady lawyer mistresses are, right?\u003c/p>\n\u003cp>(As a side note, while the need to advertise the themes of competitive pettiness is understandable, it seems like a dreadful missed opportunity that they didn’t call this \u003cem>Right, Fellas?: The Movie\u003c/em>. Someone in marketing was not keeping his [probably his] eye on the ball.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The women discover each other, at which point the cold one (the one who works in an office) is mercilessly stalked by the baffled, out-of-touch, nerdy, sexless one (the wife), until they become friends and eventually discover the young, large-breasted, dumb one — the other mistress, Amber, played by supermodel Kate Upton. At first, the two women over 40 naturally respond to the beautiful woman in her 20s by attempting to physically attack her out of jealousy (right, fellas?), but particularly once they learn that Amber is so stupid she doesn’t know which end of a pair of binoculars to look through, all three team up because they hate Mark, and what better animating principle is there for female friendship than being humiliated by the same man and having nothing better to do than feel miserable about it?\u003c/p>\n\u003cp>Now granted, all three of these women will ultimately need rescue from men in order to move on to the next phases of their lives — and again, they wouldn’t know what to do to Mark without advice they receive from Carly’s father (Don Johnson), which he delivers over a meal in a restaurant where Asian women give massages while you eat and feed you by hand. But don’t let that harsh your “sisters are doing it for themselves” mellow, ladies. HERE’S TO FRIENDSHIP!\u003c/p>\n\u003cp>It is a film that features a vomiting scene, a farting scene, a huge dog taking an extravagant, full-view dump on an apartment floor, the aforementioned diarrhea and nipple segments, a joke — the approach of which is visible from space — when a man is sexually humiliated by a transgender woman, and plenty of appreciative ogling of Kate Upton’s caboose.\u003c/p>\n\u003cp>It does not, however, manage to pass the Bechdel test, the laughably low bar that asks these questions: (1) Does a film have two women in it? (2) Do they talk to each other? (3) About something other than a man?\u003c/p>\n\u003cp>Yyyyyyyup. That’s right. \u003cem>The Other Woman \u003c/em>is 109 minutes long, and at no time do any of these women — including Carly and her secretary, who \u003cem>only know each other from work —\u003c/em> pause for a discussion, even for a moment, of anything other than a series of dudes: Mark, Kate’s brother, Carly’s father, the secretary’s husband, Carly’s other boyfriends. It is truly, no fooling, all they talk about for 109 minutes.\u003c/p>\n\u003cp>As has often been observed, there is nothing about the Bechdel test that is magical: plenty of good movies don’t pass it, and heaven knows plenty of terrible movies do. But the fact that a large studio like Twentieth Century Fox — not to mention an actual nonjoke director like Nick Cassavetes — can make an ode to female empowerment that at no time involves any women relating to each other about anything other than men?\u003c/p>\n\u003cp>It’s deliciously, almost poetically, perhaps polemically depressing. \u003cem>The Other Woman \u003c/em>is no charming film about lady buddies, the way they’d like it to be, but it is a gift-wrapped boon to critics who have been looking for an opportunity to explain the miserable circumstances in which genuinely talented comic actresses — even powerful ones, even proven ones, even ones doing the absolute best they possibly can — still very often find themselves.\u003c/p>\n\u003cp>There are isolated funny moments: That’s just the truth. Mann is a gloriously, unabashedly weird presence in the best way, always, and Diaz continues to be an often funny mix of glamorous and goofy, just like she’s been since she was a young actress-model herself. The audience I was with laughed at this movie sometimes. They looked at it — twice — and said, literally, “This [excrement] is funny.” And were it wrapped around a story that was 50 percent, 20 percent, even 10 percent less corrosive and gross, maybe that would be easier to endorse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know what you’re thinking: “Enough beating around the bush. Just tell us whether you liked it!” Consider this, which I will say in terms this movie would understand: If you were on an airplane, \u003cem>The Other Woman \u003c/em>might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag. This is what we’ve got, girls. This is what’s on offer. Use your judgment. \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=%27The+Other+Woman%27%3A+When+Terrible+Movies+Happen+To+Funny+Actresses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "A film that seems designed to demonstrate the dire circumstances in which funny women can still find themselves, \u003cem>The Other Woman \u003c/em>is a grotesque pantomime of female empowerment.",
"status": "publish",
"parent": 0,
"modified": 1726705717,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1198
},
"headData": {
"title": "'The Other Woman': When Terrible Movies Happen To Funny Actresses | KQED",
"description": "A film that seems designed to demonstrate the dire circumstances in which funny women can still find themselves, The Other Woman is a grotesque pantomime of female empowerment.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Other Woman': When Terrible Movies Happen To Funny Actresses",
"datePublished": "2014-04-24T12:00:10-07:00",
"dateModified": "2024-09-18T17:28:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Linda Holmes",
"nprStoryId": "306437557",
"nprApiLink": "http://api.npr.org/query?id=306437557&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/blogs/monkeysee/2014/04/24/306437557/the-other-woman-when-terrible-movies-happen-to-funny-actresses?ft=3&f=306437557",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 25 Apr 2014 08:19:00 -0400",
"nprStoryDate": "Thu, 24 Apr 2014 11:58:00 -0400",
"nprLastModifiedDate": "Fri, 25 Apr 2014 08:19:50 -0400",
"path": "/arts/10135232/the-other-woman-when-terrible-movies-happen-to-funny-actresses",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in \u003cem>The Other Woman \u003c/em>in which Leslie Mann and Cameron Diaz, playing a wife and her husband’s former mistress — now friends — fall into a hedge together. When they’re spotted, there’s a little bit of physical business that’s legitimately funny. If you can ignore the fact that the moments of this kind scattered through the film are decorating such a conceptually odious, stupid-to-the-bone enterprise, some of them may make you laugh.\u003c/p>\n\u003cp>But it may also occur to you just how bad — how \u003cem>bad\u003c/em> — it is that this is what we have to offer Mann and Diaz, who show themselves in these moments to be really able comic actresses: a story in which they play idiots with no interests of any kind except bickering over an utterly charmless man and then satisfying themselves that giving him explosive diarrhea and prominent nipples constitutes satisfying revenge for his having apparently robbed both of them of whatever souls and outside interests they once possessed.\u003c/p>\n\u003cp>It is the most grotesque pantomime of girl power, these beautiful women clinking glasses and ultimately trading what must be the weakest and least earned high-five in cinema history after executing a plot made possible by one of their daddies and done with considerably more panache in the painfully generic but at least mildly agreeable 1987 Michael J. Fox film \u003cem>The Secret of My Success\u003c/em>.\u003c/p>\n\u003cp>When we first meet them, both Kate (Mann) and Carly (Diaz) believe they are happy women, because they are both under the spell, such as it is, of Mark (Nikolaj Coster-Waldau), a man with all the inscrutable charisma of a tennis ball with a face drawn on it. Kate babbles at him and pees in front of him and doesn’t know she should groom her intimate areas, because that’s how wives are, right? Carly has wine with him at sundown and has lots of impetuous sex with him and talks to her secretary (Nicki Minaj) about him, because that’s how lady lawyer mistresses are, right?\u003c/p>\n\u003cp>(As a side note, while the need to advertise the themes of competitive pettiness is understandable, it seems like a dreadful missed opportunity that they didn’t call this \u003cem>Right, Fellas?: The Movie\u003c/em>. Someone in marketing was not keeping his [probably his] eye on the ball.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The women discover each other, at which point the cold one (the one who works in an office) is mercilessly stalked by the baffled, out-of-touch, nerdy, sexless one (the wife), until they become friends and eventually discover the young, large-breasted, dumb one — the other mistress, Amber, played by supermodel Kate Upton. At first, the two women over 40 naturally respond to the beautiful woman in her 20s by attempting to physically attack her out of jealousy (right, fellas?), but particularly once they learn that Amber is so stupid she doesn’t know which end of a pair of binoculars to look through, all three team up because they hate Mark, and what better animating principle is there for female friendship than being humiliated by the same man and having nothing better to do than feel miserable about it?\u003c/p>\n\u003cp>Now granted, all three of these women will ultimately need rescue from men in order to move on to the next phases of their lives — and again, they wouldn’t know what to do to Mark without advice they receive from Carly’s father (Don Johnson), which he delivers over a meal in a restaurant where Asian women give massages while you eat and feed you by hand. But don’t let that harsh your “sisters are doing it for themselves” mellow, ladies. HERE’S TO FRIENDSHIP!\u003c/p>\n\u003cp>It is a film that features a vomiting scene, a farting scene, a huge dog taking an extravagant, full-view dump on an apartment floor, the aforementioned diarrhea and nipple segments, a joke — the approach of which is visible from space — when a man is sexually humiliated by a transgender woman, and plenty of appreciative ogling of Kate Upton’s caboose.\u003c/p>\n\u003cp>It does not, however, manage to pass the Bechdel test, the laughably low bar that asks these questions: (1) Does a film have two women in it? (2) Do they talk to each other? (3) About something other than a man?\u003c/p>\n\u003cp>Yyyyyyyup. That’s right. \u003cem>The Other Woman \u003c/em>is 109 minutes long, and at no time do any of these women — including Carly and her secretary, who \u003cem>only know each other from work —\u003c/em> pause for a discussion, even for a moment, of anything other than a series of dudes: Mark, Kate’s brother, Carly’s father, the secretary’s husband, Carly’s other boyfriends. It is truly, no fooling, all they talk about for 109 minutes.\u003c/p>\n\u003cp>As has often been observed, there is nothing about the Bechdel test that is magical: plenty of good movies don’t pass it, and heaven knows plenty of terrible movies do. But the fact that a large studio like Twentieth Century Fox — not to mention an actual nonjoke director like Nick Cassavetes — can make an ode to female empowerment that at no time involves any women relating to each other about anything other than men?\u003c/p>\n\u003cp>It’s deliciously, almost poetically, perhaps polemically depressing. \u003cem>The Other Woman \u003c/em>is no charming film about lady buddies, the way they’d like it to be, but it is a gift-wrapped boon to critics who have been looking for an opportunity to explain the miserable circumstances in which genuinely talented comic actresses — even powerful ones, even proven ones, even ones doing the absolute best they possibly can — still very often find themselves.\u003c/p>\n\u003cp>There are isolated funny moments: That’s just the truth. Mann is a gloriously, unabashedly weird presence in the best way, always, and Diaz continues to be an often funny mix of glamorous and goofy, just like she’s been since she was a young actress-model herself. The audience I was with laughed at this movie sometimes. They looked at it — twice — and said, literally, “This [excrement] is funny.” And were it wrapped around a story that was 50 percent, 20 percent, even 10 percent less corrosive and gross, maybe that would be easier to endorse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I know what you’re thinking: “Enough beating around the bush. Just tell us whether you liked it!” Consider this, which I will say in terms this movie would understand: If you were on an airplane, \u003cem>The Other Woman \u003c/em>might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag. This is what we’ve got, girls. This is what’s on offer. Use your judgment. \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=%27The+Other+Woman%27%3A+When+Terrible+Movies+Happen+To+Funny+Actresses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10135232/the-other-woman-when-terrible-movies-happen-to-funny-actresses",
"authors": [
"byline_arts_10135232"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10135230",
"label": "arts_137"
},
"arts_10135121": {
"type": "posts",
"id": "arts_10135121",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10135121",
"score": null,
"sort": [
1398283233000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1398283233,
"format": "standard",
"title": "Faraway, So Close: International Documentaries at SFIFF",
"headTitle": "Faraway, So Close: International Documentaries at SFIFF | KQED",
"content": "\u003cp>The first time a foreign-made documentary sold out at the San Francisco International Film Festival program, several years ago, it was a huge deal. Now it’s neither unusual nor surprising. Americans are starved for information about other countries, and the savvy ones have learned to seek out documentaries—especially those made by filmmakers working in their own countries—for insights they can’t get anywhere else. To state the obvious, U.S. televison news reports are embarassingly short and superficial (unless the international crisis involves a missing jetliner), perhaps in recognition that the masses really don’t care what’s happening to anyone not named Kim or Lindsay.\u003c/p>\n\u003cp>I don’t profess to be any better informed than you, but I do think it’s important to watch documentaries for their form as well as their content. There is a craft and an art to nonfiction filmmaking that is frequently overlooked and underrated, and is itself a source of pleasure and meaning. The SFIFF, beginning Thursday and continuing through May 8, 2014, has consistently taken that position by not only presenting important stories, but innovative and poetic storytelling. To put it another way, man cannot live on content alone. \u003c/p>\n\u003cfigure id=\"attachment_10135158\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CoastofDeath_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CoastofDeath_01.jpg\" alt=\"A scene from Lois Patino's COAST OF DEATH, playing at the 57th San Francisco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CoastofDeath_01.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CoastofDeath_01-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CoastofDeath_01-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coast of Death\u003c/figcaption>\u003c/figure>\n\u003cp>The disturbingly beautiful Spanish documentary \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/coast-of-death#.U1ggD_ldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>Coast of Death\u003c/i>\u003c/a> (May 2 and 3 at the Kabuki, May 5 at the Pacific Film Archive in Berkeley) opens with the nerve-jangling bite of a chainsaw and closes with a controlled fire. It is conceivable that Lois Patino’s riveting portrait of the famously picturesque, dangerous and despoiled area of Galicia isn’t an environmental disaster film. Despite its myriad aural and visual references to shipwrecks, oil spills, felled trees, mining and wind farming, \u003ci>Coast of Death\u003c/i> could simply be a delineation of the border where the utilization of resources becomes exploitation. Or perhaps that’s a distinction without a difference.\u003c/p>\n\u003cfigure id=\"attachment_10135159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03.jpg\" alt=\"A scene from Amit Dutta's THE SEVENTH WALK, playing at the 57th San Francisco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Seventh Walk\u003c/figcaption>\u003c/figure>\n\u003cp>Open to a range of interpretations, and for that alone indubitably worth seeing, \u003ci>Coast of Death\u003c/i> has people but no characters, and an expansive awareness of time but no chronology. The same can be said of the Indian film \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-seventh-walk#.U1gfdfldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>The Seventh Walk\u003c/i>\u003c/a>(Apr. 26 at the PFA and Apr. 29 and May 1 at the Kabuki), a 70-minute exercise in erasing the gulf between nature and its representation. The painter Paramjit Singh serves as inspiration, silent subject and posed foil for filmmaker Amit Dutta’s occasionally entrancing, occasionally mind-numbing attempt to bring still lifes to life via zooms, pans and tracking shots. \u003ci>The Seventh Walk\u003c/i> left me contemplating the redundancy of making pictures of nature when one’s life is surrounded by it; somehow I don’t think that’s Dutta’s goal.\u003c/p>\n\u003cfigure id=\"attachment_10135161\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021.jpg\" alt=\"A scene from Talal Derki's RETURN TO HOMS, playing at the 57th San Francisco International Film Festival, April 24- May 8, 2014.\" width=\"800\" height=\"449\" class=\"size-full wp-image-10135161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Return to Homs\u003c/figcaption>\u003c/figure>\n\u003cp>These films inhabit a different realm than the typical American character-driven documentary with its bow-tied endpoint. The closest cousin to a doc with a dedicated protagonist is Talal Derki’s deeply courageous \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/return-to-homs#.U1gfcvldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>Return to Homs\u003c/i>\u003c/a> (May 4 and 7 at the Kabuki and May 6 at PFA), an irreplaceable blood-and-rubble document of the outgunned domestic resistance to Syrian President Bashar al-Assad. A young, aspiring goaltender named Basset stands up first as an activist, then as a militant and a rebel. “Peaceful resistance is futile,” he asserts at a crucial juncture. “We’re dealing with people who do not fear God.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basset provides heat and heart and a great deal of heroism, although one uses that word advisedly in a film as suffused with defeat and death as this one. It’s unimaginable—until you see it in front of you—that a city could be destroyed by tanks and mortars in the 21st century, even if it is unsurprising that a dictator would wage war on his own people. The flip side of \u003ci>The Square\u003c/i>, last year’s splendid verité film that surfed the idealistic wave of the Egyptian revolution to and through its foundering, \u003ci>Return to Homs\u003c/i> offers all the reality and none of the hope one might wish for. Sobering, yes, but highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_10135162\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03.jpg\" alt=\"A scene from Luc Schaedler's THREE LETTERS FROM CHINA, playing at the 57th San Franicsco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Three Letters From China\u003c/figcaption>\u003c/figure>\n\u003cp>The emotional terrain is measurably less despairing in \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/three-letters-from-china#.U1gf3PldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>Three Letters From China\u003c/i>\u003c/a> (Apr. 29 at the Kabuki, May 3 at the PFA, and May 5 at New People Cinema in San Francisco), a triad of artfully constructed, open-ended portraits. Swiss filmmaker Luc Schaedler makes no pretense that the lives of his subjects stops when he departs; on the contrary, he invites us to contemplate what lies ahead for an elderly, lonely farming couple and their conflicted, hard-working children who live hundreds of kilometers away. And the 19-year-old big-city waitress who identifies as male more than female, and the aging elders of a village still recovering from the retributions and killings of the Cultural Revolution.\u003c/p>\n\u003cp>Schaedler doesn’t strive or strain for conclusions and morals, as he appears to be content with serving up slices of lives. Nonetheless, we infer that these aren’t isolated, discreet cases but in some ephemeral way representative of segments of the vast Chinese population. Similarly, French filmmaker Julie Bertuccelli’s immersive year in a French junior high school class for new immigrants, \u003ci>School of Babel,\u003c/i> plays as both a glimpse of specific individuals and a window onto a larger phenomenon.\u003c/p>\n\u003cfigure id=\"attachment_10135163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01.jpg\" alt=\"A scene from Julie Bertuccelli's SCHOOL OF BABEL, playing at the 57th San Francisco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">School of Babel\u003c/figcaption>\u003c/figure>\n\u003cp>The tone is set by the opening musical notes, which evoke the lightheartedness of Michel Legrand’s 1960s scores and tip us off not to expect wrenching social drama. The kids seem to fall in the lower-middle of the economic ladder, though one assumes their families— from Ireland and Nigeria, Romania and Morocco, Venezuela and Belarus—must have had some resources to immigrate. But it’s not all crepes suzette, especially for the Chinese girl whose mother works long hours in a restaurant, or the Serbian-Jewish lad who spends a portion of his studying time completing the family’s extensive application request for asylum.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/school-of-babel#.U1gf8PldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>School of Babel\u003c/i>\u003c/a> (Apr. 27 and 28 at New People) achieves a compelling mood of intimacy and intensity by keeping the camera squarely on the curious faces of the adolescent students. If you’re looking for hope, aspiration and possibility, it’s right there. In fact, Bertuccelli’s goal might well have been to increase the tolerance of French viewers for new immigrants. Youthful talent, intelligence and enthusiasm is hard to resist.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sffs.org/festival-home/\" target=\"_blank\" rel=\"noopener\">more information,\u003c/a> visit www.sffs.org/festival-home/.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1110,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705049084,
"excerpt": "As the world gets smaller, other countries’ problems increasingly look a lot like ours — and vice versa.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As the world gets smaller, other countries’ problems increasingly look a lot like ours — and vice versa.",
"title": "Faraway, So Close: International Documentaries at SFIFF | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Faraway, So Close: International Documentaries at SFIFF",
"datePublished": "2014-04-23T13:00:33-07:00",
"dateModified": "2024-01-12T00:44:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "faraway-so-close-international-documentaries-at-sfiff",
"status": "publish",
"sticky": false,
"path": "/arts/10135121/faraway-so-close-international-documentaries-at-sfiff",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time a foreign-made documentary sold out at the San Francisco International Film Festival program, several years ago, it was a huge deal. Now it’s neither unusual nor surprising. Americans are starved for information about other countries, and the savvy ones have learned to seek out documentaries—especially those made by filmmakers working in their own countries—for insights they can’t get anywhere else. To state the obvious, U.S. televison news reports are embarassingly short and superficial (unless the international crisis involves a missing jetliner), perhaps in recognition that the masses really don’t care what’s happening to anyone not named Kim or Lindsay.\u003c/p>\n\u003cp>I don’t profess to be any better informed than you, but I do think it’s important to watch documentaries for their form as well as their content. There is a craft and an art to nonfiction filmmaking that is frequently overlooked and underrated, and is itself a source of pleasure and meaning. The SFIFF, beginning Thursday and continuing through May 8, 2014, has consistently taken that position by not only presenting important stories, but innovative and poetic storytelling. To put it another way, man cannot live on content alone. \u003c/p>\n\u003cfigure id=\"attachment_10135158\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CoastofDeath_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CoastofDeath_01.jpg\" alt=\"A scene from Lois Patino's COAST OF DEATH, playing at the 57th San Francisco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CoastofDeath_01.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CoastofDeath_01-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CoastofDeath_01-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coast of Death\u003c/figcaption>\u003c/figure>\n\u003cp>The disturbingly beautiful Spanish documentary \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/coast-of-death#.U1ggD_ldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>Coast of Death\u003c/i>\u003c/a> (May 2 and 3 at the Kabuki, May 5 at the Pacific Film Archive in Berkeley) opens with the nerve-jangling bite of a chainsaw and closes with a controlled fire. It is conceivable that Lois Patino’s riveting portrait of the famously picturesque, dangerous and despoiled area of Galicia isn’t an environmental disaster film. Despite its myriad aural and visual references to shipwrecks, oil spills, felled trees, mining and wind farming, \u003ci>Coast of Death\u003c/i> could simply be a delineation of the border where the utilization of resources becomes exploitation. Or perhaps that’s a distinction without a difference.\u003c/p>\n\u003cfigure id=\"attachment_10135159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03.jpg\" alt=\"A scene from Amit Dutta's THE SEVENTH WALK, playing at the 57th San Francisco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/TheSeventhWalk_03-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Seventh Walk\u003c/figcaption>\u003c/figure>\n\u003cp>Open to a range of interpretations, and for that alone indubitably worth seeing, \u003ci>Coast of Death\u003c/i> has people but no characters, and an expansive awareness of time but no chronology. The same can be said of the Indian film \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-seventh-walk#.U1gfdfldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>The Seventh Walk\u003c/i>\u003c/a>(Apr. 26 at the PFA and Apr. 29 and May 1 at the Kabuki), a 70-minute exercise in erasing the gulf between nature and its representation. The painter Paramjit Singh serves as inspiration, silent subject and posed foil for filmmaker Amit Dutta’s occasionally entrancing, occasionally mind-numbing attempt to bring still lifes to life via zooms, pans and tracking shots. \u003ci>The Seventh Walk\u003c/i> left me contemplating the redundancy of making pictures of nature when one’s life is surrounded by it; somehow I don’t think that’s Dutta’s goal.\u003c/p>\n\u003cfigure id=\"attachment_10135161\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021.jpg\" alt=\"A scene from Talal Derki's RETURN TO HOMS, playing at the 57th San Francisco International Film Festival, April 24- May 8, 2014.\" width=\"800\" height=\"449\" class=\"size-full wp-image-10135161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/RETURN_TO_HOMS_021-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Return to Homs\u003c/figcaption>\u003c/figure>\n\u003cp>These films inhabit a different realm than the typical American character-driven documentary with its bow-tied endpoint. The closest cousin to a doc with a dedicated protagonist is Talal Derki’s deeply courageous \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/return-to-homs#.U1gfcvldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>Return to Homs\u003c/i>\u003c/a> (May 4 and 7 at the Kabuki and May 6 at PFA), an irreplaceable blood-and-rubble document of the outgunned domestic resistance to Syrian President Bashar al-Assad. A young, aspiring goaltender named Basset stands up first as an activist, then as a militant and a rebel. “Peaceful resistance is futile,” he asserts at a crucial juncture. “We’re dealing with people who do not fear God.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basset provides heat and heart and a great deal of heroism, although one uses that word advisedly in a film as suffused with defeat and death as this one. It’s unimaginable—until you see it in front of you—that a city could be destroyed by tanks and mortars in the 21st century, even if it is unsurprising that a dictator would wage war on his own people. The flip side of \u003ci>The Square\u003c/i>, last year’s splendid verité film that surfed the idealistic wave of the Egyptian revolution to and through its foundering, \u003ci>Return to Homs\u003c/i> offers all the reality and none of the hope one might wish for. Sobering, yes, but highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_10135162\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03.jpg\" alt=\"A scene from Luc Schaedler's THREE LETTERS FROM CHINA, playing at the 57th San Franicsco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/ThreeLettersFromChina_03-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Three Letters From China\u003c/figcaption>\u003c/figure>\n\u003cp>The emotional terrain is measurably less despairing in \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/three-letters-from-china#.U1gf3PldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>Three Letters From China\u003c/i>\u003c/a> (Apr. 29 at the Kabuki, May 3 at the PFA, and May 5 at New People Cinema in San Francisco), a triad of artfully constructed, open-ended portraits. Swiss filmmaker Luc Schaedler makes no pretense that the lives of his subjects stops when he departs; on the contrary, he invites us to contemplate what lies ahead for an elderly, lonely farming couple and their conflicted, hard-working children who live hundreds of kilometers away. And the 19-year-old big-city waitress who identifies as male more than female, and the aging elders of a village still recovering from the retributions and killings of the Cultural Revolution.\u003c/p>\n\u003cp>Schaedler doesn’t strive or strain for conclusions and morals, as he appears to be content with serving up slices of lives. Nonetheless, we infer that these aren’t isolated, discreet cases but in some ephemeral way representative of segments of the vast Chinese population. Similarly, French filmmaker Julie Bertuccelli’s immersive year in a French junior high school class for new immigrants, \u003ci>School of Babel,\u003c/i> plays as both a glimpse of specific individuals and a window onto a larger phenomenon.\u003c/p>\n\u003cfigure id=\"attachment_10135163\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01.jpg\" alt=\"A scene from Julie Bertuccelli's SCHOOL OF BABEL, playing at the 57th San Francisco International Film Festival, April 24 - May 8, 2014.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/SchoolofBabel_01-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">School of Babel\u003c/figcaption>\u003c/figure>\n\u003cp>The tone is set by the opening musical notes, which evoke the lightheartedness of Michel Legrand’s 1960s scores and tip us off not to expect wrenching social drama. The kids seem to fall in the lower-middle of the economic ladder, though one assumes their families— from Ireland and Nigeria, Romania and Morocco, Venezuela and Belarus—must have had some resources to immigrate. But it’s not all crepes suzette, especially for the Chinese girl whose mother works long hours in a restaurant, or the Serbian-Jewish lad who spends a portion of his studying time completing the family’s extensive application request for asylum.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/school-of-babel#.U1gf8PldV8E\" target=\"_blank\" rel=\"noopener\">\u003ci>School of Babel\u003c/i>\u003c/a> (Apr. 27 and 28 at New People) achieves a compelling mood of intimacy and intensity by keeping the camera squarely on the curious faces of the adolescent students. If you’re looking for hope, aspiration and possibility, it’s right there. In fact, Bertuccelli’s goal might well have been to increase the tolerance of French viewers for new immigrants. Youthful talent, intelligence and enthusiasm is hard to resist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sffs.org/festival-home/\" target=\"_blank\" rel=\"noopener\">more information,\u003c/a> visit www.sffs.org/festival-home/.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10135121/faraway-so-close-international-documentaries-at-sfiff",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10135157",
"label": "arts"
},
"arts_10135020": {
"type": "posts",
"id": "arts_10135020",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10135020",
"score": null,
"sort": [
1398085244000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1398085244,
"format": "standard",
"title": "12 Must-See Films and One We Defy You to Sit Through at the SFIFF",
"headTitle": "12 Must-See Films and One We Defy You to Sit Through at the SFIFF | KQED",
"content": "\u003cp>I finished my final preview screener from the \u003ca href=\"http://www.sffs.org/festival-home/\">2014 San Francisco International Film Festival\u003c/a> exhilarated and exhausted. Those two emotions coexisted uneasily during much of my time in the trenches. At my giddiest, I entertained thoughts about the great redemptive power of cinema: If only we could all just sit down and watch each others’ movies! Then there was Tsai Ming Liang’s 13-minute two-shot of a man and woman staring at a wall — that was more likely to \u003cem>incite\u003c/em> violence. Or at least a kind of awestruck insanity.\u003c/p>\n\u003cp>In watching many of the films below, I had to resist a reflexive craving for the default aesthetics of Hollywood, inculcated by virtue of thousands of hours at the movie theater or in front of the TV. A recognizable moral scheme, obvious but entertaining storytelling, rapid-fire editing — not much of that going on in the movies I saw. Many of these films have a fraction of the edits you find at the cineplex. Slow and reflective, they exhibit a fondness for mood, ambiguity, and a lingering on the passive — I often found myself watching characters \u003ci>thinking\u003c/i>. Which got me to thinking what are they thinking? Which is the beginning of empathy as opposed to mere sentimentalism.\u003c/p>\n\u003cp>It’s not always easy to step outside your own cinematic culture. Cognitive dissonance erupted, for example, while watching \u003ci>Salvation Army\u003c/i>, a beautiful Moroccan film set partly in Casablanca. Just the mention of that city sets off a visceral nostalgia for American myth-making, for exultant lies told in the high style of circa 1942 Warner Bros. My first association with the word “Casablanca” has always been Humphrey Bogart. Now, possibly, I might think of actual Moroccans.\u003c/p>\n\u003cp>Of the 74 fictional features at the festival, here are 13 I saw in advance that I can recommend. \u003cstrong>You can see more about the films or buy tickets by clicking on the film titles\u003c/strong>.\u003c/p>\n\u003ch2>Gay Youth\u003c/h2>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/bad-hair\">\u003cem>\u003cstrong>Bad Hair\u003c/strong>\u003c/em>\u003c/a> is a heartbreaking film about a Venezuelan boy and his mother, an unemployed security guard who is appalled by his emerging homosexuality. They live in a massive and decrepit housing complex where things start to unravel when poverty and homophobia impinge on their lives. There is also an ever-present concern with violence in this rare glimpse into Venezuelan society at the end of the Hugo Chavez era.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Look for: In just two lines of dialogue, one of the most quietly searing exchanges between a child and parent you’ll ever see on-screen.\u003c/p>\n\u003cp>Directed by Mariana Rondón. 93 min, Venezuela/Peru\u003cbr>\nThu, May 1, 9:15am Kabuki\u003cbr>\nSun May 4, 6:15pm. New People\u003cbr>\nWed, May 7, 6:30pm BAM/PFA\u003c/p>\n\u003cfigure id=\"attachment_10135047\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/salvation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135047\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/salvation.jpg\" alt=\"Salvation Army\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/salvation.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/salvation-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/salvation-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Salvation Army\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/salvation-army\">\u003cem>\u003cb>Salvation Army\u003c/b>\u003c/em> \u003c/a>is a lovely, honest film about a gay youth in Morocco. Abdellah is a teenager in love with his older brother, stealing moments alone in his sibling’s bed just to bathe in his aura. He also has anonymous sex with men on the streets. But the film does not convey overt oppression or shame, rather a sense of longing and, when it fast forwards 10 years, an unspecified regret and bitterness. The anonymous sexual encounters all have a different feel, sometimes seamy, sometimes not. The characters frequently treat one another tenderly, and there is a touching dignity to many of their interactions.\u003c/p>\n\u003cp>Look for: The ending, which left me in tears, though I don’t know why.\u003c/p>\n\u003cp>Directed by Abdellah Taia, from his book. 82 min, Morocco\u003cbr>\nFri May 2 9:00pm Kabuki\u003cbr>\nSun May 4 8:30pm BAM/PFA\u003cbr>\nTue May 6 6:30pm Kabuki\u003c/p>\n\u003ch2>Societal Critiques\u003c/h2>\n\u003cfigure id=\"attachment_10135048\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/trapstreet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/trapstreet.jpg\" alt=\"Trap Street\" width=\"640\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/trapstreet.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/trapstreet-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/trapstreet-300x157.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Trap Street\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/trap-street\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cb>Trap Street\u003c/b>\u003c/em>\u003c/a> is a diverting tale with all the elements of a young adult mystery novel. A teenage boy, working as a surveyor for a digital mapping firm, stumbles onto a secret government lab. There’s a mysterious, attractive young girl who is prone to taking a powder, menacing government agents, and burgeoning paranoia as reprisals mount for pursuing what you clearly shouldn’t. But beneath the familiar genre construction lies a deep disquiet with China’s surveillance state, and an illustration of the limits the country places on capitalist enterprise when it comes into conflict with entrenched power.\u003c/p>\n\u003cp>Look for: A scene in which the hero’s father is interrogated about his son. In an American film, he’d grow increasingly outraged and demand his rights; here, the man quietly complies and tries to distance himself from his kid.\u003c/p>\n\u003cp>Directed by Vivian Qu. 94 min, China\u003cbr>\nSat April 26 8:00pm BAM/PFA\u003cbr>\nSun May 4 9:45pm Kabuki\u003cbr>\nTue May 6 6:45pm Kabuki\u003c/p>\n\u003cfigure id=\"attachment_10135049\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/harmonylessons.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/harmonylessons.jpg\" alt=\"Harmony Lessons\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/harmonylessons.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/harmonylessons-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/harmonylessons-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Harmony Lessons\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/harmony-lessons\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Harmony Lessons\u003c/strong>\u003c/em>\u003c/a>, student members of a sort of Mafia-in-training at a Kazakhstani school shake down their weaker peers. One of the victims has been singled out for ostracism, and he reacts by frequently vomiting and obsessive-compulsive cleaning. A new boy arrives who stands up to the head bully, but not without severe consequences. The film has a \u003ci>Lord of the Flies \u003c/i> feel–clueless or cruel teachers leave any supervision of the boys meaningless. And when the police get involved, they turn out to be the worst thugs of all. Chillingly, it all seems a rehearsal for the same roles everyone will play in adult society. The violence is belied and thus made more shocking by director Emir Baigazin’s quiet approach; he moves his camera sparingly, adds almost no music, and creates gorgeous, almost painterly compositions.\u003c/p>\n\u003cp>Look for: Chilling performances by menacing twin brothers in the senior class, at the top of the criminal chain.\u003c/p>\n\u003cp>Directed by Emir Baigazin. 114 min, Kazakhstan/Germany/France\u003cbr>\nFri April 25 3:30pm, Kabuki\u003cbr>\nSun May 4 12:45pm, Kabuki\u003cbr>\nMon May 5 6:15pm, Kabuki\u003c/p>\n\u003cfigure id=\"attachment_10135050\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whiteshadow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135050\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whiteshadow.jpg\" alt=\"White Shadow\" width=\"640\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whiteshadow.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whiteshadow-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whiteshadow-300x175.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>White Shadow\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/white-shadow\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>White Shadow\u003c/strong>\u003c/em>\u003c/a> is a gruesome yet compelling story based on a real-life horrific cultural phenomenon. Alias is an albino boy living in a Tanzanian village. The body parts of those with his disorder are prized by witch doctors, and his father is killed in order to harvest them. Afterwards, his mother sends Alias to live in the city with his uncle. There he hustles goods to motorists, scavenges in toxic waste dumps, and grows up extremely fast. The film depicts a country in which magical thinking and a belief in the occult overwhelm civil society, and where superstition and greed join to make life very cheap. And yet, the resiliency of the ostracized Alias shines through.\u003c/p>\n\u003cp>Look for: Several visual references to Obama, an icon in Africa.\u003c/p>\n\u003cp>Directed by Noaz Deshe. 115 min, Italy/Germany/Tanzania\u003cbr>\nSun May 4 6:30pm Kabuki\u003cbr>\nTue May 6 6:15pm Kabuki\u003cbr>\nThu May 8 8:00pm Kabuki\u003c/p>\n\u003cfigure id=\"attachment_10135051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/militant.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135051\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/militant.jpg\" alt=\"The Militant\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/militant.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/militant-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/militant-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Militant\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-militant\" target=\"_blank\" rel=\"noopener\">The Militant\u003c/a>\u003c/strong>\u003c/em>, a young man in Uruguay named Ariel Cruz tries to find himself during the country’s 2002 economic crisis, participating in hapless school occupations in which the students prioritize getting stoned. Cruz both typifies and chafes against the aimlessness, but whatever he tries, he never moves past bemusement. The newcomer Felipe Dieste showcases the kind of offbeat performance Dustin Hoffman used to be known for: His hand trembles, he walks with a limp, and he whines like \u003ca href=\"https://www.youtube.com/watch?v=c412hqucHKw\" target=\"_blank\" rel=\"noopener\">Ratso Rizzo\u003c/a>. Or perhaps he’s the Latin American-leftist \u003ca href=\"https://www.youtube.com/watch?v=PSxihhBzCjk\" target=\"_blank\" rel=\"noopener\">Benjamin Braddock\u003c/a>, thrust into an ill-suiting role and thoroughly lost.\u003c/p>\n\u003cp>Look for: On the occupying students’ agenda: “First motion — create a committee to throw a party.” And before joining a meat packers’ hunger strike, Cruz asks, “Is smoking allowed?”\u003c/p>\n\u003cp>Directed by Manolo Nieto. 121 min, Uruguay/Argentina\u003cbr>\nSat Apr 26 9:00pm New People\u003cbr>\nSun Apr 27 3:15pm Kabuki\u003cbr>\nThu May 1 8:50pm BAM/PFA\u003c/p>\n\u003ch2>Films About Film Directors\u003c/h2>\n\u003cfigure id=\"attachment_10135052\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whenevening.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135052\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whenevening.jpg\" alt=\"When Evening Falls on Bucharest\" width=\"640\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whenevening.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whenevening-400x151.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whenevening-300x113.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>When Evening Falls on Bucharest\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/when-evening-falls-on-bucharest-or-metabolism\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>When Evening Falls on Bucharest or Metabolism\u003c/strong>\u003c/em>\u003c/a>, a director and leading lady participate in dialogues about the movie they’re making, how dining utensils influence cuisine, and more. But really every conversation alludes to cinema. At one point the two spend five on-screen minutes discussing the most truthful way to dress in a particular scene. Despite their passion for cinematic verisimilitude, they both engage in real-life duplicity. The dichotomy between the intense conversations and the emotional detachment in which they state their positions is compelling. We never really get a closeup of the actors; they’re shot frequently in profile or from behind, yet we’re paradoxically drawn in.\u003c/p>\n\u003cp>Look for: The opinion that the penis is “a mistake from an aesthetic point of view.”\u003c/p>\n\u003cp>Directed by Corneliu Porumboiu. 93 min, Romania/France\u003cbr>\nFri April 25 3:45pm New People Cinema\u003cbr>\nSat April 26 6:30pm Kabuki\u003cbr>\nMon April 28 8:30pm BAM/PFA\u003c/p>\n\u003cfigure id=\"attachment_10135053\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/abuseweakness.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/abuseweakness.jpg\" alt=\"Abuse of Weakness\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/abuseweakness.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/abuseweakness-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/abuseweakness-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Abuse of Weakness\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/abuse-of-weakness\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>\u003ci>Abuse of Weakness\u003c/i>\u003c/strong>\u003c/em>\u003c/a> is Catherine Breillat’s autobiographical film about a director who suffers a paralyzing stroke then gets fleeced by a known swindler. This is no Mametesque delving into the subtleties of the big con — the man’s lies are completely transparent, yet his victim gives him large sums seemingly without a thought. Both the director and her character struggle to explain going bankrupt at the hands of an obvious sociopath. But no one does perversity like Isabelle Huppert, who may have found the answer in a filmmaker’s predilection for experiencing life anthropologically: He’s a “caveman,” she says, before gleefully calling him “fascinating.” Amidst the power games, the film asks: If someone must cut your meat, who is really in control, you or him?\u003c/p>\n\u003cp>Look for: Huppert’s line: “You took me to the cleaners,” delivered almost giddily and with a smile, before admitting she doesn’t have enough money for food. Only she could so skillfully convey the fine line between a lark and a tragedy.\u003c/p>\n\u003cp>Directed by Catherine Breillat. 104 min, France/Belgium/Germany\u003cbr>\nThu May 1 9:00pm Kabuki\u003c/p>\n\u003ch2>Freud Wasn’t Wrong About \u003cem>Everything\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_10135054\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/clubsandwich.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/clubsandwich.jpg\" alt=\"Club Sandwich\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/clubsandwich.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/clubsandwich-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/clubsandwich-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Club Sandwich\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/club-sandwich\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Club Sandwich\u003c/strong>\u003c/em>\u003c/a> is the compact story of a single mother and her teenage son on a resort vacation. Simpatico, they have their routines and games, and at times act like an old married couple. But straining just beneath the surface is a mutual sexualizing, which leaves the boy in a terrible confusion about how to exercise his inflamed adolescent libido. When a partner in horniness his own age arrives, the bond between mother and son frays, and intensely uncomfortable situations develop. What could have been perversely grim is actually wry and charming, and while some may feel hatred for the mom, it’s easy to see how such a situation can develop. Great performances, especially by the kids, who perfectly capture the awkwardness of fumbling teenage lust.\u003c/p>\n\u003cp>Look for: Cool cover version of the Pixies “Where is My Mind” over the opening credits; and a scene in which the mom cannonballs into the water from off-screen, disturbing the two kids tranquilly holding each others’ hands in the pool.\u003c/p>\n\u003cp>Directed by Fernando Eimbcke. 82 min, Mexico\u003cbr>\nSat April 26, 4:15pm Kabuki\u003cbr>\nMon April 28, 9:15pm New People Cinema\u003cbr>\nSun May 4, 1:30pm Kabuki\u003c/p>\n\u003ch2>Argentinian Alienation\u003c/h2>\n\u003cfigure id=\"attachment_10135055\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/reconstruction.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/reconstruction.jpg\" alt=\"The Reconstruction\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/reconstruction.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/reconstruction-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/reconstruction-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Reconstruction\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-reconstruction\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>The Reconstruction\u003c/em>\u003c/strong>, \u003c/a>a doleful middle-aged man completely disengaged from life finds himself in the middle of a crisis concerning the family of an old friend. The spectacle of a man who answers an invitation to dinner with “what for?” having to suddenly attend a parent-teacher conference for someone else’s kid is very good. While the film’s director, Juan Taraturo, and his star, Diego Peretti, could have played it for laughs, as in their previous pairings, any comedy here grows out of the rueful absurdity of a misanthrope attempting an altruistic intervention. The film loses steam about two-thirds through, when it turns from an existential character study into a conventional weepie. But well worth a look for Peretti as the sullen, long-faced Eduardo.\u003c/p>\n\u003cp>Look for: One of the more concisely effective — if shocking — delineations of character in the very first moments of the film.\u003c/p>\n\u003cp>Directed by Juan Taratuto. 93 min, Argentina\u003cbr>\nFri April 25 9:00pm New People Cinema\u003cbr>\nMon April 28 2:00pm Kabuki\u003cbr>\nWed April 30 4:00pm New People Cinema\u003c/p>\n\u003ch2>Hooray For Hollywood\u003c/h2>\n\u003cfigure id=\"attachment_10135056\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/allthatjazz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/allthatjazz.jpg\" alt=\"All That Jazz\" width=\"640\" height=\"358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/allthatjazz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/allthatjazz-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/allthatjazz-300x167.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>All That Jazz\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Return, if you will, to a time when \u003ca href=\"//www.urbandictionary.com/define.php?term=jazz%20hands%E2%80%9D\">jazz hands\u003c/a> could be unironically employed on-stage. Even when the culture was more tolerant of artists pouring out their self-involvement on-screen, \u003cstrong>\u003cem>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/all-that-jazz\" target=\"_blank\" rel=\"noopener\">All That Jazz\u003c/a>\u003c/em>\u003c/strong>, an \u003ci>8 1/2\u003c/i> derivative, was considered an over-the-top indulgence. Roy Scheider stars as “Joe Gideon,” a talented, self-destructive choreographer juggling multiple projects and women. While Fosse alternates between self-hatred and egomania, the man does know how to shoot a song and dance, and you’ll enjoy several show-stoppers, especially the opening, a cattle-call audition process that whittles hundreds of dancers down to a chosen few. Ending one’s film with a 15-minute hallucinogenic fantasy must break some dramatic rule somewhere, but at its best, this is an exuberant look at dyed-in-the-wool show folk plying their trade while contending with venal producers and their own neuroses.\u003c/p>\n\u003cp>Look for: \u003ca href=\"http://www.imdb.com/name/nm0658336/?ref_=tt_cl_t3\">Leland Palmer\u003c/a> as a \u003ca href=\"http://en.wikipedia.org/wiki/Gwen_Verdon\">Gwen Verdon \u003c/a> doppelganger, rehearsing a dance number in front of the Fosse character while simultaneously picking at their mutual emotional scabs. Then there’s Ann Reinking as the tallest drink-of-water triple threat in decades. Plus the line: “Now Sinatra will never record it.”\u003c/p>\n\u003cp>Restored by Twentieth Century Fox in collaboration with The Film Foundation.\u003cbr>\nDirected by Bob Fosse. 123 min, USA\u003cbr>\nSun April 27, 12:30pm Kabuki\u003cbr>\nFri May 2, 8:30pm BAM/PFA\u003c/p>\n\u003cfigure id=\"attachment_10135057\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ladyeve.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ladyeve.jpg\" alt=\"The Lady Eve\" width=\"640\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ladyeve.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ladyeve-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ladyeve-237x300.jpg 237w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Lady Eve\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>You hate to resort to they-don’t-make-em-like-that-anymore sentiment, but in the midst of a festival brimming over with grim realism, the celebration of \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-lady-eve\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cb>The Lady Eve\u003c/b>\u003c/em>\u003c/a>, one of those perfect specimens from the great Hollywood Dream Machine, is much welcome. Director Preston Sturges had a great run between 1940-44, enjoying a good deal of creative independence at Paramount before flaming out in battles with the money boys. A leading practitioner of screwball comedy, an American auteur, and a keen satirist, Sturges was never more winning than in breathing life into this swindler/swindled romance. With Henry Fonda as the world’s most eligible bachelor and Barbara Stanwyck in the title role, taking her place alongside Rosalind Russell, Katherine Hepburn and Irene Dunne as female screwball royalty.\u003c/p>\n\u003cp>Look for: You get the impression Stanwyck’s character is a lot more taken with Fonda than is Sturges, who destroys his leading man in gag after uproarious gag.\u003c/p>\n\u003cp>Directed by Preston Sturges. 94 min, USA\u003cbr>\nSun May 4 3:00pm Kabuki\u003c/p>\n\u003cp>\u003cb>Film essayist David Thomson has chosen this movie to screen when he receives the Mel Novikoff Award for enhancing the film-going public’s knowledge and appreciation of world cinema.\u003c/b>\u003c/p>\n\u003ch2>And in the Department of Uncategorizable…\u003c/h2>\n\u003cfigure id=\"attachment_10135058\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/straydogs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/straydogs.jpg\" alt=\"Stray Dogs\" width=\"640\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/straydogs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/straydogs-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/straydogs-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Stray Dogs\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Those with cinematic stamina will want to try acclaimed director Tsai Ming-liang’s \u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/stray-dogs\" target=\"_blank\" rel=\"noopener\">\u003cem>Stray Dogs \u003c/em>\u003c/a>\u003c/strong>, one of the most aesthetically provocative works you’ll ever sit through. The opening shot of a woman brushing her hair in front of two sleeping children lasts four minutes. But that’s a Michael Bay film compared to the penultimate image of a man and woman staring at a wall for 13 minutes straight. In between, a disjointed story of sorts develops, about a destitute Taipei family, but anything more specific you’ll have to bring to the work yourself. With such a dearth of narrative markers, you either fall into a kind of image fetishism, scrutinizing every inch of the screen, or your mind feverishly works to comprehend what’s being communicated. It’s a unique strategy for engaging an audience, and many will find themselves contemplating the next \u003cem>Game of Thrones\u003c/em>. During the lulls, I imagined Tsai’s producer arguing with him over whether that shot should go the full 13 minutes or if he could maybe get his point across in 11. Yet, when the film was done, I had the urge to watch it again.\u003c/p>\n\u003cp>Look for: The agony of dull labor — or is it the agony of all existence? — represented in a series of lengthy shots of people holding real estate advertising signs on the street.\u003c/p>\n\u003cp>Directed by Tsai Ming-liang. 138 min, Taiwan/France\u003cbr>\nMon April 28 6:00pm Kabuki\u003cbr>\nTue April 29 3:15pm New People Cinema\u003cbr>\nWed April 30 6:30pm BAM/PFA\u003c/p>\n\u003ch2>Also of Note:\u003c/h2>\n\u003cfigure id=\"attachment_10135059\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/boyhood.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/boyhood.jpg\" alt=\"Boyhood\" width=\"640\" height=\"346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/boyhood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/boyhood-400x216.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/boyhood-300x162.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boyhood\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Founder’s Directing Award recipient, Richard Linklater, will be on hand to screen his film \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/boyhood\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Boyhood\u003c/strong>\u003c/em>.\u003c/a> “Filming over the course of 12 years, Linklater and his cast depict a young man’s journey from a 6-year-old boy to 19-year-old college freshman.” (May 2, 7:00pm Castro Theatre)\u003c/p>\n\u003cp>Justin Simien’s camp comedy \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/dear-white-people\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Dear White People \u003c/strong>\u003c/em>\u003c/a>is a satire about race and identity at a fictional Ivy league school. The film earned a Special Jury Award for Breakthrough Talent at the Sundance Film Festival. (April 26, 6:45pm Kabuki; April 29 8:45 p.m. New People Cinema)\u003c/p>\n\u003cp>Filmmaker Gia Coppola makes an appearance for the screening of her adaptation of James Franco’s book\u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/palo-alto\" target=\"_blank\" rel=\"noopener\"> Palo Alto\u003c/a>\u003c/strong>\u003c/em>, about teenagers shifting from childhood innocence to adult responsibility. (May 3, 7:30pm Kabuki)\u003c/p>\n\u003cp>Steve Coogan and Rob Brydon return in \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-trip-to-italy\" target=\"_blank\" rel=\"noopener\">The Trip to Italy\u003c/a>\u003c/strong>\u003c/em>, a sequel to their very funny \u003cem>The Trip\u003c/em>. Once again, Michael Winterbottom directs. (April 29 6:30pm Kabuki; May 2 1:30pm Kabuki)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/young-and-beautiful\" target=\"_blank\" rel=\"noopener\">Young & Beautiful\u003c/a>\u003c/strong>\u003c/em>. The step from a teenage girl’s “first time” to her adoption of the world’s oldest profession proves a very short one in the latest from director François Ozon (\u003cem>Swimming Pool\u003c/em>, \u003cem>8 Women\u003c/em>) (April 28 9:30pm, Kabuki; May 1 3:45pm, Kabuki)\u003c/p>\n\u003cp>Jesse Eisenberg and Mia Wasikowska star in the “Kafkaesque” film \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-double\" target=\"_blank\" rel=\"noopener\">The Double\u003c/a>\u003c/strong>\u003c/em>, about a “white-collar drone stuck in a waking nightmare of perpetual humiliation.” Directed by Richard Ayoade. (April 26 1:00pm Kabuki; April 29 9:15pm Kabuki)\u003c/p>\n\u003cp>As with all of his films, Iranian dissident filmmaker Mohammad Rasoulof’s \u003cstrong>\u003cem>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/manuscripts-don%E2%80%99t-burn\" target=\"_blank\" rel=\"noopener\">Manuscripts Don’t Burn\u003c/a>\u003c/em>\u003c/strong> remains unreleased in his home country. Raoulof was arrested and sent to prison in 2010 for filming without a permit. (April 25 8:40pm BAM/PFA; April 27 4:00pm Kabuki; April 29 9:00pm Kabuki)\u003c/p>\n\u003cp>In \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/night-moves\" target=\"_blank\" rel=\"noopener\">Night Moves\u003c/a>\u003c/strong>\u003c/em>, writer/director Kelly Reichardt (\u003cem>Meek’s Cutoff, Wendy and Lucy\u003c/em>) tries her hand at the political thriller genre. With Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard. (May 7, 9:00pm Kabuki; May 8 7:30pm Kabuki)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/queen-margot-the-director%E2%80%99s-cut\" target=\"_blank\" rel=\"noopener\">Queen Margot: The Director’s Cut\u003c/a>\u003c/strong>\u003c/em>, from director Patrice Chéreau, was the 1994 Cannes Jury Prize Winner. (April 26 12:45pm Kabuki; May 1 9:00pm New People Cinema)\u003c/p>\n\u003cp>Craig Johnson’s \u003cstrong>\u003cem>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-skeleton-twins\" target=\"_blank\" rel=\"noopener\">The Skeleton Twins\u003c/a>\u003c/em>\u003c/strong> stars SNL alumni Bill Hader and Kristen Wiig as long-estranged twins. (May 1 6:30pm Kabuki; May 2 3:30pm Kabuki)\u003c/p>\n\u003cp>Plus: Lots of \u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide?search=shorts\" target=\"_blank\" rel=\"noopener\">shorts\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The San Francisco International Film Festival runs April 24 through May 8, 2104 at various Bay Area locations. For \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide?\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 3289,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 58
},
"modified": 1705049093,
"excerpt": "The annual San Francisco International Film Festival is a beast, screening the best international films in multiple venues over its 15-day run. There are 74 films in the fiction feature category alone. Here are the 13 we like best. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The annual San Francisco International Film Festival is a beast, screening the best international films in multiple venues over its 15-day run. There are 74 films in the fiction feature category alone. Here are the 13 we like best. ",
"title": "12 Must-See Films and One We Defy You to Sit Through at the SFIFF | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "12 Must-See Films and One We Defy You to Sit Through at the SFIFF",
"datePublished": "2014-04-21T06:00:44-07:00",
"dateModified": "2024-01-12T00:44:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [
{
"userLogin": "jon-brooks",
"firstName": "Jon",
"lastName": "Brooks",
"website": "",
"displayName": "Jon Brooks",
"linkedAccount": "jbrooks",
"nickname": "",
"description": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
"userEmail": "jbrooks@kqed.org",
"ID": "128436",
"type": "guest-author",
"userNicename": "jon-brooks"
}
],
"slug": "a-handy-guide-to-the-2014-san-francisco-international-film-festival",
"status": "publish",
"sticky": false,
"path": "/arts/10135020/a-handy-guide-to-the-2014-san-francisco-international-film-festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I finished my final preview screener from the \u003ca href=\"http://www.sffs.org/festival-home/\">2014 San Francisco International Film Festival\u003c/a> exhilarated and exhausted. Those two emotions coexisted uneasily during much of my time in the trenches. At my giddiest, I entertained thoughts about the great redemptive power of cinema: If only we could all just sit down and watch each others’ movies! Then there was Tsai Ming Liang’s 13-minute two-shot of a man and woman staring at a wall — that was more likely to \u003cem>incite\u003c/em> violence. Or at least a kind of awestruck insanity.\u003c/p>\n\u003cp>In watching many of the films below, I had to resist a reflexive craving for the default aesthetics of Hollywood, inculcated by virtue of thousands of hours at the movie theater or in front of the TV. A recognizable moral scheme, obvious but entertaining storytelling, rapid-fire editing — not much of that going on in the movies I saw. Many of these films have a fraction of the edits you find at the cineplex. Slow and reflective, they exhibit a fondness for mood, ambiguity, and a lingering on the passive — I often found myself watching characters \u003ci>thinking\u003c/i>. Which got me to thinking what are they thinking? Which is the beginning of empathy as opposed to mere sentimentalism.\u003c/p>\n\u003cp>It’s not always easy to step outside your own cinematic culture. Cognitive dissonance erupted, for example, while watching \u003ci>Salvation Army\u003c/i>, a beautiful Moroccan film set partly in Casablanca. Just the mention of that city sets off a visceral nostalgia for American myth-making, for exultant lies told in the high style of circa 1942 Warner Bros. My first association with the word “Casablanca” has always been Humphrey Bogart. Now, possibly, I might think of actual Moroccans.\u003c/p>\n\u003cp>Of the 74 fictional features at the festival, here are 13 I saw in advance that I can recommend. \u003cstrong>You can see more about the films or buy tickets by clicking on the film titles\u003c/strong>.\u003c/p>\n\u003ch2>Gay Youth\u003c/h2>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/bad-hair\">\u003cem>\u003cstrong>Bad Hair\u003c/strong>\u003c/em>\u003c/a> is a heartbreaking film about a Venezuelan boy and his mother, an unemployed security guard who is appalled by his emerging homosexuality. They live in a massive and decrepit housing complex where things start to unravel when poverty and homophobia impinge on their lives. There is also an ever-present concern with violence in this rare glimpse into Venezuelan society at the end of the Hugo Chavez era.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Look for: In just two lines of dialogue, one of the most quietly searing exchanges between a child and parent you’ll ever see on-screen.\u003c/p>\n\u003cp>Directed by Mariana Rondón. 93 min, Venezuela/Peru\u003cbr>\nThu, May 1, 9:15am Kabuki\u003cbr>\nSun May 4, 6:15pm. New People\u003cbr>\nWed, May 7, 6:30pm BAM/PFA\u003c/p>\n\u003cfigure id=\"attachment_10135047\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/salvation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135047\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/salvation.jpg\" alt=\"Salvation Army\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/salvation.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/salvation-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/salvation-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Salvation Army\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/salvation-army\">\u003cem>\u003cb>Salvation Army\u003c/b>\u003c/em> \u003c/a>is a lovely, honest film about a gay youth in Morocco. Abdellah is a teenager in love with his older brother, stealing moments alone in his sibling’s bed just to bathe in his aura. He also has anonymous sex with men on the streets. But the film does not convey overt oppression or shame, rather a sense of longing and, when it fast forwards 10 years, an unspecified regret and bitterness. The anonymous sexual encounters all have a different feel, sometimes seamy, sometimes not. The characters frequently treat one another tenderly, and there is a touching dignity to many of their interactions.\u003c/p>\n\u003cp>Look for: The ending, which left me in tears, though I don’t know why.\u003c/p>\n\u003cp>Directed by Abdellah Taia, from his book. 82 min, Morocco\u003cbr>\nFri May 2 9:00pm Kabuki\u003cbr>\nSun May 4 8:30pm BAM/PFA\u003cbr>\nTue May 6 6:30pm Kabuki\u003c/p>\n\u003ch2>Societal Critiques\u003c/h2>\n\u003cfigure id=\"attachment_10135048\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/trapstreet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/trapstreet.jpg\" alt=\"Trap Street\" width=\"640\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/trapstreet.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/trapstreet-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/trapstreet-300x157.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Trap Street\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/trap-street\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cb>Trap Street\u003c/b>\u003c/em>\u003c/a> is a diverting tale with all the elements of a young adult mystery novel. A teenage boy, working as a surveyor for a digital mapping firm, stumbles onto a secret government lab. There’s a mysterious, attractive young girl who is prone to taking a powder, menacing government agents, and burgeoning paranoia as reprisals mount for pursuing what you clearly shouldn’t. But beneath the familiar genre construction lies a deep disquiet with China’s surveillance state, and an illustration of the limits the country places on capitalist enterprise when it comes into conflict with entrenched power.\u003c/p>\n\u003cp>Look for: A scene in which the hero’s father is interrogated about his son. In an American film, he’d grow increasingly outraged and demand his rights; here, the man quietly complies and tries to distance himself from his kid.\u003c/p>\n\u003cp>Directed by Vivian Qu. 94 min, China\u003cbr>\nSat April 26 8:00pm BAM/PFA\u003cbr>\nSun May 4 9:45pm Kabuki\u003cbr>\nTue May 6 6:45pm Kabuki\u003c/p>\n\u003cfigure id=\"attachment_10135049\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/harmonylessons.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/harmonylessons.jpg\" alt=\"Harmony Lessons\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/harmonylessons.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/harmonylessons-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/harmonylessons-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Harmony Lessons\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/harmony-lessons\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Harmony Lessons\u003c/strong>\u003c/em>\u003c/a>, student members of a sort of Mafia-in-training at a Kazakhstani school shake down their weaker peers. One of the victims has been singled out for ostracism, and he reacts by frequently vomiting and obsessive-compulsive cleaning. A new boy arrives who stands up to the head bully, but not without severe consequences. The film has a \u003ci>Lord of the Flies \u003c/i> feel–clueless or cruel teachers leave any supervision of the boys meaningless. And when the police get involved, they turn out to be the worst thugs of all. Chillingly, it all seems a rehearsal for the same roles everyone will play in adult society. The violence is belied and thus made more shocking by director Emir Baigazin’s quiet approach; he moves his camera sparingly, adds almost no music, and creates gorgeous, almost painterly compositions.\u003c/p>\n\u003cp>Look for: Chilling performances by menacing twin brothers in the senior class, at the top of the criminal chain.\u003c/p>\n\u003cp>Directed by Emir Baigazin. 114 min, Kazakhstan/Germany/France\u003cbr>\nFri April 25 3:30pm, Kabuki\u003cbr>\nSun May 4 12:45pm, Kabuki\u003cbr>\nMon May 5 6:15pm, Kabuki\u003c/p>\n\u003cfigure id=\"attachment_10135050\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whiteshadow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135050\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whiteshadow.jpg\" alt=\"White Shadow\" width=\"640\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whiteshadow.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whiteshadow-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whiteshadow-300x175.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>White Shadow\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/white-shadow\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>White Shadow\u003c/strong>\u003c/em>\u003c/a> is a gruesome yet compelling story based on a real-life horrific cultural phenomenon. Alias is an albino boy living in a Tanzanian village. The body parts of those with his disorder are prized by witch doctors, and his father is killed in order to harvest them. Afterwards, his mother sends Alias to live in the city with his uncle. There he hustles goods to motorists, scavenges in toxic waste dumps, and grows up extremely fast. The film depicts a country in which magical thinking and a belief in the occult overwhelm civil society, and where superstition and greed join to make life very cheap. And yet, the resiliency of the ostracized Alias shines through.\u003c/p>\n\u003cp>Look for: Several visual references to Obama, an icon in Africa.\u003c/p>\n\u003cp>Directed by Noaz Deshe. 115 min, Italy/Germany/Tanzania\u003cbr>\nSun May 4 6:30pm Kabuki\u003cbr>\nTue May 6 6:15pm Kabuki\u003cbr>\nThu May 8 8:00pm Kabuki\u003c/p>\n\u003cfigure id=\"attachment_10135051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/militant.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135051\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/militant.jpg\" alt=\"The Militant\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/militant.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/militant-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/militant-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Militant\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-militant\" target=\"_blank\" rel=\"noopener\">The Militant\u003c/a>\u003c/strong>\u003c/em>, a young man in Uruguay named Ariel Cruz tries to find himself during the country’s 2002 economic crisis, participating in hapless school occupations in which the students prioritize getting stoned. Cruz both typifies and chafes against the aimlessness, but whatever he tries, he never moves past bemusement. The newcomer Felipe Dieste showcases the kind of offbeat performance Dustin Hoffman used to be known for: His hand trembles, he walks with a limp, and he whines like \u003ca href=\"https://www.youtube.com/watch?v=c412hqucHKw\" target=\"_blank\" rel=\"noopener\">Ratso Rizzo\u003c/a>. Or perhaps he’s the Latin American-leftist \u003ca href=\"https://www.youtube.com/watch?v=PSxihhBzCjk\" target=\"_blank\" rel=\"noopener\">Benjamin Braddock\u003c/a>, thrust into an ill-suiting role and thoroughly lost.\u003c/p>\n\u003cp>Look for: On the occupying students’ agenda: “First motion — create a committee to throw a party.” And before joining a meat packers’ hunger strike, Cruz asks, “Is smoking allowed?”\u003c/p>\n\u003cp>Directed by Manolo Nieto. 121 min, Uruguay/Argentina\u003cbr>\nSat Apr 26 9:00pm New People\u003cbr>\nSun Apr 27 3:15pm Kabuki\u003cbr>\nThu May 1 8:50pm BAM/PFA\u003c/p>\n\u003ch2>Films About Film Directors\u003c/h2>\n\u003cfigure id=\"attachment_10135052\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whenevening.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135052\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/whenevening.jpg\" alt=\"When Evening Falls on Bucharest\" width=\"640\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whenevening.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whenevening-400x151.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/whenevening-300x113.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>When Evening Falls on Bucharest\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/when-evening-falls-on-bucharest-or-metabolism\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>When Evening Falls on Bucharest or Metabolism\u003c/strong>\u003c/em>\u003c/a>, a director and leading lady participate in dialogues about the movie they’re making, how dining utensils influence cuisine, and more. But really every conversation alludes to cinema. At one point the two spend five on-screen minutes discussing the most truthful way to dress in a particular scene. Despite their passion for cinematic verisimilitude, they both engage in real-life duplicity. The dichotomy between the intense conversations and the emotional detachment in which they state their positions is compelling. We never really get a closeup of the actors; they’re shot frequently in profile or from behind, yet we’re paradoxically drawn in.\u003c/p>\n\u003cp>Look for: The opinion that the penis is “a mistake from an aesthetic point of view.”\u003c/p>\n\u003cp>Directed by Corneliu Porumboiu. 93 min, Romania/France\u003cbr>\nFri April 25 3:45pm New People Cinema\u003cbr>\nSat April 26 6:30pm Kabuki\u003cbr>\nMon April 28 8:30pm BAM/PFA\u003c/p>\n\u003cfigure id=\"attachment_10135053\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/abuseweakness.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/abuseweakness.jpg\" alt=\"Abuse of Weakness\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/abuseweakness.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/abuseweakness-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/abuseweakness-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Abuse of Weakness\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/abuse-of-weakness\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>\u003ci>Abuse of Weakness\u003c/i>\u003c/strong>\u003c/em>\u003c/a> is Catherine Breillat’s autobiographical film about a director who suffers a paralyzing stroke then gets fleeced by a known swindler. This is no Mametesque delving into the subtleties of the big con — the man’s lies are completely transparent, yet his victim gives him large sums seemingly without a thought. Both the director and her character struggle to explain going bankrupt at the hands of an obvious sociopath. But no one does perversity like Isabelle Huppert, who may have found the answer in a filmmaker’s predilection for experiencing life anthropologically: He’s a “caveman,” she says, before gleefully calling him “fascinating.” Amidst the power games, the film asks: If someone must cut your meat, who is really in control, you or him?\u003c/p>\n\u003cp>Look for: Huppert’s line: “You took me to the cleaners,” delivered almost giddily and with a smile, before admitting she doesn’t have enough money for food. Only she could so skillfully convey the fine line between a lark and a tragedy.\u003c/p>\n\u003cp>Directed by Catherine Breillat. 104 min, France/Belgium/Germany\u003cbr>\nThu May 1 9:00pm Kabuki\u003c/p>\n\u003ch2>Freud Wasn’t Wrong About \u003cem>Everything\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_10135054\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/clubsandwich.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/clubsandwich.jpg\" alt=\"Club Sandwich\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/clubsandwich.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/clubsandwich-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/clubsandwich-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Club Sandwich\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/club-sandwich\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Club Sandwich\u003c/strong>\u003c/em>\u003c/a> is the compact story of a single mother and her teenage son on a resort vacation. Simpatico, they have their routines and games, and at times act like an old married couple. But straining just beneath the surface is a mutual sexualizing, which leaves the boy in a terrible confusion about how to exercise his inflamed adolescent libido. When a partner in horniness his own age arrives, the bond between mother and son frays, and intensely uncomfortable situations develop. What could have been perversely grim is actually wry and charming, and while some may feel hatred for the mom, it’s easy to see how such a situation can develop. Great performances, especially by the kids, who perfectly capture the awkwardness of fumbling teenage lust.\u003c/p>\n\u003cp>Look for: Cool cover version of the Pixies “Where is My Mind” over the opening credits; and a scene in which the mom cannonballs into the water from off-screen, disturbing the two kids tranquilly holding each others’ hands in the pool.\u003c/p>\n\u003cp>Directed by Fernando Eimbcke. 82 min, Mexico\u003cbr>\nSat April 26, 4:15pm Kabuki\u003cbr>\nMon April 28, 9:15pm New People Cinema\u003cbr>\nSun May 4, 1:30pm Kabuki\u003c/p>\n\u003ch2>Argentinian Alienation\u003c/h2>\n\u003cfigure id=\"attachment_10135055\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/reconstruction.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/reconstruction.jpg\" alt=\"The Reconstruction\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/reconstruction.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/reconstruction-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/reconstruction-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Reconstruction\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-reconstruction\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>The Reconstruction\u003c/em>\u003c/strong>, \u003c/a>a doleful middle-aged man completely disengaged from life finds himself in the middle of a crisis concerning the family of an old friend. The spectacle of a man who answers an invitation to dinner with “what for?” having to suddenly attend a parent-teacher conference for someone else’s kid is very good. While the film’s director, Juan Taraturo, and his star, Diego Peretti, could have played it for laughs, as in their previous pairings, any comedy here grows out of the rueful absurdity of a misanthrope attempting an altruistic intervention. The film loses steam about two-thirds through, when it turns from an existential character study into a conventional weepie. But well worth a look for Peretti as the sullen, long-faced Eduardo.\u003c/p>\n\u003cp>Look for: One of the more concisely effective — if shocking — delineations of character in the very first moments of the film.\u003c/p>\n\u003cp>Directed by Juan Taratuto. 93 min, Argentina\u003cbr>\nFri April 25 9:00pm New People Cinema\u003cbr>\nMon April 28 2:00pm Kabuki\u003cbr>\nWed April 30 4:00pm New People Cinema\u003c/p>\n\u003ch2>Hooray For Hollywood\u003c/h2>\n\u003cfigure id=\"attachment_10135056\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/allthatjazz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/allthatjazz.jpg\" alt=\"All That Jazz\" width=\"640\" height=\"358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/allthatjazz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/allthatjazz-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/allthatjazz-300x167.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>All That Jazz\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Return, if you will, to a time when \u003ca href=\"//www.urbandictionary.com/define.php?term=jazz%20hands%E2%80%9D\">jazz hands\u003c/a> could be unironically employed on-stage. Even when the culture was more tolerant of artists pouring out their self-involvement on-screen, \u003cstrong>\u003cem>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/all-that-jazz\" target=\"_blank\" rel=\"noopener\">All That Jazz\u003c/a>\u003c/em>\u003c/strong>, an \u003ci>8 1/2\u003c/i> derivative, was considered an over-the-top indulgence. Roy Scheider stars as “Joe Gideon,” a talented, self-destructive choreographer juggling multiple projects and women. While Fosse alternates between self-hatred and egomania, the man does know how to shoot a song and dance, and you’ll enjoy several show-stoppers, especially the opening, a cattle-call audition process that whittles hundreds of dancers down to a chosen few. Ending one’s film with a 15-minute hallucinogenic fantasy must break some dramatic rule somewhere, but at its best, this is an exuberant look at dyed-in-the-wool show folk plying their trade while contending with venal producers and their own neuroses.\u003c/p>\n\u003cp>Look for: \u003ca href=\"http://www.imdb.com/name/nm0658336/?ref_=tt_cl_t3\">Leland Palmer\u003c/a> as a \u003ca href=\"http://en.wikipedia.org/wiki/Gwen_Verdon\">Gwen Verdon \u003c/a> doppelganger, rehearsing a dance number in front of the Fosse character while simultaneously picking at their mutual emotional scabs. Then there’s Ann Reinking as the tallest drink-of-water triple threat in decades. Plus the line: “Now Sinatra will never record it.”\u003c/p>\n\u003cp>Restored by Twentieth Century Fox in collaboration with The Film Foundation.\u003cbr>\nDirected by Bob Fosse. 123 min, USA\u003cbr>\nSun April 27, 12:30pm Kabuki\u003cbr>\nFri May 2, 8:30pm BAM/PFA\u003c/p>\n\u003cfigure id=\"attachment_10135057\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ladyeve.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ladyeve.jpg\" alt=\"The Lady Eve\" width=\"640\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ladyeve.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ladyeve-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/ladyeve-237x300.jpg 237w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Lady Eve\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>You hate to resort to they-don’t-make-em-like-that-anymore sentiment, but in the midst of a festival brimming over with grim realism, the celebration of \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-lady-eve\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cb>The Lady Eve\u003c/b>\u003c/em>\u003c/a>, one of those perfect specimens from the great Hollywood Dream Machine, is much welcome. Director Preston Sturges had a great run between 1940-44, enjoying a good deal of creative independence at Paramount before flaming out in battles with the money boys. A leading practitioner of screwball comedy, an American auteur, and a keen satirist, Sturges was never more winning than in breathing life into this swindler/swindled romance. With Henry Fonda as the world’s most eligible bachelor and Barbara Stanwyck in the title role, taking her place alongside Rosalind Russell, Katherine Hepburn and Irene Dunne as female screwball royalty.\u003c/p>\n\u003cp>Look for: You get the impression Stanwyck’s character is a lot more taken with Fonda than is Sturges, who destroys his leading man in gag after uproarious gag.\u003c/p>\n\u003cp>Directed by Preston Sturges. 94 min, USA\u003cbr>\nSun May 4 3:00pm Kabuki\u003c/p>\n\u003cp>\u003cb>Film essayist David Thomson has chosen this movie to screen when he receives the Mel Novikoff Award for enhancing the film-going public’s knowledge and appreciation of world cinema.\u003c/b>\u003c/p>\n\u003ch2>And in the Department of Uncategorizable…\u003c/h2>\n\u003cfigure id=\"attachment_10135058\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/straydogs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/straydogs.jpg\" alt=\"Stray Dogs\" width=\"640\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/straydogs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/straydogs-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/straydogs-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Stray Dogs\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Those with cinematic stamina will want to try acclaimed director Tsai Ming-liang’s \u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/stray-dogs\" target=\"_blank\" rel=\"noopener\">\u003cem>Stray Dogs \u003c/em>\u003c/a>\u003c/strong>, one of the most aesthetically provocative works you’ll ever sit through. The opening shot of a woman brushing her hair in front of two sleeping children lasts four minutes. But that’s a Michael Bay film compared to the penultimate image of a man and woman staring at a wall for 13 minutes straight. In between, a disjointed story of sorts develops, about a destitute Taipei family, but anything more specific you’ll have to bring to the work yourself. With such a dearth of narrative markers, you either fall into a kind of image fetishism, scrutinizing every inch of the screen, or your mind feverishly works to comprehend what’s being communicated. It’s a unique strategy for engaging an audience, and many will find themselves contemplating the next \u003cem>Game of Thrones\u003c/em>. During the lulls, I imagined Tsai’s producer arguing with him over whether that shot should go the full 13 minutes or if he could maybe get his point across in 11. Yet, when the film was done, I had the urge to watch it again.\u003c/p>\n\u003cp>Look for: The agony of dull labor — or is it the agony of all existence? — represented in a series of lengthy shots of people holding real estate advertising signs on the street.\u003c/p>\n\u003cp>Directed by Tsai Ming-liang. 138 min, Taiwan/France\u003cbr>\nMon April 28 6:00pm Kabuki\u003cbr>\nTue April 29 3:15pm New People Cinema\u003cbr>\nWed April 30 6:30pm BAM/PFA\u003c/p>\n\u003ch2>Also of Note:\u003c/h2>\n\u003cfigure id=\"attachment_10135059\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/boyhood.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10135059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/boyhood.jpg\" alt=\"Boyhood\" width=\"640\" height=\"346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/boyhood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/boyhood-400x216.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/boyhood-300x162.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boyhood\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Founder’s Directing Award recipient, Richard Linklater, will be on hand to screen his film \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/boyhood\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Boyhood\u003c/strong>\u003c/em>.\u003c/a> “Filming over the course of 12 years, Linklater and his cast depict a young man’s journey from a 6-year-old boy to 19-year-old college freshman.” (May 2, 7:00pm Castro Theatre)\u003c/p>\n\u003cp>Justin Simien’s camp comedy \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/dear-white-people\" target=\"_blank\" rel=\"noopener\">\u003cem>\u003cstrong>Dear White People \u003c/strong>\u003c/em>\u003c/a>is a satire about race and identity at a fictional Ivy league school. The film earned a Special Jury Award for Breakthrough Talent at the Sundance Film Festival. (April 26, 6:45pm Kabuki; April 29 8:45 p.m. New People Cinema)\u003c/p>\n\u003cp>Filmmaker Gia Coppola makes an appearance for the screening of her adaptation of James Franco’s book\u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/palo-alto\" target=\"_blank\" rel=\"noopener\"> Palo Alto\u003c/a>\u003c/strong>\u003c/em>, about teenagers shifting from childhood innocence to adult responsibility. (May 3, 7:30pm Kabuki)\u003c/p>\n\u003cp>Steve Coogan and Rob Brydon return in \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-trip-to-italy\" target=\"_blank\" rel=\"noopener\">The Trip to Italy\u003c/a>\u003c/strong>\u003c/em>, a sequel to their very funny \u003cem>The Trip\u003c/em>. Once again, Michael Winterbottom directs. (April 29 6:30pm Kabuki; May 2 1:30pm Kabuki)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/young-and-beautiful\" target=\"_blank\" rel=\"noopener\">Young & Beautiful\u003c/a>\u003c/strong>\u003c/em>. The step from a teenage girl’s “first time” to her adoption of the world’s oldest profession proves a very short one in the latest from director François Ozon (\u003cem>Swimming Pool\u003c/em>, \u003cem>8 Women\u003c/em>) (April 28 9:30pm, Kabuki; May 1 3:45pm, Kabuki)\u003c/p>\n\u003cp>Jesse Eisenberg and Mia Wasikowska star in the “Kafkaesque” film \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-double\" target=\"_blank\" rel=\"noopener\">The Double\u003c/a>\u003c/strong>\u003c/em>, about a “white-collar drone stuck in a waking nightmare of perpetual humiliation.” Directed by Richard Ayoade. (April 26 1:00pm Kabuki; April 29 9:15pm Kabuki)\u003c/p>\n\u003cp>As with all of his films, Iranian dissident filmmaker Mohammad Rasoulof’s \u003cstrong>\u003cem>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/manuscripts-don%E2%80%99t-burn\" target=\"_blank\" rel=\"noopener\">Manuscripts Don’t Burn\u003c/a>\u003c/em>\u003c/strong> remains unreleased in his home country. Raoulof was arrested and sent to prison in 2010 for filming without a permit. (April 25 8:40pm BAM/PFA; April 27 4:00pm Kabuki; April 29 9:00pm Kabuki)\u003c/p>\n\u003cp>In \u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/night-moves\" target=\"_blank\" rel=\"noopener\">Night Moves\u003c/a>\u003c/strong>\u003c/em>, writer/director Kelly Reichardt (\u003cem>Meek’s Cutoff, Wendy and Lucy\u003c/em>) tries her hand at the political thriller genre. With Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard. (May 7, 9:00pm Kabuki; May 8 7:30pm Kabuki)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/queen-margot-the-director%E2%80%99s-cut\" target=\"_blank\" rel=\"noopener\">Queen Margot: The Director’s Cut\u003c/a>\u003c/strong>\u003c/em>, from director Patrice Chéreau, was the 1994 Cannes Jury Prize Winner. (April 26 12:45pm Kabuki; May 1 9:00pm New People Cinema)\u003c/p>\n\u003cp>Craig Johnson’s \u003cstrong>\u003cem>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide/the-skeleton-twins\" target=\"_blank\" rel=\"noopener\">The Skeleton Twins\u003c/a>\u003c/em>\u003c/strong> stars SNL alumni Bill Hader and Kristen Wiig as long-estranged twins. (May 1 6:30pm Kabuki; May 2 3:30pm Kabuki)\u003c/p>\n\u003cp>Plus: Lots of \u003cstrong>\u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide?search=shorts\" target=\"_blank\" rel=\"noopener\">shorts\u003c/a>\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco International Film Festival runs April 24 through May 8, 2104 at various Bay Area locations. For \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide?\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10135020/a-handy-guide-to-the-2014-san-francisco-international-film-festival",
"authors": [
"128436"
],
"categories": [
"arts_74"
],
"tags": [
"arts_1006",
"arts_596"
],
"featImg": "arts_10135046",
"label": "arts"
},
"pop_11884": {
"type": "posts",
"id": "pop_11884",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "11884",
"score": null,
"sort": [
1397837814000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1397837814,
"format": "aside",
"disqusTitle": "Some Possible Plots For The \"Mrs. Doubtfire\" Sequel",
"title": "Some Possible Plots For The \"Mrs. Doubtfire\" Sequel",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_9847\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/11/18/life-lessons-we-learned-from-mrs-doubtfire/doubtfire/\" rel=\"attachment wp-att-9847\">\u003cimg class=\"size-full wp-image-9847\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/doubtfire.png\" alt=\"Photo: 20th Century Fox\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: 20th Century Fox\u003c/figcaption>\u003c/figure>\n\u003cp>Good news for all you '90s kid: the long awaited sequel to \u003cem>Mrs. Doubtfire\u003c/em>, the 1993 San Francisco set Robin Williams cross-dressing/divorce comedy, \u003ca href=\"http://www.hollywoodreporter.com/news/mrs-doubtfire-sequel-works-696958\">has finally been confirmed\u003c/a>!\u003c/p>\n\u003cp>It's been over 20 years since we checked in with the Hillard family of Steiner Street and a lot has changed in the world and San Francisco since then. Here are three possible plots we'd like director Chris Columbus to consider:\u003c/p>\n\u003cp>\u003cem>Doubtfire: The Family Legacy\u003c/em>\u003c/p>\n\u003cp>Daniel Hillard's children are now grown with families of their own, but, while Lydie and Nattie are happily married, middle child Chris has hit a rough patch with his partner, Kevin, and the two have agreed to a trial separation. Chris isn't taking the news well, especially because it means he's severely limited from seeing the beloved pure-bred Cavalier King Charles Spaniels he and Kevin have been breeding. When Chris finds out his ex is looking to hire a dog walker, he goes to dad and makeup artist uncles Jack and Frank to help disguise him as Euphegenia Doubtfire's canine loving daughter, Conchatta. Kevin hires Conchatta right away upon seeing how positively the spaniels respond to him, err, her, and falls in very confused love with the middle-aged Scottish woman. Hilarity ensues as Chris learns to be a better man as Conchatta and eventually justifies his deception to Kevin as a James Franco-style performance art stunt.\u003c/p>\n\u003cp>\u003cem>Doubtfire: A Play In One Ellis Act\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daniel Hillard has just found out he is to be Ellis Acted from his longtime home. When no other affordable housing is available, Daniel hears about a beautiful old building with below market units, but there's a hitch: they are only rented to senior women. Desperate to stay in San Francisco, Daniel resurrects Mrs. Doubtfire to secure an apartment and suddenly Euphegenia is the hit of the building. All the other ladies love Mrs. D, but there's one pesky caseworker who doubts and eventually exposes her secret via a connection at the NSA. At film's end, Daniel becomes a housing advocate for San Francisco renters and Mrs. Doubtfire is the new face of the anti-eviction movement.\u003c/p>\n\u003cp>\u003cem>Daniel/Doubtfire\u003c/em>\u003c/p>\n\u003cp>In this psychological thriller, Daniel Hillard starts having strange blackout episodes years after putting away his Doubtfire and retiring from his hit kid's show \"Euphegenia's House.\" Lipstick on pillowcases, calls to his house from retired widowers at all hours of the night, stubs for bingo games in his pockets; is it possible Mrs. Doubtfire has returned? Sensing that these blackouts are the key to the mystery, Daniel sets out to record himself, \u003cem>Paranormal Activity\u003c/em> style, and discovers that Mrs. Doubtfire has manifested as a separate personality in his psyche and is taking over his body. The hep old granny who can hip-hop, bebop, dance 'til you drop and yo, yo make a wicked cup of cocoa, won't be silenced so easily... She likes being in control and wants to find a way to be the permanent host of Daniel's body. Can Miranda and the kids save him from herself?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or, we could always go with my favorite scenario: \u003cem>Doubtfire and Featherbottom\u003c/em>, a rollicking road movie where Mrs. Doubtfire teams up with Tobias Funke's own outrageous cross-dressing nanny character from \u003cem>Arrested Development\u003c/em>. Featuring a special cameo by Dustin Hoffman as Dorothy Michaels from \u003cem>Tootsie\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11887\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/18/mrs-doubtfire-sequel-finally-happening-here-are-some-possible-plots/ad-animated-gif-arrested-development-3695371-300-169/\" rel=\"attachment wp-att-11887\">\u003cimg class=\"size-full wp-image-11887\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/AD-Animated-gif-arrested-development-3695371-300-169.gif\" alt=\"Photo: FanPop\" width=\"300\" height=\"169\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.fanpop.com/clubs/arrested-development/images/3695371/title/mrs-featherbottom-animated-gif-fanart\">FanPop\u003c/a>\u003c/figcaption>\u003c/figure>\n\n",
"disqusIdentifier": "11884 http://blogs.kqed.org/pop/?p=11884",
"disqusUrl": "https://ww2.kqed.org/pop/2014/04/18/mrs-doubtfire-sequel-finally-happening-here-are-some-possible-plots/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 576,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1397853158,
"excerpt": "We imagine possible plots for the sequel. Maybe Robin Williams gets evicted by the Ellis Act and must resort to drag to move into an old age home for women?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "We imagine possible plots for the sequel. Maybe Robin Williams gets evicted by the Ellis Act and must resort to drag to move into an old age home for women?",
"title": "Some Possible Plots For The \"Mrs. Doubtfire\" Sequel | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Some Possible Plots For The \"Mrs. Doubtfire\" Sequel",
"datePublished": "2014-04-18T09:16:54-07:00",
"dateModified": "2014-04-18T13:32:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mrs-doubtfire-sequel-finally-happening-here-are-some-possible-plots",
"status": "publish",
"path": "/pop/11884/mrs-doubtfire-sequel-finally-happening-here-are-some-possible-plots",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_9847\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/11/18/life-lessons-we-learned-from-mrs-doubtfire/doubtfire/\" rel=\"attachment wp-att-9847\">\u003cimg class=\"size-full wp-image-9847\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/doubtfire.png\" alt=\"Photo: 20th Century Fox\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/11/doubtfire-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: 20th Century Fox\u003c/figcaption>\u003c/figure>\n\u003cp>Good news for all you '90s kid: the long awaited sequel to \u003cem>Mrs. Doubtfire\u003c/em>, the 1993 San Francisco set Robin Williams cross-dressing/divorce comedy, \u003ca href=\"http://www.hollywoodreporter.com/news/mrs-doubtfire-sequel-works-696958\">has finally been confirmed\u003c/a>!\u003c/p>\n\u003cp>It's been over 20 years since we checked in with the Hillard family of Steiner Street and a lot has changed in the world and San Francisco since then. Here are three possible plots we'd like director Chris Columbus to consider:\u003c/p>\n\u003cp>\u003cem>Doubtfire: The Family Legacy\u003c/em>\u003c/p>\n\u003cp>Daniel Hillard's children are now grown with families of their own, but, while Lydie and Nattie are happily married, middle child Chris has hit a rough patch with his partner, Kevin, and the two have agreed to a trial separation. Chris isn't taking the news well, especially because it means he's severely limited from seeing the beloved pure-bred Cavalier King Charles Spaniels he and Kevin have been breeding. When Chris finds out his ex is looking to hire a dog walker, he goes to dad and makeup artist uncles Jack and Frank to help disguise him as Euphegenia Doubtfire's canine loving daughter, Conchatta. Kevin hires Conchatta right away upon seeing how positively the spaniels respond to him, err, her, and falls in very confused love with the middle-aged Scottish woman. Hilarity ensues as Chris learns to be a better man as Conchatta and eventually justifies his deception to Kevin as a James Franco-style performance art stunt.\u003c/p>\n\u003cp>\u003cem>Doubtfire: A Play In One Ellis Act\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daniel Hillard has just found out he is to be Ellis Acted from his longtime home. When no other affordable housing is available, Daniel hears about a beautiful old building with below market units, but there's a hitch: they are only rented to senior women. Desperate to stay in San Francisco, Daniel resurrects Mrs. Doubtfire to secure an apartment and suddenly Euphegenia is the hit of the building. All the other ladies love Mrs. D, but there's one pesky caseworker who doubts and eventually exposes her secret via a connection at the NSA. At film's end, Daniel becomes a housing advocate for San Francisco renters and Mrs. Doubtfire is the new face of the anti-eviction movement.\u003c/p>\n\u003cp>\u003cem>Daniel/Doubtfire\u003c/em>\u003c/p>\n\u003cp>In this psychological thriller, Daniel Hillard starts having strange blackout episodes years after putting away his Doubtfire and retiring from his hit kid's show \"Euphegenia's House.\" Lipstick on pillowcases, calls to his house from retired widowers at all hours of the night, stubs for bingo games in his pockets; is it possible Mrs. Doubtfire has returned? Sensing that these blackouts are the key to the mystery, Daniel sets out to record himself, \u003cem>Paranormal Activity\u003c/em> style, and discovers that Mrs. Doubtfire has manifested as a separate personality in his psyche and is taking over his body. The hep old granny who can hip-hop, bebop, dance 'til you drop and yo, yo make a wicked cup of cocoa, won't be silenced so easily... She likes being in control and wants to find a way to be the permanent host of Daniel's body. Can Miranda and the kids save him from herself?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or, we could always go with my favorite scenario: \u003cem>Doubtfire and Featherbottom\u003c/em>, a rollicking road movie where Mrs. Doubtfire teams up with Tobias Funke's own outrageous cross-dressing nanny character from \u003cem>Arrested Development\u003c/em>. Featuring a special cameo by Dustin Hoffman as Dorothy Michaels from \u003cem>Tootsie\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11887\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/18/mrs-doubtfire-sequel-finally-happening-here-are-some-possible-plots/ad-animated-gif-arrested-development-3695371-300-169/\" rel=\"attachment wp-att-11887\">\u003cimg class=\"size-full wp-image-11887\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/AD-Animated-gif-arrested-development-3695371-300-169.gif\" alt=\"Photo: FanPop\" width=\"300\" height=\"169\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.fanpop.com/clubs/arrested-development/images/3695371/title/mrs-featherbottom-animated-gif-fanart\">FanPop\u003c/a>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/11884/mrs-doubtfire-sequel-finally-happening-here-are-some-possible-plots",
"authors": [
"2436"
],
"categories": [
"pop_51"
],
"tags": [
"pop_562",
"pop_1249",
"pop_1547"
],
"featImg": "pop_9847",
"label": "pop"
},
"arts_10134992": {
"type": "posts",
"id": "arts_10134992",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10134992",
"score": null,
"sort": [
1397835045000
]
},
"guestAuthors": [],
"slug": "the-ambitious-drive-to-do-too-much-too-fast-on-screen-and-off",
"title": "The Ambitious Drive To Do Too Much Too Fast, On Screen And Off",
"publishDate": 1397835045,
"format": "standard",
"headTitle": "The Ambitious Drive To Do Too Much Too Fast, On Screen And Off | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>Transcendence\u003c/em> seems like the perfect film for Wally Pfister to kick off his career as a director. Pfister emerged as one of the best cinematographers in the business through his collaborations with Christopher Nolan (which also won him an Oscar, for Inception), and one of the hallmarks of that collaboration has been their dogged commitment to shooting on film rather than digitally, even as the industry has rapidly abandoned the 20th century technology. With \u003cem>Transcendence\u003c/em>, a science-fiction tale about an artificial digital intelligence putting our old-fashioned analog intelligence at risk of eradication, Pfister gets to play out that philosophical battle at a level with life-or-death stakes.\u003c/p>\n\u003cp>He establishes Will Caster (Johnny Depp) as a man with feet on both sides of that divide: He’s the world’s leading researcher in artificial intelligence technology, a man whose life is devoted to creating consciousness out of circuit boards, but his sanctuary at home is a lush green garden where he listens to old LPs on a record player.\u003c/p>\n\u003cp>http://youtu.be/VCTen3-B8GU\u003c/p>\n\u003cp>Caster fits neatly into sci-fi archetype as a scientist interested in the noble pursuit of pure knowledge — it’s how that knowledge is used by others that winds up becoming a problem. As he says at one speaking engagement, it’s his wife Evelyn (Rebecca Hall) who wants to change the world; he just wants to understand it.\u003c/p>\n\u003cp>Not everyone views his intentions as so honorable, and when an organization known as RIFT (Revolutionary Independence from Technology), takes out most of his colleagues in a coordinated attack and leaves him with one month to live, it’s Evelyn who suggests using his AI technology to allow the contents of his mind to live on after his body has died. Is the technology ready to house the fullness of a human mind? Their friend and technological ethicist Max (Paul Bettany) raises some cautionary objections, but Evelyn insists. What could really go wrong with such good intentions?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plenty, as it turns out. As Caster’s consciousness and processing power grows, so does its malevolent danger, and the story begins to draw on a variety of deadly sci-fi influences, from \u003cem>2001: A Space Odyssey\u003c/em> (Depp particularly seems to be consciously channeling HAL’s creepy placidity once he is reborn into ones and zeros) to \u003cem>Invasion of the Body Snatchers\u003c/em>. But as it turns out, the more relevant (and gentler) touchstone is more recent: Not unlike last year’s \u003cem>Her\u003c/em>, what the film really hinges on is the tricky notion of love between flesh and blood humans and sentient machines.\u003c/p>\n\u003cp>All of this feels not unlike Christopher Nolan’s own films: grand, gorgeous works filled with stunning imagery that are as full of Big Ideas as they are Big Entertainment. Regular Nolan cast members like Cillian Murphy and Morgan Freeman (as an FBI agent and another tech researcher, respectively) bolster that notion. But what’s harder to borrow is the director’s gift for telling those big stories so effortlessly, and it’s here where Pfister and \u003cem>Transcendence\u003c/em> stumble hard.\u003c/p>\n\u003cp>\u003cem>Transcendence\u003c/em> has hints of a richly complex story, but too often feels content just dumping the pieces of its puzzle out on the table without doing much assembly – or even making sure all the pieces are even there. Eliding certain details and allowing the imagination of the viewer to fill in blanks is essential to any fiction, science especially, but too often Pfister’s choices gloss over things like essential character development or even basic cues for the passage of time – the massive underground compound that eventually houses Will’s mind feels as though it blinks into existence in a matter of days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without real engagement with the characters, no matter how pretty the movie is (and it’s very, very pretty), it can’t help but feel hollow, and more than a little dull. So while the subject matter might be well matched to Pfister’s particular interests, it’s hard to get around the fact that no matter how much time he’s spent behind a camera, this is still his first time as director. Nolan started small, on films like \u003cem>Following\u003c/em> and \u003cem>Memento\u003c/em>, before trying his hand at anything remotely this ambitious. Pfister’s years spent developing a visual style may be visible right up there on the screen, but so too are the years he hasn’t yet spent controlling all aspects of the storytelling process. Evelyn isn’t the only one here who tries reaching too high, too fast. \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+Ambitious+Drive+To+Do+Too+Much+Too+Fast%2C+On+Screen+And+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "\u003cem>Transcendence\u003c/em> is the directorial debut of Wally Pfister, a celebrated cinematographer. While his visual sophistication is evident, so is his limited experience with storytelling.",
"status": "publish",
"parent": 0,
"modified": 1726705722,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 796
},
"headData": {
"title": "The Ambitious Drive To Do Too Much Too Fast, On Screen And Off | KQED",
"description": "Transcendence is the directorial debut of Wally Pfister, a celebrated cinematographer. While his visual sophistication is evident, so is his limited experience with storytelling.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Ambitious Drive To Do Too Much Too Fast, On Screen And Off",
"datePublished": "2014-04-18T08:30:45-07:00",
"dateModified": "2024-09-18T17:28:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Ian Buckwalter",
"nprStoryId": "304076056",
"nprApiLink": "http://api.npr.org/query?id=304076056&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2014/04/17/304076056/the-ambitious-drive-to-do-too-much-too-fast-on-screen-and-off?ft=3&f=304076056",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 17 Apr 2014 11:26:00 -0400",
"nprStoryDate": "Thu, 17 Apr 2014 11:26:25 -0400",
"nprLastModifiedDate": "Thu, 17 Apr 2014 11:26:25 -0400",
"path": "/arts/10134992/the-ambitious-drive-to-do-too-much-too-fast-on-screen-and-off",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Transcendence\u003c/em> seems like the perfect film for Wally Pfister to kick off his career as a director. Pfister emerged as one of the best cinematographers in the business through his collaborations with Christopher Nolan (which also won him an Oscar, for Inception), and one of the hallmarks of that collaboration has been their dogged commitment to shooting on film rather than digitally, even as the industry has rapidly abandoned the 20th century technology. With \u003cem>Transcendence\u003c/em>, a science-fiction tale about an artificial digital intelligence putting our old-fashioned analog intelligence at risk of eradication, Pfister gets to play out that philosophical battle at a level with life-or-death stakes.\u003c/p>\n\u003cp>He establishes Will Caster (Johnny Depp) as a man with feet on both sides of that divide: He’s the world’s leading researcher in artificial intelligence technology, a man whose life is devoted to creating consciousness out of circuit boards, but his sanctuary at home is a lush green garden where he listens to old LPs on a record player.\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/VCTen3-B8GU'\n title='//www.youtube.com/embed/VCTen3-B8GU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Caster fits neatly into sci-fi archetype as a scientist interested in the noble pursuit of pure knowledge — it’s how that knowledge is used by others that winds up becoming a problem. As he says at one speaking engagement, it’s his wife Evelyn (Rebecca Hall) who wants to change the world; he just wants to understand it.\u003c/p>\n\u003cp>Not everyone views his intentions as so honorable, and when an organization known as RIFT (Revolutionary Independence from Technology), takes out most of his colleagues in a coordinated attack and leaves him with one month to live, it’s Evelyn who suggests using his AI technology to allow the contents of his mind to live on after his body has died. Is the technology ready to house the fullness of a human mind? Their friend and technological ethicist Max (Paul Bettany) raises some cautionary objections, but Evelyn insists. What could really go wrong with such good intentions?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plenty, as it turns out. As Caster’s consciousness and processing power grows, so does its malevolent danger, and the story begins to draw on a variety of deadly sci-fi influences, from \u003cem>2001: A Space Odyssey\u003c/em> (Depp particularly seems to be consciously channeling HAL’s creepy placidity once he is reborn into ones and zeros) to \u003cem>Invasion of the Body Snatchers\u003c/em>. But as it turns out, the more relevant (and gentler) touchstone is more recent: Not unlike last year’s \u003cem>Her\u003c/em>, what the film really hinges on is the tricky notion of love between flesh and blood humans and sentient machines.\u003c/p>\n\u003cp>All of this feels not unlike Christopher Nolan’s own films: grand, gorgeous works filled with stunning imagery that are as full of Big Ideas as they are Big Entertainment. Regular Nolan cast members like Cillian Murphy and Morgan Freeman (as an FBI agent and another tech researcher, respectively) bolster that notion. But what’s harder to borrow is the director’s gift for telling those big stories so effortlessly, and it’s here where Pfister and \u003cem>Transcendence\u003c/em> stumble hard.\u003c/p>\n\u003cp>\u003cem>Transcendence\u003c/em> has hints of a richly complex story, but too often feels content just dumping the pieces of its puzzle out on the table without doing much assembly – or even making sure all the pieces are even there. Eliding certain details and allowing the imagination of the viewer to fill in blanks is essential to any fiction, science especially, but too often Pfister’s choices gloss over things like essential character development or even basic cues for the passage of time – the massive underground compound that eventually houses Will’s mind feels as though it blinks into existence in a matter of days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without real engagement with the characters, no matter how pretty the movie is (and it’s very, very pretty), it can’t help but feel hollow, and more than a little dull. So while the subject matter might be well matched to Pfister’s particular interests, it’s hard to get around the fact that no matter how much time he’s spent behind a camera, this is still his first time as director. Nolan started small, on films like \u003cem>Following\u003c/em> and \u003cem>Memento\u003c/em>, before trying his hand at anything remotely this ambitious. Pfister’s years spent developing a visual style may be visible right up there on the screen, but so too are the years he hasn’t yet spent controlling all aspects of the storytelling process. Evelyn isn’t the only one here who tries reaching too high, too fast. \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+Ambitious+Drive+To+Do+Too+Much+Too+Fast%2C+On+Screen+And+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10134992/the-ambitious-drive-to-do-too-much-too-fast-on-screen-and-off",
"authors": [
"byline_arts_10134992"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10134993",
"label": "arts_137"
},
"arts_10134988": {
"type": "posts",
"id": "arts_10134988",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10134988",
"score": null,
"sort": [
1397833200000
]
},
"guestAuthors": [],
"slug": "big-names-high-production-values-and-these-are-indie-flicks",
"title": "Big Names, High Production Values ... And These Are Indie Flicks?",
"publishDate": 1397833200,
"format": "standard",
"headTitle": "Big Names, High Production Values … And These Are Indie Flicks? | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>A small budget doesn’t mean a film can’t have big-name stars or high production values. Witness the rural Southern drama \u003cem>Joe\u003c/em>, which brings Nicolas Cage back to indie films, and Jim Jarmusch’s \u003cem>Only Lovers Left Alive, \u003c/em>which turns the city of Detroit into an otherworldly landscape. Their low-budget aesthetic also allows these films to turn Hollywood conventions inside out.\u003c/p>\n\u003cp>The title character in \u003cem>Joe\u003c/em> poisons trees for a living. It’s a lumber company scam: They’re allowed to cut down dying trees but not thriving ones, so Joe and his crew wield axes fitted with nozzles that turn living forests into dead zones.\u003c/p>\n\u003cp>This would, in most movies, make Joe a bad guy. But while he’s played by Nicolas Cage as a hard-drinking ex-con with a short fuse, in his aggression-plagued stretch of rural Texas, he counts as a model citizen: good to local hookers, to his attack dog, to his workers and to a new kid in town, Gary.\u003c/p>\n\u003cp>Gary (a terrific Tye Sheridan) comes to Joe asking for work for him and his dad. Joe’s persuaded, and the kid turns out to be as hard a worker as he claims. His dad, though, is a drunk who beats his son and steals from him, and has all the moral compass of a copperhead. Joe, who’s only managed to stay out of prison by tamping down his anger, starts to care what happens to the boy, and a grim, Southern Gothic fatalism takes over.\u003c/p>\n\u003cp>Director David Gordon Green, whose stoner-comedy \u003cem>Pineapple Express\u003c/em> clicked in a big way with mainstream audiences, has made \u003cem>Joe\u003c/em> in a manner calculated to re-establish his indie cred. He even recruited a homeless guy he found in a bus station, Gary Poulter, to play the abusive dad. Shortly after filming wrapped up, Poulter died during a night of heavy drinking, never knowing his scenes with Cage and Sheridan would become the beating heart of a film about a rescue. For Nicolas Cage, whose dumb, rant-for-hire projects have lately been making audiences forget how good he can be, \u003cem>Joe\u003c/em> is more than a rescue — it’s a rebirth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By comparison, I suppose \u003cem>Only Lovers Left Alive\u003c/em> qualifies as an undeath — a vampire flick as only Jim Jarmusch would ever conceive it, languidly poetic, world-weary and crammed with hipster in-jokes.\u003c/p>\n\u003cp>It centers on Adam, a young-looking but ancient musician who lives in a crumbling Detroit mansion. He’s surrounded by stacks of 45s and vintage guitars brought to him by fanboy Anton Yelchin, his only regular visitor, who wonders why Adam doesn’t crave attention.\u003c/p>\n\u003cp>Played by Tom Hiddleston (whom fans of \u003cem>The Avengers\u003c/em> know as Loki), Adam yearns for his Eve, who lives halfway around the globe in Tangier and is played by a delicate, downright translucent Tilda Swinton. Eve, sensing that her hubby is sulking more than usual, plans a visit (night flights only). And in a room lined with portraits of long-gone buddies — from Buster Keaton to Lord Byron — they lament the mess we humans have increasingly been making of the world: contaminated blood, contaminated water …\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s really on their mind, and pretty clearly on Jarmusch’s in this gorgeously shot mood piece of a movie, is the way recent generations have contaminated art and literature, music and philosophy. Why so down on the “now”? Well, picture a boomer trying to explain The Beatles to a millennial, then imagine that the gulf between them isn’t decades, but centuries. How could Jarmusch’s Adam and Eve not be swooningly, rapturously in love? They’re the only ones who get each other’s references anymore — the \u003cem>Only Lovers Left Alive\u003c/em>. \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=Big+Names%2C+High+Production+Values+...+And+These+Are+Indie+Flicks%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "In very different ways, the indie films \u003cem>Joe\u003c/em> (starring Nicolas Cage) and \u003cem>Only Lovers Left Alive\u003c/em> (with Tom Hiddleston and Tilda Swinton) bring a low-budget sensibility to Hollywood.",
"status": "publish",
"parent": 0,
"modified": 1726705727,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 664
},
"headData": {
"title": "Big Names, High Production Values ... And These Are Indie Flicks? | KQED",
"description": "In very different ways, the indie films Joe (starring Nicolas Cage) and Only Lovers Left Alive (with Tom Hiddleston and Tilda Swinton) bring a low-budget sensibility to Hollywood.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Big Names, High Production Values ... And These Are Indie Flicks?",
"datePublished": "2014-04-18T08:00:00-07:00",
"dateModified": "2024-09-18T17:28:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bob Mondello",
"nprStoryId": "301477032",
"nprApiLink": "http://api.npr.org/query?id=301477032&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2014/04/11/301477032/big-names-high-production-values-and-these-are-indie-flicks?ft=3&f=301477032",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 11 Apr 2014 20:13:00 -0400",
"nprStoryDate": "Fri, 11 Apr 2014 16:00:00 -0400",
"nprLastModifiedDate": "Fri, 11 Apr 2014 18:16:15 -0400",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2014/04/20140411_atc_drunks_and_vampires_bust_open_movie_cliches_in_joe_and_lovers.mp3?orgId=1&topicId=4467349&ft=3&f=301477032",
"nprAudioM3u": "http://api.npr.org/m3u/1301882854-b8bac2.m3u?orgId=1&topicId=4467349&ft=3&f=301477032",
"path": "/arts/10134988/big-names-high-production-values-and-these-are-indie-flicks",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2014/04/20140411_atc_drunks_and_vampires_bust_open_movie_cliches_in_joe_and_lovers.mp3?orgId=1&topicId=4467349&ft=3&f=301477032",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A small budget doesn’t mean a film can’t have big-name stars or high production values. Witness the rural Southern drama \u003cem>Joe\u003c/em>, which brings Nicolas Cage back to indie films, and Jim Jarmusch’s \u003cem>Only Lovers Left Alive, \u003c/em>which turns the city of Detroit into an otherworldly landscape. Their low-budget aesthetic also allows these films to turn Hollywood conventions inside out.\u003c/p>\n\u003cp>The title character in \u003cem>Joe\u003c/em> poisons trees for a living. It’s a lumber company scam: They’re allowed to cut down dying trees but not thriving ones, so Joe and his crew wield axes fitted with nozzles that turn living forests into dead zones.\u003c/p>\n\u003cp>This would, in most movies, make Joe a bad guy. But while he’s played by Nicolas Cage as a hard-drinking ex-con with a short fuse, in his aggression-plagued stretch of rural Texas, he counts as a model citizen: good to local hookers, to his attack dog, to his workers and to a new kid in town, Gary.\u003c/p>\n\u003cp>Gary (a terrific Tye Sheridan) comes to Joe asking for work for him and his dad. Joe’s persuaded, and the kid turns out to be as hard a worker as he claims. His dad, though, is a drunk who beats his son and steals from him, and has all the moral compass of a copperhead. Joe, who’s only managed to stay out of prison by tamping down his anger, starts to care what happens to the boy, and a grim, Southern Gothic fatalism takes over.\u003c/p>\n\u003cp>Director David Gordon Green, whose stoner-comedy \u003cem>Pineapple Express\u003c/em> clicked in a big way with mainstream audiences, has made \u003cem>Joe\u003c/em> in a manner calculated to re-establish his indie cred. He even recruited a homeless guy he found in a bus station, Gary Poulter, to play the abusive dad. Shortly after filming wrapped up, Poulter died during a night of heavy drinking, never knowing his scenes with Cage and Sheridan would become the beating heart of a film about a rescue. For Nicolas Cage, whose dumb, rant-for-hire projects have lately been making audiences forget how good he can be, \u003cem>Joe\u003c/em> is more than a rescue — it’s a rebirth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By comparison, I suppose \u003cem>Only Lovers Left Alive\u003c/em> qualifies as an undeath — a vampire flick as only Jim Jarmusch would ever conceive it, languidly poetic, world-weary and crammed with hipster in-jokes.\u003c/p>\n\u003cp>It centers on Adam, a young-looking but ancient musician who lives in a crumbling Detroit mansion. He’s surrounded by stacks of 45s and vintage guitars brought to him by fanboy Anton Yelchin, his only regular visitor, who wonders why Adam doesn’t crave attention.\u003c/p>\n\u003cp>Played by Tom Hiddleston (whom fans of \u003cem>The Avengers\u003c/em> know as Loki), Adam yearns for his Eve, who lives halfway around the globe in Tangier and is played by a delicate, downright translucent Tilda Swinton. Eve, sensing that her hubby is sulking more than usual, plans a visit (night flights only). And in a room lined with portraits of long-gone buddies — from Buster Keaton to Lord Byron — they lament the mess we humans have increasingly been making of the world: contaminated blood, contaminated water …\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What’s really on their mind, and pretty clearly on Jarmusch’s in this gorgeously shot mood piece of a movie, is the way recent generations have contaminated art and literature, music and philosophy. Why so down on the “now”? Well, picture a boomer trying to explain The Beatles to a millennial, then imagine that the gulf between them isn’t decades, but centuries. How could Jarmusch’s Adam and Eve not be swooningly, rapturously in love? They’re the only ones who get each other’s references anymore — the \u003cem>Only Lovers Left Alive\u003c/em>. \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=Big+Names%2C+High+Production+Values+...+And+These+Are+Indie+Flicks%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10134988/big-names-high-production-values-and-these-are-indie-flicks",
"authors": [
"byline_arts_10134988"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10134989",
"label": "arts_137"
},
"arts_10134985": {
"type": "posts",
"id": "arts_10134985",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10134985",
"score": null,
"sort": [
1397826018000
]
},
"guestAuthors": [],
"slug": "after-the-horror-of-war-what-about-forgiveness",
"title": "After The Horror Of War, What About Forgiveness?",
"publishDate": 1397826018,
"format": "standard",
"headTitle": "After The Horror Of War, What About Forgiveness? | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Telling a story about forgiveness in the presence of love is easy. Telling a story about forgiveness in the absence of love is hard.\u003c/p>\n\u003cp>Forgiveness in the presence of love is done all the time — it’s every story about relationships broken by mistakes, repaired by apologies and righted by the making of amends. It’s every story that ends, “I’m so sorry, baby.” The crack is plastered and sanded; it’s a restoration.\u003c/p>\n\u003cp>Forgiveness in the absence of love, on the other hand, tends in fiction to turn into the Cobra Kai congratulating Daniel Larusso at the end of \u003cem>The Karate Kid\u003c/em> and Daniel deciding there are no hard feelings about all the beatings he took. When the doing of a wrong is significant enough that a story puts weight on it, it’s almost impossible for forgiveness of it not to seem saccharine and unmotivated, there only to speak to the inevitability of happy endings and the virtue of the person who, without bile, simply forgives.\u003c/p>\n\u003cp>http://youtu.be/ksrkKXoEJbM\u003c/p>\n\u003cp>Directed by Jonathan Teplitsky from a screenplay by Frank Cottrell Boyce and Andy Paterson, \u003cem>The Railway Man \u003c/em>is a story about the possibility and impossibility of forgiveness in the absence of love. It’s based on the autobiography of Eric Lomax, played here by Colin Firth, who was a prisoner of war from 1942 to 1946 after the British Army surrendered in Singapore. Along with many other POWs, Lomax was forced to work on the building of the Burma Railway, and according to his book, following the discovery of some contraband among his possessions, he was brutally beaten, waterboarded, confined in horrible conditions and nearly starved to death.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film tells the story of his time as a prisoner, his much later marriage to his second wife Patti (Nicole Kidman), and his efforts to cope with what he most likely didn’t call post-traumatic stress disorder. It also tells the story of the reappearance in his life of a man named Nagase Takashi, who had been an interpreter for his captors and had told him, among other things, “You will be killed shortly.” He had thought bitterly of Nagase for many years, and when he learned Nagase was alive and had been working for reconciliation since the war, he barely knew how to react.\u003c/p>\n\u003cp>The structure of the film is calculated to push against its naturally romantic and redemptive arc. It opens with Eric and Patti’s meeting and chronicles their courtship in a sort of scrapbook of bits of film that are sometimes out of chronological order. It feels very much the way memory does, flitting not from one thing to the thing that happened next, but from one thing to the thing of which it reminds you.\u003c/p>\n\u003cp>When the flashbacks to the war begin, they’re choppy and don’t always begin and end where they structurally “should.” Back in the present, there’s a rattled, uncomfortable, not-right quality in the early scenes of the Lomax marriage, in which Eric is often seen lying down but shot from awkward angles, or even upside-down. And his memories of his imprisonment sometimes visually echo his seemingly happy marriage, as in a stunning shot of the young Lomax with his head resting perfectly still on a table as he recites a poem to himself. Despite its, for lack of a better word, British-ness, \u003cem>The Railway Man \u003c/em>is more striking than pretty, more pebbly than elegant.\u003c/p>\n\u003cp>That young Lomax appears in the form of Jeremy Irvine, who was the lead in \u003cem>War Horse\u003c/em> and makes a pretty convincing Firth-alike, particularly in his uncertain mouth and chin. He makes young Eric a persuasively terrified but honorable young officer, in a way that convincingly gives Firth’s restrained work most of its resonance. It’s believable that this is the same man, but many, many sleepless nights later.\u003c/p>\n\u003cp>Anyone who knows the story or has read the book will know that the third climactic act, in which Lomax ultimately decides what to do about his hatred of Nagase, is an invention. It takes a slower, more deliberative, more iterative story and condenses it into a single encounter.\u003c/p>\n\u003cp>But despite the fact that it’s not true, it feels honest. It’s certainly not a documentary version of the story, but it is, as it says it is, “based on a true story.” It’s based on Lomax’s later years in the same way a painting might be based on a lived experience; it’s not the thing itself but an attempt to represent the thing.\u003c/p>\n\u003cp>\u003cem>The Railway Man \u003c/em>is doomed to sag a bit under its baggage of war and suffering and healing. It is the story it is; it is a story about a main character to whom it’s impossible to be unsympathetic no matter what he does, because what he’s endured is so thoroughly documented. It’s a story about trying to be a good person, and it features a man who is a good person, and whose wife is a good person. Its goodness, and its thematic interest in goodness, is a challenge to present meaningfully without Lomax coming off as self-congratulatory.\u003c/p>\n\u003cp>But the film keeps a sharp edge on his lingering anger, never suggesting either that he’s so good as to stop being angry or that his wife can fix his PTSD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in the end, forgiveness in the absence of love is a more interesting and curious idea than forgiveness in the presence of love. Why \u003cem>would\u003c/em> you even contemplate showing any mercy to someone who had been merciless to you when that mercilessness was your only real bond? It’s a more philosophical question than why you would show kindness to a friend or spouse or parent who hurt you. It’s more pure: There’s no relationship \u003cem>other \u003c/em>than pain. What’s the motivation for grace? \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=After+The+Horror+Of+War%2C+What+About+Forgiveness%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The drama \u003cem>The Railway Man\u003c/em> follows a former prisoner of war as he struggles with past pain, new love and an unexpected opportunity for confrontation.",
"status": "publish",
"parent": 0,
"modified": 1726705733,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1040
},
"headData": {
"title": "After The Horror Of War, What About Forgiveness? | KQED",
"description": "The drama The Railway Man follows a former prisoner of war as he struggles with past pain, new love and an unexpected opportunity for confrontation.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "After The Horror Of War, What About Forgiveness?",
"datePublished": "2014-04-18T06:00:18-07:00",
"dateModified": "2024-09-18T17:28:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Linda Holmes",
"nprStoryId": "301447804",
"nprApiLink": "http://api.npr.org/query?id=301447804&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/blogs/monkeysee/2014/04/10/301447804/after-the-horror-of-war-what-about-forgiveness?ft=3&f=301447804",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 Apr 2014 17:50:00 -0400",
"nprStoryDate": "Thu, 10 Apr 2014 17:48:00 -0400",
"nprLastModifiedDate": "Thu, 10 Apr 2014 17:50:16 -0400",
"path": "/arts/10134985/after-the-horror-of-war-what-about-forgiveness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Telling a story about forgiveness in the presence of love is easy. Telling a story about forgiveness in the absence of love is hard.\u003c/p>\n\u003cp>Forgiveness in the presence of love is done all the time — it’s every story about relationships broken by mistakes, repaired by apologies and righted by the making of amends. It’s every story that ends, “I’m so sorry, baby.” The crack is plastered and sanded; it’s a restoration.\u003c/p>\n\u003cp>Forgiveness in the absence of love, on the other hand, tends in fiction to turn into the Cobra Kai congratulating Daniel Larusso at the end of \u003cem>The Karate Kid\u003c/em> and Daniel deciding there are no hard feelings about all the beatings he took. When the doing of a wrong is significant enough that a story puts weight on it, it’s almost impossible for forgiveness of it not to seem saccharine and unmotivated, there only to speak to the inevitability of happy endings and the virtue of the person who, without bile, simply forgives.\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/ksrkKXoEJbM'\n title='//www.youtube.com/embed/ksrkKXoEJbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Directed by Jonathan Teplitsky from a screenplay by Frank Cottrell Boyce and Andy Paterson, \u003cem>The Railway Man \u003c/em>is a story about the possibility and impossibility of forgiveness in the absence of love. It’s based on the autobiography of Eric Lomax, played here by Colin Firth, who was a prisoner of war from 1942 to 1946 after the British Army surrendered in Singapore. Along with many other POWs, Lomax was forced to work on the building of the Burma Railway, and according to his book, following the discovery of some contraband among his possessions, he was brutally beaten, waterboarded, confined in horrible conditions and nearly starved to death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film tells the story of his time as a prisoner, his much later marriage to his second wife Patti (Nicole Kidman), and his efforts to cope with what he most likely didn’t call post-traumatic stress disorder. It also tells the story of the reappearance in his life of a man named Nagase Takashi, who had been an interpreter for his captors and had told him, among other things, “You will be killed shortly.” He had thought bitterly of Nagase for many years, and when he learned Nagase was alive and had been working for reconciliation since the war, he barely knew how to react.\u003c/p>\n\u003cp>The structure of the film is calculated to push against its naturally romantic and redemptive arc. It opens with Eric and Patti’s meeting and chronicles their courtship in a sort of scrapbook of bits of film that are sometimes out of chronological order. It feels very much the way memory does, flitting not from one thing to the thing that happened next, but from one thing to the thing of which it reminds you.\u003c/p>\n\u003cp>When the flashbacks to the war begin, they’re choppy and don’t always begin and end where they structurally “should.” Back in the present, there’s a rattled, uncomfortable, not-right quality in the early scenes of the Lomax marriage, in which Eric is often seen lying down but shot from awkward angles, or even upside-down. And his memories of his imprisonment sometimes visually echo his seemingly happy marriage, as in a stunning shot of the young Lomax with his head resting perfectly still on a table as he recites a poem to himself. Despite its, for lack of a better word, British-ness, \u003cem>The Railway Man \u003c/em>is more striking than pretty, more pebbly than elegant.\u003c/p>\n\u003cp>That young Lomax appears in the form of Jeremy Irvine, who was the lead in \u003cem>War Horse\u003c/em> and makes a pretty convincing Firth-alike, particularly in his uncertain mouth and chin. He makes young Eric a persuasively terrified but honorable young officer, in a way that convincingly gives Firth’s restrained work most of its resonance. It’s believable that this is the same man, but many, many sleepless nights later.\u003c/p>\n\u003cp>Anyone who knows the story or has read the book will know that the third climactic act, in which Lomax ultimately decides what to do about his hatred of Nagase, is an invention. It takes a slower, more deliberative, more iterative story and condenses it into a single encounter.\u003c/p>\n\u003cp>But despite the fact that it’s not true, it feels honest. It’s certainly not a documentary version of the story, but it is, as it says it is, “based on a true story.” It’s based on Lomax’s later years in the same way a painting might be based on a lived experience; it’s not the thing itself but an attempt to represent the thing.\u003c/p>\n\u003cp>\u003cem>The Railway Man \u003c/em>is doomed to sag a bit under its baggage of war and suffering and healing. It is the story it is; it is a story about a main character to whom it’s impossible to be unsympathetic no matter what he does, because what he’s endured is so thoroughly documented. It’s a story about trying to be a good person, and it features a man who is a good person, and whose wife is a good person. Its goodness, and its thematic interest in goodness, is a challenge to present meaningfully without Lomax coming off as self-congratulatory.\u003c/p>\n\u003cp>But the film keeps a sharp edge on his lingering anger, never suggesting either that he’s so good as to stop being angry or that his wife can fix his PTSD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in the end, forgiveness in the absence of love is a more interesting and curious idea than forgiveness in the presence of love. Why \u003cem>would\u003c/em> you even contemplate showing any mercy to someone who had been merciless to you when that mercilessness was your only real bond? It’s a more philosophical question than why you would show kindness to a friend or spouse or parent who hurt you. It’s more pure: There’s no relationship \u003cem>other \u003c/em>than pain. What’s the motivation for grace? \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=After+The+Horror+Of+War%2C+What+About+Forgiveness%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10134985/after-the-horror-of-war-what-about-forgiveness",
"authors": [
"byline_arts_10134985"
],
"categories": [
"arts_74"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10134986",
"label": "arts_137"
},
"arts_10135331": {
"type": "posts",
"id": "arts_10135331",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10135331",
"score": null,
"sort": [
1397683286000
]
},
"parent": 0,
"labelTerm": {
"site": "forum"
},
"blocks": [],
"publishDate": 1397683286,
"format": "standard",
"title": "San Francisco Film Society's New Leader on SF's Film Culture",
"headTitle": "San Francisco Film Society’s New Leader on SF’s Film Culture | KQED",
"content": "\u003cp>Noah Cowan was named executive director of the San Francisco Film Society a mere two months before the organization’s biggest event: the San Francisco International Film Festival, which starts next week. Cowan, who comes to the organization after serving as artistic director of the Toronto International Film Festival, is the \u003ca class=\"rssmi_more\" href=\"http://www.kqed.org/epArchive/R201404161000?pid=RD19\" target=\"_self\" rel=\"noopener\"> …read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"San Francisco Film Society's New Leader on SF's Film Culture\" href=\"http://www.kqed.org/epArchive/R201404161000?pid=RD19\" target=\"_self\" rel=\"noopener\">Forum Films\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 60,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705049115,
"excerpt": "Noah Cowan was named executive director of the San Francisco Film Society a mere two months before the organization's biggest event: the San Francisco International Film Festival, which starts next week. Cowan, who comes to the organization after serving as artistic director of the Toronto International Film Festival, is the \u003ca href=\"http://www.kqed.org/epArchive/R201404161000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Noah Cowan was named executive director of the San Francisco Film Society a mere two months before the organization's biggest event: the San Francisco International Film Festival, which starts next week. Cowan, who comes to the organization after serving as artistic director of the Toronto International Film Festival, is the ...read more",
"title": "San Francisco Film Society's New Leader on SF's Film Culture | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Francisco Film Society's New Leader on SF's Film Culture",
"datePublished": "2014-04-16T14:21:26-07:00",
"dateModified": "2024-01-12T00:45:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "san-francisco-film-societys-new-leader-on-sfs-film-culture",
"status": "publish",
"redirect": {
"type": "external",
"url": "http://www.kqed.org/epArchive/R201404161000?pid=RD19"
},
"rssmiSourceLink": "http://www.kqed.org/epArchive/R201404161000?pid=RD19",
"sticky": false,
"path": "/arts/10135331/san-francisco-film-societys-new-leader-on-sfs-film-culture",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noah Cowan was named executive director of the San Francisco Film Society a mere two months before the organization’s biggest event: the San Francisco International Film Festival, which starts next week. Cowan, who comes to the organization after serving as artistic director of the Toronto International Film Festival, is the \u003ca class=\"rssmi_more\" href=\"http://www.kqed.org/epArchive/R201404161000?pid=RD19\" target=\"_self\" rel=\"noopener\"> …read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"San Francisco Film Society's New Leader on SF's Film Culture\" href=\"http://www.kqed.org/epArchive/R201404161000?pid=RD19\" target=\"_self\" rel=\"noopener\">Forum Films\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "http://www.kqed.org/epArchive/R201404161000?pid=RD19",
"authors": [
"92"
],
"categories": [
"arts_74"
],
"featImg": "arts_10135332",
"label": "arts"
},
"arts_10134891": {
"type": "posts",
"id": "arts_10134891",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10134891",
"score": null,
"sort": [
1397653231000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1397653231,
"format": "standard",
"title": "New Voices in Latin American Cinema Speak Up at the SFIFF",
"headTitle": "New Voices in Latin American Cinema Speak Up at the SFIFF | KQED",
"content": "\u003cp>At the press conference a few weeks ago to announce the San Francisco International Film Festival lineup, programming \u003ci>jefe\u003c/i> Rachel Rosen was typically droll and quasi-apologetic when she spoke about the spotlight on New Voices in Latin American Cinema. Nipping any idea that she and her staff fanned out to scout last fall’s festivals (plus Sundance, of course) with a specific focus in mind, Rosen admitted that they didn’t realize until some point this winter that the checklist of invited titles included a concentration of films by emerging talents in Venezuela, Argentina, Uruguay, Costa Rica and Mexico. Fortunately, the quality of the films justifies a sidebar, no apology (quasi- or otherwise) needed.\u003c/p>\n\u003cp>‘Tis far better, of course, for a strand to emerge from the programming than to arbitrarily designate a geographical emphasis. At the same time, the Latin American films don’t blast their import and impact in the opening reel. Like Neto Villalobos’ touching and unforced \u003ci>All About the Feathers\u003c/i> (Apr. 25 at the Pacific Film Archive in Berkeley, Apr. 27 and 29 at the Sundance Kabuki in San Francisco), they start off innocuously and gradually creep confidently under the skin.\u003c/p>\n\u003cfigure id=\"attachment_10134892\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/allaboutfeathers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/allaboutfeathers.jpg\" alt=\"All About the Feathers\" width=\"640\" height=\"427\" class=\"size-full wp-image-10134892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/allaboutfeathers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/allaboutfeathers-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/allaboutfeathers-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>All About the Feathers\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The titular inspiration of \u003ci>All About the Feathers\u003c/i> is the rooster that Chalo, a low-rent security guard covets, and eventually acquires. He imagines he can turn Rocky into a fierce fighter that, in this unprepossessing area of Costa Rica, will be more than enough to provide a better standard of living. Fortunately, Chalo isn’t as ambitious as all that, and the movie doesn’t devolve into a predictable saga of cruelty among the underclass. To the contrary, \u003ci>All About the Feathers\u003c/i> is a portrait of casual camaraderie evolving into caring friendships.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Villalobos employs a fixed camera that, in the hands of a filmmaker with neorealist impulses, would express the characters’ stasis and inability to transcend their economic plight. The director allows his characters to freely enter and leave the frame — they aren’t trapped in the least, their subservient jobs notwithstanding — and uses offscreen sound to convey the larger world. Ultimately, the most expansive thing about this seductive film is the generosity of spirit it embodies. (Incidentally, you needn’t worry about feathers flying, for there is just one scene with the briefest glimpse of a cockfight.)\u003c/p>\n\u003cfigure id=\"attachment_10134894\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/historyoffear.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/historyoffear.jpg\" alt=\"History of Fear\" width=\"640\" height=\"271\" class=\"size-full wp-image-10134894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/historyoffear.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/historyoffear-400x169.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/historyoffear-300x127.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>History of Fear\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The blend of observational filmmaking with a low-key absurdity that gently propels\u003cbr>\n\u003ci>All About the Feathers\u003c/i> gets ratcheted up several notches in the existential Argentinean mystery, \u003ci>History of Fear\u003c/i>. Benjamin Naishtat begins his eerie, entrancing film with the sound of a helicopter, the first of many unseen yet wildly imagined threats that derange a loosely related circle of well-off friends and relatives. Following in the tradition of filmmakers like Luis Buñuel and Roy Andersson, who are forever fascinated by the alienation, bafflement and self-inflicted torment of their characters, Naishtat conjures a world in which security is everything and nothing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guns and uniforms have a particular connotation in Latin America; somehow I don’t think “to serve and protect” is painted on the side of police cars. The security detail in \u003ci>History of Fear\u003c/i> (Apr. 30 at the Kabuki, May 2 at New People Cinema and May 7 at the PFA) is leaderless and ineffectual rather than malevolent, but that’s in keeping with the film’s larger theme. The fragile bonds and unwritten code by which civilization is kept shakily upright are losing their hold, and when the entire grid goes down — the movie is dotted with brief power outages that peak with an outdoor dinner plunged into total paranoia-inducing blackness — humans will behave no better than a pack of dogs. And even if the phones do work, the cops won’t be picking up.\u003c/p>\n\u003cfigure id=\"attachment_10134895\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\" alt=\"Bad Hair\" width=\"640\" height=\"334\" class=\"size-full wp-image-10134895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-300x156.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Bad Hair\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>A vibrant spirit drives Mariana Rondon’s deeply involving and deeply perturbing \u003ci>Bad Hair\u003c/i>, and it belongs to a 10-year-old Caracas boy named Junior. His widowed mother is preoccupied with Junior’s infant brother and with regaining her job as a security guard (do you see a pattern here?), leaving him to make sense of the world with hardly any help. The one thing Junior is sure about is that his curly hair — inherited from his black father — should be straight, and his grandmother stands willing to help.\u003c/p>\n\u003cp>\u003ci>Bad Hair\u003c/i> (May 1 at the Kabuki, May 4 at New People and May 7 at the PFA) comes down to a battle of wills between mother and son, with the former terrified that her boy will grow up to be a homosexual and the latter starved for any sign of mom’s affection and approval. This wrenching struggle plays out in a society organized around power, crime and poverty, which Rondon conveys through subtle, fascinating glimpses and clues. A domestic saga with the consciousness but not the agenda of a social critique, \u003ci>Bad Hair\u003c/i> has the most despairing ending imaginable short of physical death. Junior, his mother and the film will stick with you for days, if not longer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New Voices in Latin American Cinema also includes \u003ci>The Amazing Catfish\u003c/i> (May 3 and 6 at the Kabuki and May 8 at PFA) from Mexico and \u003ci>The Militant\u003c/i> (Apr. 26 at New People, Apr. 27 at the Kabuki and May 1 at PFA) from Uruguay. For \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide?section=139\">more information\u003c/a> visit sffs.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 922,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705049116,
"excerpt": "Reality and surreality commingle in the S.F. International Film Festival's sidebar of New Voices in Latin American Cinema.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Reality and surreality commingle in the S.F. International Film Festival's sidebar of New Voices in Latin American Cinema.",
"title": "New Voices in Latin American Cinema Speak Up at the SFIFF | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Voices in Latin American Cinema Speak Up at the SFIFF",
"datePublished": "2014-04-16T06:00:31-07:00",
"dateModified": "2024-01-12T00:45:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-south-rises-again-latin-american-spotlight-at-sfiff",
"status": "publish",
"sticky": false,
"path": "/arts/10134891/the-south-rises-again-latin-american-spotlight-at-sfiff",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the press conference a few weeks ago to announce the San Francisco International Film Festival lineup, programming \u003ci>jefe\u003c/i> Rachel Rosen was typically droll and quasi-apologetic when she spoke about the spotlight on New Voices in Latin American Cinema. Nipping any idea that she and her staff fanned out to scout last fall’s festivals (plus Sundance, of course) with a specific focus in mind, Rosen admitted that they didn’t realize until some point this winter that the checklist of invited titles included a concentration of films by emerging talents in Venezuela, Argentina, Uruguay, Costa Rica and Mexico. Fortunately, the quality of the films justifies a sidebar, no apology (quasi- or otherwise) needed.\u003c/p>\n\u003cp>‘Tis far better, of course, for a strand to emerge from the programming than to arbitrarily designate a geographical emphasis. At the same time, the Latin American films don’t blast their import and impact in the opening reel. Like Neto Villalobos’ touching and unforced \u003ci>All About the Feathers\u003c/i> (Apr. 25 at the Pacific Film Archive in Berkeley, Apr. 27 and 29 at the Sundance Kabuki in San Francisco), they start off innocuously and gradually creep confidently under the skin.\u003c/p>\n\u003cfigure id=\"attachment_10134892\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/allaboutfeathers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/allaboutfeathers.jpg\" alt=\"All About the Feathers\" width=\"640\" height=\"427\" class=\"size-full wp-image-10134892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/allaboutfeathers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/allaboutfeathers-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/allaboutfeathers-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>All About the Feathers\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The titular inspiration of \u003ci>All About the Feathers\u003c/i> is the rooster that Chalo, a low-rent security guard covets, and eventually acquires. He imagines he can turn Rocky into a fierce fighter that, in this unprepossessing area of Costa Rica, will be more than enough to provide a better standard of living. Fortunately, Chalo isn’t as ambitious as all that, and the movie doesn’t devolve into a predictable saga of cruelty among the underclass. To the contrary, \u003ci>All About the Feathers\u003c/i> is a portrait of casual camaraderie evolving into caring friendships.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Villalobos employs a fixed camera that, in the hands of a filmmaker with neorealist impulses, would express the characters’ stasis and inability to transcend their economic plight. The director allows his characters to freely enter and leave the frame — they aren’t trapped in the least, their subservient jobs notwithstanding — and uses offscreen sound to convey the larger world. Ultimately, the most expansive thing about this seductive film is the generosity of spirit it embodies. (Incidentally, you needn’t worry about feathers flying, for there is just one scene with the briefest glimpse of a cockfight.)\u003c/p>\n\u003cfigure id=\"attachment_10134894\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/historyoffear.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/historyoffear.jpg\" alt=\"History of Fear\" width=\"640\" height=\"271\" class=\"size-full wp-image-10134894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/historyoffear.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/historyoffear-400x169.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/historyoffear-300x127.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>History of Fear\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The blend of observational filmmaking with a low-key absurdity that gently propels\u003cbr>\n\u003ci>All About the Feathers\u003c/i> gets ratcheted up several notches in the existential Argentinean mystery, \u003ci>History of Fear\u003c/i>. Benjamin Naishtat begins his eerie, entrancing film with the sound of a helicopter, the first of many unseen yet wildly imagined threats that derange a loosely related circle of well-off friends and relatives. Following in the tradition of filmmakers like Luis Buñuel and Roy Andersson, who are forever fascinated by the alienation, bafflement and self-inflicted torment of their characters, Naishtat conjures a world in which security is everything and nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guns and uniforms have a particular connotation in Latin America; somehow I don’t think “to serve and protect” is painted on the side of police cars. The security detail in \u003ci>History of Fear\u003c/i> (Apr. 30 at the Kabuki, May 2 at New People Cinema and May 7 at the PFA) is leaderless and ineffectual rather than malevolent, but that’s in keeping with the film’s larger theme. The fragile bonds and unwritten code by which civilization is kept shakily upright are losing their hold, and when the entire grid goes down — the movie is dotted with brief power outages that peak with an outdoor dinner plunged into total paranoia-inducing blackness — humans will behave no better than a pack of dogs. And even if the phones do work, the cops won’t be picking up.\u003c/p>\n\u003cfigure id=\"attachment_10134895\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/badhair.jpg\" alt=\"Bad Hair\" width=\"640\" height=\"334\" class=\"size-full wp-image-10134895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/badhair-300x156.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Bad Hair\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>A vibrant spirit drives Mariana Rondon’s deeply involving and deeply perturbing \u003ci>Bad Hair\u003c/i>, and it belongs to a 10-year-old Caracas boy named Junior. His widowed mother is preoccupied with Junior’s infant brother and with regaining her job as a security guard (do you see a pattern here?), leaving him to make sense of the world with hardly any help. The one thing Junior is sure about is that his curly hair — inherited from his black father — should be straight, and his grandmother stands willing to help.\u003c/p>\n\u003cp>\u003ci>Bad Hair\u003c/i> (May 1 at the Kabuki, May 4 at New People and May 7 at the PFA) comes down to a battle of wills between mother and son, with the former terrified that her boy will grow up to be a homosexual and the latter starved for any sign of mom’s affection and approval. This wrenching struggle plays out in a society organized around power, crime and poverty, which Rondon conveys through subtle, fascinating glimpses and clues. A domestic saga with the consciousness but not the agenda of a social critique, \u003ci>Bad Hair\u003c/i> has the most despairing ending imaginable short of physical death. Junior, his mother and the film will stick with you for days, if not longer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New Voices in Latin American Cinema also includes \u003ci>The Amazing Catfish\u003c/i> (May 3 and 6 at the Kabuki and May 8 at PFA) from Mexico and \u003ci>The Militant\u003c/i> (Apr. 26 at New People, Apr. 27 at the Kabuki and May 1 at PFA) from Uruguay. For \u003ca href=\"http://www.sffs.org/festival-home/attend/film-guide?section=139\">more information\u003c/a> visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10134891/the-south-rises-again-latin-american-spotlight-at-sfiff",
"authors": [
"22"
],
"categories": [
"arts_74"
],
"featImg": "arts_10134896",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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": {
"site": "news",
"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"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"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",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=movies": {
"isFetching": false,
"latestQuery": {
"from": 2688,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3243,
"relation": "eq"
},
"items": [
"arts_10135284",
"pop_11972",
"arts_10135234",
"arts_10135232",
"arts_10135121",
"arts_10135020",
"pop_11884",
"arts_10134992",
"arts_10134988",
"arts_10134985",
"arts_10135331",
"arts_10134891"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_movies": {
"isLoading": true
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"source_arts_10135284": {
"type": "terms",
"id": "source_arts_10135284",
"meta": {
"override": true
},
"name": "Film",
"isLoading": false
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"pop_51": {
"type": "terms",
"id": "pop_51",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "51",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 51,
"slug": "movies",
"isLoading": false,
"link": "/pop/category/movies"
},
"pop_197": {
"type": "terms",
"id": "pop_197",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "197",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 197,
"slug": "feminism",
"isLoading": false,
"link": "/pop/tag/feminism"
},
"pop_904": {
"type": "terms",
"id": "pop_904",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "904",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Star Wars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Star Wars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 905,
"slug": "star-wars",
"isLoading": false,
"link": "/pop/tag/star-wars"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"pop_562": {
"type": "terms",
"id": "pop_562",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "562",
"found": true
},
"relationships": {},
"featImg": null,
"name": "90s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "90s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 562,
"slug": "90s",
"isLoading": false,
"link": "/pop/tag/90s"
},
"pop_1249": {
"type": "terms",
"id": "pop_1249",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1249",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mrs. doubtfire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mrs. doubtfire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1250,
"slug": "mrs-doubtfire",
"isLoading": false,
"link": "/pop/tag/mrs-doubtfire"
},
"pop_1547": {
"type": "terms",
"id": "pop_1547",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1547",
"found": true
},
"relationships": {},
"featImg": null,
"name": "robin williams",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "robin williams Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1551,
"slug": "robin-williams",
"isLoading": false,
"link": "/pop/tag/robin-williams"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
