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The dozen films on view, including \u003ci>Fallingwater: Frank Lloyd Wright’s Masterwork\u003c/i> (Mar. 13 and 16) and \u003ci>Tadao Ando: From Emptiness to Infinity\u003c/i> (Mar. 27), seek to expand YBCA’s audience of professionals to architects and urban planners. Not to worry, the venue has abandoned neither politics nor its street sense, as evidenced by the return of the Human Rights Watch Film Festival in April. For \u003ca href=\"http://www.ybca.org/design-films\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/wellesjohnson.jpg\" width=\"500\" height=\"376\" alt=\"Orson Welles, Too Much Johnson\" class>\u003cfigcaption class=\"wp-caption-text\">Orson Welles, Too Much Johnson\u003c/figcaption>\u003c/figure>\n\u003cp>The Pacific Film Archive has been on fire lately, drawing big crowds for in-depth series of Jean-Luc Godard, classic American comedy, Satyajit Ray and Anthony Mann. Another towering artist, Orson Welles, commands the screen TONIGHT, Mar. 3 with the West Coast premiere of his long-lost, newly restored, ahead-of-its-time experiment with the Mercury Theater, \u003ci>Too Much Johnson\u003c/i>. Welles imagined the 66-minute silent film, made in 1938, integrated with live theater in a pioneering multimedia spectacle. Another larger-than-life figure, Oscar-winning producer and local film-community supporter Saul Zaentz, who died on January 3, is remembered with screenings of \u003ci>One Flew Over the Cuckoo’s Nest\u003c/i> (Mar 22), \u003ci>Amadeus\u003c/i> (Apr. 5) and \u003ci>The Unbearable Lightness of Being\u003c/i> (Apr. 13). For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/zaentz\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/hoffmancapote.jpg\" width=\"500\" height=\"320\" alt=\"Capote\" class>\u003cfigcaption class=\"wp-caption-text\">Capote\u003c/figcaption>\u003c/figure>\n\u003cp>The Dead Masters salute continues, all too sadly, with a Philip Seymour Hoffman retrospective at the Castro. One of the most versatile and gifted character actors of the last half-century, which is to say one of the great actors in the history of American film, Hoffman left us mourning the innumerable wry, intelligent and moving performances we anticipated in the coming years. Each of the five double bills has its own peculiar allure, but the unexpected titles offer a particular opportunity for rediscovery and appreciation: \u003ci>Flawless\u003c/i> (Mar. 12), \u003ci>Love Liza\u003c/i> (Mar. 19) and \u003ci>Happiness\u003c/i> (Mar. 25). R.I.P., Phil. For \u003ca href=\"http://www.castrotheatre.com/coming-soon.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/lagunastreet.jpg\" width=\"500\" height=\"214\" alt=\"3020 Laguna St. In Exitum\" class>\u003cfigcaption class=\"wp-caption-text\">3020 Laguna St. In Exitum\u003c/figcaption>\u003c/figure>\n\u003cp>The 9th Annual San Francisco International Women’s Film Festival boasts a splendiferous and, perhaps, slightly extravagant moniker. After all, the entire event consists of two shorts programs and an awards reception. I’m not dissing female filmmakers, whose enormous contributions to the American documentary and avant-garde cinema throw into sharp relief the perennial stonewalling of women directors in Hollywood. Nor am I dinging S.F. Women’s Film Institute founder and executive director Scarlett Shepard, whose unflagging efforts to increase support and recognition of female artists — like Cheryl Dunye, Dorothy Fadiman, Tracey Quezada, Tamata Perkins and Debbie Brubaker, who are among the honorees at the Mar. 29 reception at Brava Theater Center in S.F. — is to be admired. Nor, for that matter, am I critiqueing the SFIWFF lineup, with its blast of recent shorts by Bay Area artists (Mar. 7 at the New Parkway in Oakland) and compilation of recent work from the U.S. and a few foreign lands (Mar. 29 at Brava). I just wish the festival was bigger. For \u003ca href=\"http://womensfilminstitute.com/programs/sf-womens-film-festival/film-festival-2014-at-a-glance/\">more information\u003c/a> visit womensfilminstitute.com.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/graceleeboggs.jpg\" width=\"500\" height=\"250\" alt=\"American Revolutionary: The Evolution of Grace Lee Boggs\" class>\u003cfigcaption class=\"wp-caption-text\">American Revolutionary: The Evolution of Grace Lee Boggs\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. International Asian-American Film Festival exchanged its lengthy handle for the snappier CAAMFest (Mar 13-23 in San Francisco, Berkeley and Oakland) a couple years ago, partly to allow for the addition of food and music events. But movies remain the primary focus, with a clutch of world premieres, hot new films by Bay Area directors and a provocative documentary lineup. Grace Lee is the Spotlight Honoree, with the genre-blurring writer-director holding forth in an onstage interview (Mar. 16 at the Kabuki) and presenting her new doc \u003ci>American Revolutionary: The Evolution of Grace Lee Boggs\u003c/i> (Mar. 16 at the Castro) and 2006 comedy \u003ci>American Zombie\u003c/i> (Mar. 14 at the Kabuki). Other highlights include Anthony Lucero’s cross-cultural, Oakland-set drama \u003ci>East Side Sushi\u003c/i> (Mar. 15, 20 and 22) and Louisa Wei’s centennial study of pioneering Chinese-American director (and S.F. native) Esther Eng, \u003ci>Golden Gate Girls\u003c/i> (Mar. 18 at the Great Star in S.F.). There’s more than enough variety, and quality, at CAAMFest to soothe any film buff. For \u003ca href=\"http://caamfest.com/2014/\">more information\u003c/a> visit caamfest.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oscar season is over at last, and the summer blockbusters are still a long way off. So movie maniacs are in a kind of limbo, drumming their fingers in restless anticipation of the next Really Big Event on the calendar: The San Francisco International Film Festival in late April. Take a breath, chill, and check out these tasty fixins for your movie jones.\u003c/p>\n\u003cp>Tapping into the veritable army of graphic designers and marketing communication managers in the Bay Area, Yerba Buena Center for the Arts scored surprise hits a few years ago with the documentaries \u003ci>Helvetica\u003c/i> and \u003ci>Objectified\u003c/i>. Nothing succeeds like success, which accounts for the Design and Architecture Films Showcase unspooling at YBCA throughout March. The dozen films on view, including \u003ci>Fallingwater: Frank Lloyd Wright’s Masterwork\u003c/i> (Mar. 13 and 16) and \u003ci>Tadao Ando: From Emptiness to Infinity\u003c/i> (Mar. 27), seek to expand YBCA’s audience of professionals to architects and urban planners. Not to worry, the venue has abandoned neither politics nor its street sense, as evidenced by the return of the Human Rights Watch Film Festival in April. For \u003ca href=\"http://www.ybca.org/design-films\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/wellesjohnson.jpg\" width=\"500\" height=\"376\" alt=\"Orson Welles, Too Much Johnson\" class>\u003cfigcaption class=\"wp-caption-text\">Orson Welles, Too Much Johnson\u003c/figcaption>\u003c/figure>\n\u003cp>The Pacific Film Archive has been on fire lately, drawing big crowds for in-depth series of Jean-Luc Godard, classic American comedy, Satyajit Ray and Anthony Mann. Another towering artist, Orson Welles, commands the screen TONIGHT, Mar. 3 with the West Coast premiere of his long-lost, newly restored, ahead-of-its-time experiment with the Mercury Theater, \u003ci>Too Much Johnson\u003c/i>. Welles imagined the 66-minute silent film, made in 1938, integrated with live theater in a pioneering multimedia spectacle. Another larger-than-life figure, Oscar-winning producer and local film-community supporter Saul Zaentz, who died on January 3, is remembered with screenings of \u003ci>One Flew Over the Cuckoo’s Nest\u003c/i> (Mar 22), \u003ci>Amadeus\u003c/i> (Apr. 5) and \u003ci>The Unbearable Lightness of Being\u003c/i> (Apr. 13). For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/zaentz\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/hoffmancapote.jpg\" width=\"500\" height=\"320\" alt=\"Capote\" class>\u003cfigcaption class=\"wp-caption-text\">Capote\u003c/figcaption>\u003c/figure>\n\u003cp>The Dead Masters salute continues, all too sadly, with a Philip Seymour Hoffman retrospective at the Castro. One of the most versatile and gifted character actors of the last half-century, which is to say one of the great actors in the history of American film, Hoffman left us mourning the innumerable wry, intelligent and moving performances we anticipated in the coming years. Each of the five double bills has its own peculiar allure, but the unexpected titles offer a particular opportunity for rediscovery and appreciation: \u003ci>Flawless\u003c/i> (Mar. 12), \u003ci>Love Liza\u003c/i> (Mar. 19) and \u003ci>Happiness\u003c/i> (Mar. 25). R.I.P., Phil. For \u003ca href=\"http://www.castrotheatre.com/coming-soon.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/lagunastreet.jpg\" width=\"500\" height=\"214\" alt=\"3020 Laguna St. In Exitum\" class>\u003cfigcaption class=\"wp-caption-text\">3020 Laguna St. In Exitum\u003c/figcaption>\u003c/figure>\n\u003cp>The 9th Annual San Francisco International Women’s Film Festival boasts a splendiferous and, perhaps, slightly extravagant moniker. After all, the entire event consists of two shorts programs and an awards reception. I’m not dissing female filmmakers, whose enormous contributions to the American documentary and avant-garde cinema throw into sharp relief the perennial stonewalling of women directors in Hollywood. Nor am I dinging S.F. Women’s Film Institute founder and executive director Scarlett Shepard, whose unflagging efforts to increase support and recognition of female artists — like Cheryl Dunye, Dorothy Fadiman, Tracey Quezada, Tamata Perkins and Debbie Brubaker, who are among the honorees at the Mar. 29 reception at Brava Theater Center in S.F. — is to be admired. Nor, for that matter, am I critiqueing the SFIWFF lineup, with its blast of recent shorts by Bay Area artists (Mar. 7 at the New Parkway in Oakland) and compilation of recent work from the U.S. and a few foreign lands (Mar. 29 at Brava). I just wish the festival was bigger. For \u003ca href=\"http://womensfilminstitute.com/programs/sf-womens-film-festival/film-festival-2014-at-a-glance/\">more information\u003c/a> visit womensfilminstitute.com.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/03/graceleeboggs.jpg\" width=\"500\" height=\"250\" alt=\"American Revolutionary: The Evolution of Grace Lee Boggs\" class>\u003cfigcaption class=\"wp-caption-text\">American Revolutionary: The Evolution of Grace Lee Boggs\u003c/figcaption>\u003c/figure>\n\u003cp>The S.F. International Asian-American Film Festival exchanged its lengthy handle for the snappier CAAMFest (Mar 13-23 in San Francisco, Berkeley and Oakland) a couple years ago, partly to allow for the addition of food and music events. But movies remain the primary focus, with a clutch of world premieres, hot new films by Bay Area directors and a provocative documentary lineup. Grace Lee is the Spotlight Honoree, with the genre-blurring writer-director holding forth in an onstage interview (Mar. 16 at the Kabuki) and presenting her new doc \u003ci>American Revolutionary: The Evolution of Grace Lee Boggs\u003c/i> (Mar. 16 at the Castro) and 2006 comedy \u003ci>American Zombie\u003c/i> (Mar. 14 at the Kabuki). Other highlights include Anthony Lucero’s cross-cultural, Oakland-set drama \u003ci>East Side Sushi\u003c/i> (Mar. 15, 20 and 22) and Louisa Wei’s centennial study of pioneering Chinese-American director (and S.F. native) Esther Eng, \u003ci>Golden Gate Girls\u003c/i> (Mar. 18 at the Great Star in S.F.). There’s more than enough variety, and quality, at CAAMFest to soothe any film buff. For \u003ca href=\"http://caamfest.com/2014/\">more information\u003c/a> visit caamfest.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dylan Farrow Aside, Does Woody Allen Stink as a Film Director?",
"headTitle": "Dylan Farrow Aside, Does Woody Allen Stink as a Film Director? | KQED",
"content": "\u003cp>There’s no doubt the \u003ca href=\"http://kristof.blogs.nytimes.com/2014/02/01/an-open-%20letter-from-dylan-farrow/\">Dylan Farrow\u003c/a> – \u003ca href=\"http://www.nytimes.com/%202014/02/09/opinion/sunday/woody-allen-speaks-out.html\">Woody Allen\u003c/a> back-and-\u003ca href=\"http://www.hollywoodreporter.com/news/dylan-farrow-responds-woody-%20allen-678552\">forth\u003c/a> has raised serious issues. Questions like how does society deal with allegations of child abuse? And how do \u003ca href=\"http://www.kqed.org/arts/popculture/article.jsp?essid=133738\">audiences respond to an artist’s work after he has been accused of a deeply immoral act?\u003c/a> If on Oscar night, Woody Allen happens to win the best original screenplay award for \u003ci>Blue Jasmine\u003c/i>, the full range of \u003ca href=\"https://twitter.com/search?q=woody%20allen&src=typd\">140-character opinions\u003c/a> on such matters is going to, within seconds, criss-cross the globe.\u003c/p>\n\u003cp>If Allen does win, I’ll be crying foul not because of any moral transgressions on the director’s part, but because I thought his movie stunk. Last summer, when \u003ca href=\"http://www.rottentomatoes.com/m/blue_jasmine/\">many other critics\u003c/a> were hailing \u003ci>Blue Jasmine\u003c/i> as a masterpiece, I was busy writing a piece called \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=124365\">\u003ci>How Woody Allen Became a Hack\u003c/i>\u003c/a>, asserting that the director’s sloppy moviemaking and derivative screenplays over the past 20 years should have landed him in movie jail for various aesthetic crimes and misdemeanors.\u003c/p>\n\u003cp>Of course, I’m well aware I’m living on a planet other than Earth when it comes to this topic. No less a critic than David Thomson, one of the most astute film minds around, in my opinion, called \u003ci>Blue Jasmine\u003c/i> “the best film (Allen) has ever made.”\u003c/p>\n\u003cp>So we thought that now, the day before the Oscars, was a good time to publish some of the online reaction we received to my Woody Allen piece, much of which expressed the opinion that:\u003c/p>\n\u003cp>A) Woody still has a lot on the cinematic ball.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>B) I’m a moron.\u003c/p>\n\u003cp>\u003cb>My favorite reaction:\u003c/b>\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">You are an imbecile. Probably a Republican? How you ever got to write anything is a surprise to me. Your logical reasoning is almost on par with a five year old. Please die soon and rid humanity from this banter. You are a waste of space. –Zetret\u003c/p>\n\u003cp>I’m thinking \u003ca href=\"http://youtu.be/vLJzqvbxjqw?t=42s\">Marshall McLuhan\u003c/a> wrote that one …\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=vLJzqvbxjqw&w=640&h=480]\u003c/p>\n\u003cp>More below. Feel free to chime in. Oh wait. This is the Internet — what an unnecessary invitation. (And by the way, if you think I was hard on Woody, check out \u003ca href=\"http://www.nybooks.com/articles/archives/1979/aug/16/letter-from-manhattan/\">Joan Didion’s takedown of his films and his audience\u003c/a>, published in \u003ci>The New York Review of Books\u003c/i> in 1979, smack in the middle of the director’s glory years.)\u003c/p>\n\u003cp>\u003cb>Responses to \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=124365\">\u003ci>How Woody Allen Became a Hack\u003c/i>\u003c/a> (culled from KQED Arts Facebook and the comments on the post):\u003c/b>\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Totally disagree with this article. \u003ci>Midnight in Paris\u003c/i> is brilliant. \u003ci>Blue Jasmine\u003c/i> is not as good, but Cate Blanchett’s performance (Oscar for Best Actress for sure) is one of the best you will ever see. –John Leibee\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">When he’s good, he’s made some of the most fantastic movies. He has captured humanity in an amazing and excruciating way. With a career as long as he has had, is it fair for us arm chair critics to be so errr…. critical? Maybe… but have you created anything as brilliant in your lifetime? So you don’t like his new movies as much… big deal. What’s so great about being a critic anyhow? –Josh Alper\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I thought \u003ci>To Rome with Love\u003c/i>, \u003ci>Match Point\u003c/i> and \u003ci>Cassandra’s Dream\u003c/i> were all excellent. They’re not \u003ci>Stardust Memories\u003c/i> or \u003ci>Manhattan\u003c/i> but are still intelligent, entertaining and well acted and crafted. –Victor Milin\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">He’s still got more originality than Quentin Tarantino. –Chris Knight\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Bitch, bitch, bitch. Yeah, Woody’s done some classics and some stinkers. But there’s no one I can think of who’s matched his output and few who can claim ownership of so many brilliant films. Criticism is easy, creating is difficult. –Mike Woolson\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">\u003ci>Blue Jasmine\u003c/i> was brilliant. –Louis\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">How moronic. Can’t imagine what the idiots who deride Woody think passes for good screenwriting. \u003ci>Iron Man\u003c/i>? Kevin James flicks? –Chris Faraone\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">His latest is always the greatest because it hits the current nerves of the time. –Lee Embrey\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Long may Woody entertain us as only he can! –Tim Street-Porter\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Another tired old putz complaining that Woody Allen hasn’t made a good film in 20 years. Here’s a suggestion — stop seeing the new ones and just watch \u003ci>Annie Hall\u003c/i> and \u003ci>Manhattan\u003c/i> over and over again. –Steven Kaye\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I think many of the criticisms here are really strengths for what Allen does with them and certainly aren’t anything new to his work. The man works in a limited arena, but he always does it well. Also, to call \u003ci>Stardust Memories\u003c/i> a Fellini knockoff and leave it at that is criminal; it’s Allen’s best film and better than \u003ci>8 1/2\u003c/i> IMO. –redflagblackflag\u003c/p>\n\u003cp>\u003cb>And then there were those who agreed with me, more or less\u003c/b>:\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Have not been very enthusiastic about anything by Woodman since \u003ci>Annie Hall\u003c/i> or so. Found \u003ci>Midnight in Paris\u003c/i> a bit silly for a director in his 70s. Could not watch more than a few minutes of newer films –DeWitt Cheng\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">You are right on with this stuff. I will certainly not see the new one. And I have a very hard time understanding how anyone who like the old Allen stuff could also like this new stuff. I agree that the “quicker and cheaper” goal is primarily to blame, but I think it’s even more than that. I think Allen used to write about characters he knew, or at least felt. Now he’s all over the place — well any place except for his own heart/mind/intellect. And it’s out of those places that real comedy — and real pathos — springs.\u003c/p>\n\u003cp>Sitting in the theater for \u003ci>Midnight In Paris\u003c/i> its opening weekend, hearing laughter coming from all around, I was convinced that it was laughter at how bad the film was — how ridiculous the acting was, how flat and unbelievable the characters — really how terribly simple it all was. –CORE2THEMAXX\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Truthfully, the last film of his I liked was \u003ci>Hannah and Her Sisters\u003c/i>. –RC\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I kept saying … “it’s about time someone said this” in my head as I read this essay. I think most people know that Woody isn’t making masterpieces anymore, but there’s not nearly enough\u003cbr>\nacknowledgement of how dreadful his work has become. This author’s take on \u003ci>Midnight in Paris\u003c/i> isn’t even in the realm of opinion as far as I’m concerned, it is stating an obvious case. And like the author of this piece, this is coming from someone who thinks Woody Allen was pumping out a great film almost every year for about a 15 year period. –Soxfan111111\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">My favorite answer to the question: Who is the most over-rated director of our lifetime? Plus, he is a major sleaze. –Paul Hurdlow\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I feel like Woody exhausted all his ideas long ago, now he’s like a family member telling the same old stories over the holiday dinner table. His films have all the surprise and urgency of a new Stones record. –Dan Buskirk\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What do you think? Let us know…\u003c/p>\n\n",
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"headline": "Dylan Farrow Aside, Does Woody Allen Stink as a Film Director?",
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"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.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no doubt the \u003ca href=\"http://kristof.blogs.nytimes.com/2014/02/01/an-open-%20letter-from-dylan-farrow/\">Dylan Farrow\u003c/a> – \u003ca href=\"http://www.nytimes.com/%202014/02/09/opinion/sunday/woody-allen-speaks-out.html\">Woody Allen\u003c/a> back-and-\u003ca href=\"http://www.hollywoodreporter.com/news/dylan-farrow-responds-woody-%20allen-678552\">forth\u003c/a> has raised serious issues. Questions like how does society deal with allegations of child abuse? And how do \u003ca href=\"http://www.kqed.org/arts/popculture/article.jsp?essid=133738\">audiences respond to an artist’s work after he has been accused of a deeply immoral act?\u003c/a> If on Oscar night, Woody Allen happens to win the best original screenplay award for \u003ci>Blue Jasmine\u003c/i>, the full range of \u003ca href=\"https://twitter.com/search?q=woody%20allen&src=typd\">140-character opinions\u003c/a> on such matters is going to, within seconds, criss-cross the globe.\u003c/p>\n\u003cp>If Allen does win, I’ll be crying foul not because of any moral transgressions on the director’s part, but because I thought his movie stunk. Last summer, when \u003ca href=\"http://www.rottentomatoes.com/m/blue_jasmine/\">many other critics\u003c/a> were hailing \u003ci>Blue Jasmine\u003c/i> as a masterpiece, I was busy writing a piece called \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=124365\">\u003ci>How Woody Allen Became a Hack\u003c/i>\u003c/a>, asserting that the director’s sloppy moviemaking and derivative screenplays over the past 20 years should have landed him in movie jail for various aesthetic crimes and misdemeanors.\u003c/p>\n\u003cp>Of course, I’m well aware I’m living on a planet other than Earth when it comes to this topic. No less a critic than David Thomson, one of the most astute film minds around, in my opinion, called \u003ci>Blue Jasmine\u003c/i> “the best film (Allen) has ever made.”\u003c/p>\n\u003cp>So we thought that now, the day before the Oscars, was a good time to publish some of the online reaction we received to my Woody Allen piece, much of which expressed the opinion that:\u003c/p>\n\u003cp>A) Woody still has a lot on the cinematic ball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>B) I’m a moron.\u003c/p>\n\u003cp>\u003cb>My favorite reaction:\u003c/b>\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">You are an imbecile. Probably a Republican? How you ever got to write anything is a surprise to me. Your logical reasoning is almost on par with a five year old. Please die soon and rid humanity from this banter. You are a waste of space. –Zetret\u003c/p>\n\u003cp>I’m thinking \u003ca href=\"http://youtu.be/vLJzqvbxjqw?t=42s\">Marshall McLuhan\u003c/a> wrote that one …\u003c/p>\n\u003cp style=\"text-align: center\">\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/vLJzqvbxjqw'\n title='//www.youtube.com/embed/vLJzqvbxjqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>More below. Feel free to chime in. Oh wait. This is the Internet — what an unnecessary invitation. (And by the way, if you think I was hard on Woody, check out \u003ca href=\"http://www.nybooks.com/articles/archives/1979/aug/16/letter-from-manhattan/\">Joan Didion’s takedown of his films and his audience\u003c/a>, published in \u003ci>The New York Review of Books\u003c/i> in 1979, smack in the middle of the director’s glory years.)\u003c/p>\n\u003cp>\u003cb>Responses to \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=124365\">\u003ci>How Woody Allen Became a Hack\u003c/i>\u003c/a> (culled from KQED Arts Facebook and the comments on the post):\u003c/b>\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Totally disagree with this article. \u003ci>Midnight in Paris\u003c/i> is brilliant. \u003ci>Blue Jasmine\u003c/i> is not as good, but Cate Blanchett’s performance (Oscar for Best Actress for sure) is one of the best you will ever see. –John Leibee\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">When he’s good, he’s made some of the most fantastic movies. He has captured humanity in an amazing and excruciating way. With a career as long as he has had, is it fair for us arm chair critics to be so errr…. critical? Maybe… but have you created anything as brilliant in your lifetime? So you don’t like his new movies as much… big deal. What’s so great about being a critic anyhow? –Josh Alper\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I thought \u003ci>To Rome with Love\u003c/i>, \u003ci>Match Point\u003c/i> and \u003ci>Cassandra’s Dream\u003c/i> were all excellent. They’re not \u003ci>Stardust Memories\u003c/i> or \u003ci>Manhattan\u003c/i> but are still intelligent, entertaining and well acted and crafted. –Victor Milin\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">He’s still got more originality than Quentin Tarantino. –Chris Knight\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Bitch, bitch, bitch. Yeah, Woody’s done some classics and some stinkers. But there’s no one I can think of who’s matched his output and few who can claim ownership of so many brilliant films. Criticism is easy, creating is difficult. –Mike Woolson\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">\u003ci>Blue Jasmine\u003c/i> was brilliant. –Louis\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">How moronic. Can’t imagine what the idiots who deride Woody think passes for good screenwriting. \u003ci>Iron Man\u003c/i>? Kevin James flicks? –Chris Faraone\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">His latest is always the greatest because it hits the current nerves of the time. –Lee Embrey\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Long may Woody entertain us as only he can! –Tim Street-Porter\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Another tired old putz complaining that Woody Allen hasn’t made a good film in 20 years. Here’s a suggestion — stop seeing the new ones and just watch \u003ci>Annie Hall\u003c/i> and \u003ci>Manhattan\u003c/i> over and over again. –Steven Kaye\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I think many of the criticisms here are really strengths for what Allen does with them and certainly aren’t anything new to his work. The man works in a limited arena, but he always does it well. Also, to call \u003ci>Stardust Memories\u003c/i> a Fellini knockoff and leave it at that is criminal; it’s Allen’s best film and better than \u003ci>8 1/2\u003c/i> IMO. –redflagblackflag\u003c/p>\n\u003cp>\u003cb>And then there were those who agreed with me, more or less\u003c/b>:\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Have not been very enthusiastic about anything by Woodman since \u003ci>Annie Hall\u003c/i> or so. Found \u003ci>Midnight in Paris\u003c/i> a bit silly for a director in his 70s. Could not watch more than a few minutes of newer films –DeWitt Cheng\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">You are right on with this stuff. I will certainly not see the new one. And I have a very hard time understanding how anyone who like the old Allen stuff could also like this new stuff. I agree that the “quicker and cheaper” goal is primarily to blame, but I think it’s even more than that. I think Allen used to write about characters he knew, or at least felt. Now he’s all over the place — well any place except for his own heart/mind/intellect. And it’s out of those places that real comedy — and real pathos — springs.\u003c/p>\n\u003cp>Sitting in the theater for \u003ci>Midnight In Paris\u003c/i> its opening weekend, hearing laughter coming from all around, I was convinced that it was laughter at how bad the film was — how ridiculous the acting was, how flat and unbelievable the characters — really how terribly simple it all was. –CORE2THEMAXX\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">Truthfully, the last film of his I liked was \u003ci>Hannah and Her Sisters\u003c/i>. –RC\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I kept saying … “it’s about time someone said this” in my head as I read this essay. I think most people know that Woody isn’t making masterpieces anymore, but there’s not nearly enough\u003cbr>\nacknowledgement of how dreadful his work has become. This author’s take on \u003ci>Midnight in Paris\u003c/i> isn’t even in the realm of opinion as far as I’m concerned, it is stating an obvious case. And like the author of this piece, this is coming from someone who thinks Woody Allen was pumping out a great film almost every year for about a 15 year period. –Soxfan111111\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">My favorite answer to the question: Who is the most over-rated director of our lifetime? Plus, he is a major sleaze. –Paul Hurdlow\u003c/p>\n\u003cp style=\"margin-left: 20px;margin-right: 20px\">I feel like Woody exhausted all his ideas long ago, now he’s like a family member telling the same old stories over the holiday dinner table. His films have all the surprise and urgency of a new Stones record. –Dan Buskirk\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What do you think? Let us know…\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "What Your Pick for Best Picture Says About You",
"title": "What Your Pick for Best Picture Says About You",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_11268\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003ca href=\"http://i.telegraph.co.uk/multimedia/archive/02756/american-hustle_2756552b.jpg\">\u003cimg class=\"size-full wp-image-11268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/american-hustle_2756552b.jpeg\" alt=\"telegraph.co.uk\" width=\"620\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/american-hustle_2756552b.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/american-hustle_2756552b-400x249.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Columbia Pictures\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\" align=\"center\">\u003cstrong> \u003c/strong>\u003cstrong>AMERICAN HUSTLE\u003c/strong>\u003c/p>\n\u003cp>Whoa, you’re a feisty one who may have been the kingpin behind your high school’s senior prank (glue in all the locks, genius!). You sift through vintage clothes, cut them up and make them worthy of a 3am dance floor. Chances are you play an instrument. Probably the electric guitar or maybe even the drums. If you don’t have a significant other, it’s because the world is your oyster and your oyster ain’t got no time for that. If you do have that special someone, they know how to party and I’m not talking sipping whiskey and dancing on a pool table, I’m talking breaking a bottle of Jameson and eating the glass kind of partying. You’re hella legit.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11269\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://blogs.indiewire.com/theplaylist/captain-phillips-gains-new-steam-with-win-at-ace-eddie-awards-20140208\">\u003cimg class=\"size-full wp-image-11269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/12698450.jpeg\" alt=\"blogs.indiewire.com\" width=\"700\" height=\"467\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/12698450.jpeg 700w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/12698450-400x266.jpeg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Columbia Pictures\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>CAPTAIN PHILLIPS\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">If you had a pet, it wouldn’t be a kitten or even a cat, it would be a tiger, like a big yellow creature just roaming around your house eating your couch. Because that’s how brave you are. You drink a ton of water, like two liters in the morning, two for lunch, and two more before you put your jammies on. It’s how you keep yourself focused and in such good shape. Your friends look to you when they are having relationship issues because you are not only a natural born leader, but a mentor as well. An enormous sea keeping you from what you want? Boom! Like Moses. You don’t give up. You try to visit your grandparents as much as possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11270\" class=\"wp-caption aligncenter\" style=\"max-width: 590px\">\u003ca href=\"http://www.slate.com/articles/arts/movies/2013/11/dallas_buyers_club_review_matthew_mcconaughey_is_great_as_ron_woodroof.html\">\u003cimg class=\"size-full wp-image-11270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/131031_MOV_DallasBuyersClub.jpg.CROP_.promo-mediumlarge.jpeg\" alt=\"slate.com\" width=\"590\" height=\"421\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/131031_MOV_DallasBuyersClub.jpg.CROP_.promo-mediumlarge.jpeg 590w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/131031_MOV_DallasBuyersClub.jpg.CROP_.promo-mediumlarge-400x285.jpeg 400w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>DALLAS BUYERS CLUB\u003c/strong>\u003c/p>\n\u003cp>Well you sure know how to raise hell. And good for you! There’s a time and place for that hell raising and you know it well. You rock / paper / scissors whenever a decision needs to be made. There’s luck and there’s fate. You won’t ask a stranger for directions, even if you dropped your iPhone down a sewer. Eventually, you figure, you’ll get to where you need to be. At one point in your life, you could eat a fat steak everyday, but now you’re opting for leaner meats and fishes. You want to retire in a place like Montana with a German Shepherd and a giant sky. You believe change to be not only the nickels in your pocket.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11271\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://filmdoctor.co.uk/2013/10/28/film-doctor-what-are-sfx-and-vfx-with-the-team-from-gravity/\">\u003cimg class=\"size-full wp-image-11271\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/gravity_film_still_a_l.jpeg\" alt=\"filmdoctor.co.uk\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/gravity_film_still_a_l.jpeg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/gravity_film_still_a_l-400x225.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>GRAVITY\u003c/strong>\u003c/p>\n\u003cp>When everyone else in the world is walking to work or to the gym or to the supermarket, you’re floating there. Like an inch off the ground and super hard to tell but still floating. You’re a dreamer. When you were a little kid and your mother tucked you in at night and closed the door behind her, you climbed out your window onto your roof and tried to kiss the moon. People tend to use the word \u003cem>adore \u003c/em>when it comes to you. But don’t let anyone assume you’re a pushover because that’s just not true. You can do back flips if it came to it. You could ride in an elevator all day.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11272\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003ca href=\"http://fullstart.com/knowledge/her-movie-depicts-future-mobile/\">\u003cimg class=\"size-full wp-image-11272\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/her-movie-review-1.jpeg\" alt=\"fullstart.com\" width=\"650\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/her-movie-review-1.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/her-movie-review-1-400x215.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>HER\u003c/strong>\u003c/p>\n\u003cp>There’s the center of the room and then there’s you. No big whoop. Shy is cute and cute is hot. When it comes to Friday, you’d rather be tending to a midnight garden than riding the vodka train. You appreciate Phillip Glass and also actual glass, like mirrors. You can’t sleep without a humidifier, an air purifier, and a fan running all at once. You have a short fuse, but are working it out each day. You’ve seen every \u003cem>Nova \u003c/em>and only read newspapers. Jeans everyday is cool enough. You search for hidden meaning in every crossword puzzle. You dig shapes and design and can point out fonts on billboards. Love and pain, you believe, are fleeting.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11273\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://www.seattleite.com/silver-screen-riot-nebraska/\">\u003cimg class=\"size-full wp-image-11273\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/nebraska_0.jpeg\" alt=\"seattleite.com\" width=\"700\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/nebraska_0.jpeg 700w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/nebraska_0-400x228.jpeg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Paramount Vantage\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>NEBRASKA\u003c/strong>\u003c/p>\n\u003cp>You keep your living room light dim. When two roads diverge in a yellow wood, you flip a coin. You could go to the same restaurant and order the same BLT every night and be totally okay with that. The sound of a refrigerator humming makes you happy. You bleach your tee shirts. If someone calls you on the phone, you say “Yeah” instead of “Hello.” You stopped watching \u003cem>The Price is Right \u003c/em>when Bob Barker retired. You’re wary of people with weak handshakes.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11275\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003ca href=\"theguardian.com\">\u003cimg class=\"size-full wp-image-11275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/ob_9abdb5_judi-dench-in-philomena-010.jpeg\" alt=\"theguardian.com\" width=\"620\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/ob_9abdb5_judi-dench-in-philomena-010.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/ob_9abdb5_judi-dench-in-philomena-010-400x240.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: The Weinstein Co.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>PHILOMENA\u003c/strong>\u003c/p>\n\u003cp>OMG you love your mother so much and that’s super cute. You grew up somewhat conservative — pleated pants, parted hair, perfect lawn — but met some really interesting people in college and now see the world for what it is. You admire that Olympian for taking in those stray puppies because you would have done the same. You’ve kept several bonsais alive. You think coffee is cool, but tea is older. You smoke one cigarette a year and it’s usually around the holidays. Your lock screen code is “1234.” You fall asleep in rocking chairs.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11309\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/02/28/what-your-pick-for-best-picture-says-about-you-oscars/12-years-a-slave-4/\" rel=\"attachment wp-att-11309\">\u003cimg class=\" wp-image-11309 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/12-Years-a-Slave-4-1024x575.jpg\" alt=\"Photo: Fox Searchlight\" width=\"645\" height=\"363\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Fox Searchlight\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>12 YEARS A SLAVE\u003c/strong>\u003c/p>\n\u003cp>You appreciate classical music and the way light hits your eyes in the morning. You enjoy biographies and stories of everyday people. Your friends see you as calm and collected, but know there’s always a fire burning within you. You definitely want children and you definitely want to give them the world. You rock the history questions on \u003cem>Jeopardy \u003c/em>and can recite the U.S. presidents in chronological order. You believe in some kind of higher power.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11277\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003ca href=\"http://www.vice.com/pt/read/o-capuchinho-vermelho-em-wall-street\">\u003cimg class=\"size-full wp-image-11277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/the-wolf-of-wall-street-official-extended-trailer-0_vice_670.jpeg\" alt=\"vice.com\" width=\"670\" height=\"446\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/the-wolf-of-wall-street-official-extended-trailer-0_vice_670.jpeg 670w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/the-wolf-of-wall-street-official-extended-trailer-0_vice_670-400x266.jpeg 400w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Paramount Pictures\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>THE WOLF OF WALL STREET\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You actually do kiss your mother with that mouth. You have expensive taste. When it comes to restaurants, you always pick the ones with four dollar signs. You consider Beyonce and Jay-Z among your contemporaries. You’re not a businessman, you’re a business, man. You claim to have invented the phrase, “All that glitters is gold.” You identify with Jay Gatsby. If you had to choose between saving yourself or saving the world, you’d write your answer down on a small piece of paper and swallow it. Sometimes you cry at night in bed, but hey, we all do. Your spirit animal is a hippo. You make it rain.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11268\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003ca href=\"http://i.telegraph.co.uk/multimedia/archive/02756/american-hustle_2756552b.jpg\">\u003cimg class=\"size-full wp-image-11268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/american-hustle_2756552b.jpeg\" alt=\"telegraph.co.uk\" width=\"620\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/american-hustle_2756552b.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/american-hustle_2756552b-400x249.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Columbia Pictures\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\" align=\"center\">\u003cstrong> \u003c/strong>\u003cstrong>AMERICAN HUSTLE\u003c/strong>\u003c/p>\n\u003cp>Whoa, you’re a feisty one who may have been the kingpin behind your high school’s senior prank (glue in all the locks, genius!). You sift through vintage clothes, cut them up and make them worthy of a 3am dance floor. Chances are you play an instrument. Probably the electric guitar or maybe even the drums. If you don’t have a significant other, it’s because the world is your oyster and your oyster ain’t got no time for that. If you do have that special someone, they know how to party and I’m not talking sipping whiskey and dancing on a pool table, I’m talking breaking a bottle of Jameson and eating the glass kind of partying. You’re hella legit.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11269\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://blogs.indiewire.com/theplaylist/captain-phillips-gains-new-steam-with-win-at-ace-eddie-awards-20140208\">\u003cimg class=\"size-full wp-image-11269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/12698450.jpeg\" alt=\"blogs.indiewire.com\" width=\"700\" height=\"467\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/12698450.jpeg 700w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/12698450-400x266.jpeg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Columbia Pictures\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>CAPTAIN PHILLIPS\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">If you had a pet, it wouldn’t be a kitten or even a cat, it would be a tiger, like a big yellow creature just roaming around your house eating your couch. Because that’s how brave you are. You drink a ton of water, like two liters in the morning, two for lunch, and two more before you put your jammies on. It’s how you keep yourself focused and in such good shape. Your friends look to you when they are having relationship issues because you are not only a natural born leader, but a mentor as well. An enormous sea keeping you from what you want? Boom! Like Moses. You don’t give up. You try to visit your grandparents as much as possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11270\" class=\"wp-caption aligncenter\" style=\"max-width: 590px\">\u003ca href=\"http://www.slate.com/articles/arts/movies/2013/11/dallas_buyers_club_review_matthew_mcconaughey_is_great_as_ron_woodroof.html\">\u003cimg class=\"size-full wp-image-11270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/131031_MOV_DallasBuyersClub.jpg.CROP_.promo-mediumlarge.jpeg\" alt=\"slate.com\" width=\"590\" height=\"421\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/131031_MOV_DallasBuyersClub.jpg.CROP_.promo-mediumlarge.jpeg 590w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/131031_MOV_DallasBuyersClub.jpg.CROP_.promo-mediumlarge-400x285.jpeg 400w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>DALLAS BUYERS CLUB\u003c/strong>\u003c/p>\n\u003cp>Well you sure know how to raise hell. And good for you! There’s a time and place for that hell raising and you know it well. You rock / paper / scissors whenever a decision needs to be made. There’s luck and there’s fate. You won’t ask a stranger for directions, even if you dropped your iPhone down a sewer. Eventually, you figure, you’ll get to where you need to be. At one point in your life, you could eat a fat steak everyday, but now you’re opting for leaner meats and fishes. You want to retire in a place like Montana with a German Shepherd and a giant sky. You believe change to be not only the nickels in your pocket.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11271\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://filmdoctor.co.uk/2013/10/28/film-doctor-what-are-sfx-and-vfx-with-the-team-from-gravity/\">\u003cimg class=\"size-full wp-image-11271\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/gravity_film_still_a_l.jpeg\" alt=\"filmdoctor.co.uk\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/gravity_film_still_a_l.jpeg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/gravity_film_still_a_l-400x225.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>GRAVITY\u003c/strong>\u003c/p>\n\u003cp>When everyone else in the world is walking to work or to the gym or to the supermarket, you’re floating there. Like an inch off the ground and super hard to tell but still floating. You’re a dreamer. When you were a little kid and your mother tucked you in at night and closed the door behind her, you climbed out your window onto your roof and tried to kiss the moon. People tend to use the word \u003cem>adore \u003c/em>when it comes to you. But don’t let anyone assume you’re a pushover because that’s just not true. You can do back flips if it came to it. You could ride in an elevator all day.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11272\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003ca href=\"http://fullstart.com/knowledge/her-movie-depicts-future-mobile/\">\u003cimg class=\"size-full wp-image-11272\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/her-movie-review-1.jpeg\" alt=\"fullstart.com\" width=\"650\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/her-movie-review-1.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/her-movie-review-1-400x215.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>HER\u003c/strong>\u003c/p>\n\u003cp>There’s the center of the room and then there’s you. No big whoop. Shy is cute and cute is hot. When it comes to Friday, you’d rather be tending to a midnight garden than riding the vodka train. You appreciate Phillip Glass and also actual glass, like mirrors. You can’t sleep without a humidifier, an air purifier, and a fan running all at once. You have a short fuse, but are working it out each day. You’ve seen every \u003cem>Nova \u003c/em>and only read newspapers. Jeans everyday is cool enough. You search for hidden meaning in every crossword puzzle. You dig shapes and design and can point out fonts on billboards. Love and pain, you believe, are fleeting.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11273\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://www.seattleite.com/silver-screen-riot-nebraska/\">\u003cimg class=\"size-full wp-image-11273\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/nebraska_0.jpeg\" alt=\"seattleite.com\" width=\"700\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/nebraska_0.jpeg 700w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/nebraska_0-400x228.jpeg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Paramount Vantage\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>NEBRASKA\u003c/strong>\u003c/p>\n\u003cp>You keep your living room light dim. When two roads diverge in a yellow wood, you flip a coin. You could go to the same restaurant and order the same BLT every night and be totally okay with that. The sound of a refrigerator humming makes you happy. You bleach your tee shirts. If someone calls you on the phone, you say “Yeah” instead of “Hello.” You stopped watching \u003cem>The Price is Right \u003c/em>when Bob Barker retired. You’re wary of people with weak handshakes.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11275\" class=\"wp-caption aligncenter\" style=\"max-width: 620px\">\u003ca href=\"theguardian.com\">\u003cimg class=\"size-full wp-image-11275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/ob_9abdb5_judi-dench-in-philomena-010.jpeg\" alt=\"theguardian.com\" width=\"620\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/ob_9abdb5_judi-dench-in-philomena-010.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/ob_9abdb5_judi-dench-in-philomena-010-400x240.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: The Weinstein Co.\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>PHILOMENA\u003c/strong>\u003c/p>\n\u003cp>OMG you love your mother so much and that’s super cute. You grew up somewhat conservative — pleated pants, parted hair, perfect lawn — but met some really interesting people in college and now see the world for what it is. You admire that Olympian for taking in those stray puppies because you would have done the same. You’ve kept several bonsais alive. You think coffee is cool, but tea is older. You smoke one cigarette a year and it’s usually around the holidays. Your lock screen code is “1234.” You fall asleep in rocking chairs.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11309\" class=\"wp-caption aligncenter\" style=\"max-width: 645px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/02/28/what-your-pick-for-best-picture-says-about-you-oscars/12-years-a-slave-4/\" rel=\"attachment wp-att-11309\">\u003cimg class=\" wp-image-11309 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/12-Years-a-Slave-4-1024x575.jpg\" alt=\"Photo: Fox Searchlight\" width=\"645\" height=\"363\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Fox Searchlight\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>12 YEARS A SLAVE\u003c/strong>\u003c/p>\n\u003cp>You appreciate classical music and the way light hits your eyes in the morning. You enjoy biographies and stories of everyday people. Your friends see you as calm and collected, but know there’s always a fire burning within you. You definitely want children and you definitely want to give them the world. You rock the history questions on \u003cem>Jeopardy \u003c/em>and can recite the U.S. presidents in chronological order. You believe in some kind of higher power.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11277\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003ca href=\"http://www.vice.com/pt/read/o-capuchinho-vermelho-em-wall-street\">\u003cimg class=\"size-full wp-image-11277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/the-wolf-of-wall-street-official-extended-trailer-0_vice_670.jpeg\" alt=\"vice.com\" width=\"670\" height=\"446\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/the-wolf-of-wall-street-official-extended-trailer-0_vice_670.jpeg 670w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/the-wolf-of-wall-street-official-extended-trailer-0_vice_670-400x266.jpeg 400w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Paramount Pictures\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">\u003cstrong>THE WOLF OF WALL STREET\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You actually do kiss your mother with that mouth. You have expensive taste. When it comes to restaurants, you always pick the ones with four dollar signs. You consider Beyonce and Jay-Z among your contemporaries. You’re not a businessman, you’re a business, man. You claim to have invented the phrase, “All that glitters is gold.” You identify with Jay Gatsby. If you had to choose between saving yourself or saving the world, you’d write your answer down on a small piece of paper and swallow it. Sometimes you cry at night in bed, but hey, we all do. Your spirit animal is a hippo. You make it rain.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Have you ever fired two guns whilst jumping through the air?” So asks one character in Edgar Wright’s excellent 2007 comedic tribute to buddy-cop movies, \u003cem>Hot Fuzz\u003c/em>, in a moment meant to highlight the simultaneous ridiculousness and awesomeness of that particular action-movie trope.\u003c/p>\n\u003cp>In \u003cem>Non-Stop\u003c/em>, Liam Neeson doesn’t fire two guns, nor does he jump through the air. He does, however, \u003cem>grab\u003c/em> a gun in midair while in a zero-G nose-dive on a transatlantic flight, and fire said gun whilst floating through the cabin. In slow motion. It’s Liam Neeson at his Neesoniest, and yet another entry in his expanding late-career bloom into gruff and commanding action hero.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Non-Stop\u003c/em> bears a surface similarity to the glossy European-style high trash of 2008’s \u003cem>Taken\u003c/em>, but Neeson’s Bill Marks in this film is a far cry from the ex-CIA operative — “with a very particular set of skills” — he played in that film. Marks is a Federal Air Marshal, and his particular skills largely involve numbing himself with a very Irish coffee on the way to his next flight and managing to have a smoke undetected in the airplane lavatory. The flight attendants on his regular New York-London route know his habits well enough that they bring him bottled water when he futilely orders a gin and tonic.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=jiHDJ19A3dk\u003c/p>\n\u003cp>We see the flight as he sees it: hazily, as an endless parade of potential evildoers, even though chances are that in the course of his air-marshal career — which he’s landed in after a personal tragedy gets him kicked off the police force — it’s unlikely he’ll ever share a cabin with an actual terrorist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except, of course, on this day: The secure network Marks uses to communicate with the TSA is breached and he begins receiving texts from a passenger on his flight, who claims someone on the plane will be killed every 20 minutes unless $150 million is transferred into a specified bank account. So begins a lengthy game of cat-and-mouse, as Marks tries to solve an increasing number of murders on this transatlantic express.\u003c/p>\n\u003cp>The film’s early look through Marks’ eyes at his fellow fliers winds up being extremely important; \u003cem>Non-Stop\u003c/em> is less a nonstop actioner and more a high-flying whodunit. As such, it’s important for director Jaume Collet-Serra and writers John W. Richardson and Christopher Roach to keep viewers guessing until the big reveal.\u003c/p>\n\u003cp>They may go a little overboard: Of the plane’s 150 passengers, a remarkably high percentage spend time as potential suspects, making this jet into a flying tin can of red herring. The confusion over the identity of the killer, who mysteriously manages to text Marks constantly, as well as killing multiple people mid-flight without being detected, also serves to leave the marshal barely in control of the passengers. For a variety of reasons, they think it’s Marks himself who’s causing the chaos and perhaps even hijacking the flight.\u003c/p>\n\u003cp>\u003cem>Non-Stop\u003c/em> isn’t a great film; it may not even be very good, and it’s undeniably convoluted and silly. Yet I enjoyed nearly every moment. Sure, it’s probably 15 minutes overlong, thanks to that excess of misdirection. Add to that the ham-handed politics of the real intentions of the hijacker once the big reveal finally comes — the culmination of an undercurrent of blunt political commentary about air security and prejudicial assumptions about terrorism that runs through the entire film.\u003c/p>\n\u003cp>But if it works, it’s because Neeson and Collet-Serra, as well as Julianne Moore as Neeson’s business-class seatmate Jen, are all fully aware of how ludicrous this exercise is. Witness the wry joke Collet-Serra uses to obscure onscreen expletives in text messages that would have otherwise given the film an R-rating, or the way Moore’s breezy nonchalance provides a counterbalance to Neeson’s studied intensity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And especially take note of that mid-air gravity-free gun-grab, which is a winking celebration of everything that’s completely absurd about this sort of film. Neeson does indeed have a very particular set of skills — in elevating the generic action thriller into guilt-free popcorn pleasure.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Non-Stop%27%3A+Liam+Neeson%2C+Armed+And+Dangerous+Again&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Have you ever fired two guns whilst jumping through the air?” So asks one character in Edgar Wright’s excellent 2007 comedic tribute to buddy-cop movies, \u003cem>Hot Fuzz\u003c/em>, in a moment meant to highlight the simultaneous ridiculousness and awesomeness of that particular action-movie trope.\u003c/p>\n\u003cp>In \u003cem>Non-Stop\u003c/em>, Liam Neeson doesn’t fire two guns, nor does he jump through the air. He does, however, \u003cem>grab\u003c/em> a gun in midair while in a zero-G nose-dive on a transatlantic flight, and fire said gun whilst floating through the cabin. In slow motion. It’s Liam Neeson at his Neesoniest, and yet another entry in his expanding late-career bloom into gruff and commanding action hero.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Non-Stop\u003c/em> bears a surface similarity to the glossy European-style high trash of 2008’s \u003cem>Taken\u003c/em>, but Neeson’s Bill Marks in this film is a far cry from the ex-CIA operative — “with a very particular set of skills” — he played in that film. Marks is a Federal Air Marshal, and his particular skills largely involve numbing himself with a very Irish coffee on the way to his next flight and managing to have a smoke undetected in the airplane lavatory. The flight attendants on his regular New York-London route know his habits well enough that they bring him bottled water when he futilely orders a gin and tonic.\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/jiHDJ19A3dk'\n title='//www.youtube.com/embed/jiHDJ19A3dk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see the flight as he sees it: hazily, as an endless parade of potential evildoers, even though chances are that in the course of his air-marshal career — which he’s landed in after a personal tragedy gets him kicked off the police force — it’s unlikely he’ll ever share a cabin with an actual terrorist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except, of course, on this day: The secure network Marks uses to communicate with the TSA is breached and he begins receiving texts from a passenger on his flight, who claims someone on the plane will be killed every 20 minutes unless $150 million is transferred into a specified bank account. So begins a lengthy game of cat-and-mouse, as Marks tries to solve an increasing number of murders on this transatlantic express.\u003c/p>\n\u003cp>The film’s early look through Marks’ eyes at his fellow fliers winds up being extremely important; \u003cem>Non-Stop\u003c/em> is less a nonstop actioner and more a high-flying whodunit. As such, it’s important for director Jaume Collet-Serra and writers John W. Richardson and Christopher Roach to keep viewers guessing until the big reveal.\u003c/p>\n\u003cp>They may go a little overboard: Of the plane’s 150 passengers, a remarkably high percentage spend time as potential suspects, making this jet into a flying tin can of red herring. The confusion over the identity of the killer, who mysteriously manages to text Marks constantly, as well as killing multiple people mid-flight without being detected, also serves to leave the marshal barely in control of the passengers. For a variety of reasons, they think it’s Marks himself who’s causing the chaos and perhaps even hijacking the flight.\u003c/p>\n\u003cp>\u003cem>Non-Stop\u003c/em> isn’t a great film; it may not even be very good, and it’s undeniably convoluted and silly. Yet I enjoyed nearly every moment. Sure, it’s probably 15 minutes overlong, thanks to that excess of misdirection. Add to that the ham-handed politics of the real intentions of the hijacker once the big reveal finally comes — the culmination of an undercurrent of blunt political commentary about air security and prejudicial assumptions about terrorism that runs through the entire film.\u003c/p>\n\u003cp>But if it works, it’s because Neeson and Collet-Serra, as well as Julianne Moore as Neeson’s business-class seatmate Jen, are all fully aware of how ludicrous this exercise is. Witness the wry joke Collet-Serra uses to obscure onscreen expletives in text messages that would have otherwise given the film an R-rating, or the way Moore’s breezy nonchalance provides a counterbalance to Neeson’s studied intensity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And especially take note of that mid-air gravity-free gun-grab, which is a winking celebration of everything that’s completely absurd about this sort of film. Neeson does indeed have a very particular set of skills — in elevating the generic action thriller into guilt-free popcorn pleasure.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Non-Stop%27%3A+Liam+Neeson%2C+Armed+And+Dangerous+Again&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Stalingrad,' Where The Fog Of War Is Plenty Thick",
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"content": "\u003cp>If you’re only going to see one film about the Battle of Stalingrad — and there are many — \u003cem>Stalingrad \u003c/em>would be the wrong choice. Russian director Fedor Bondarchuk’s treatment of the World War II turning point is shallow and contrived, if sometimes impressively staged. The movie wins points, however, for sheer wackiness.\u003c/p>\n\u003cp>This is first film about Stalingrad, for example, to open with voiceover in Japanese. The completely unnecessary framing story is set in the Tohoku region just after it was pummeled by the 2011 earthquake and tsunami. Among the international rescue workers is a Russian who speaks German. Seeking to calm five German students trapped in a collapsed building, he tells them a reassuring tale. It’s about Russians behind enemy lines, trapped in a nearly collapsed building during what some reckon was the bloodiest military campaign in human history.\u003c/p>\n\u003cp>Cheered up yet, kids?\u003c/p>\n\u003cp>Cut to 1942, when Russians are sneaking across the Volga to strike German positions. To stop them, German Col. Peter Kahn (Thomas Kretschmann) manages to blow up a fuel dump, setting many of the attackers afire. In a deliriously impossible scene, blazing Russian soldiers continue their offensive, killing Germans as their own bodies char.\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=_Da3EgZUA0Y&w=640&h=360]\u003c/p>\n\u003cp>This brutal sequence is as sweeping as anything in \u003cem>Enemy at the Gates\u003c/em>, the 2001 English-language Stalingrad epic. But then the movie shifts to a more intimate (and affordable) scale. A few survivors of the onslaught take shelter in a bombed-out apartment house. For most of the rest of story, they hold their position against the much larger German contingent outside. Eventually, only five Russian fighters remain, each waiting for a chance to demonstrate his noble spirit of self-sacrifice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just one tenant has survived the fighting: Katya (Maria Smolnikova), who’s almost 19. To the Russian soldiers, she’s everything they’re fighting for — country, sisters, mothers, wives. Radio operator Sergey (Sergey Bondarchuk Jr.) is particularly taken with the girl. When not battling the Germans hand-to-hand in kung fu-style brawls, the men plan Katya’s birthday party.\u003c/p>\n\u003cp>To balance this sentimental tale, there’s a harsher one about another woman: Masha (Yana Studilina), who’s reluctantly under Kahn’s protection. Compared to his abominable commanding officer, the Colonel is almost a nice guy; he bristles at his fellow Germans’ brutality toward civilians, but intervenes to help only Masha, a blonde beauty who reminds him of his late wife. The fate of one of these women will ultimately be revealed on the movie’s concluding trip to Japan, which is just as disorienting as the first one.\u003c/p>\n\u003cp>This is the first Russian production to be presented in IMAX 3-D, technology that doesn’t add much to the film but does distinguish it from the 1989 Russian \u003cem>Stalingrad \u003c/em>(which starred Fedor Bondarchuk) and the 1993 German \u003cem>Stalingrad \u003c/em>(which starred Thomas Kretschmann).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spectacle, literally amplified by Angelo Badalamenti’s strident score, helped make Bondarchuk’s movie a hit not just in Russia but also in China. It faces much dicier prospects in the United States, whose filmgoers didn’t grow up on the heroic national legend of Stalingrad — and lately haven’t shown much taste for gory war sagas unless they feature aliens, superheroes or the undead. Indeed, for all of \u003cem>Stalingrad\u003c/em>‘s curious developments and bewildering gestures, the strangest thing about the movie may be that it’s even being released in the U.S.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Stalingrad%2C%27+Where+The+Fog+Of+War+Is+Plenty+Thick&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re only going to see one film about the Battle of Stalingrad — and there are many — \u003cem>Stalingrad \u003c/em>would be the wrong choice. Russian director Fedor Bondarchuk’s treatment of the World War II turning point is shallow and contrived, if sometimes impressively staged. The movie wins points, however, for sheer wackiness.\u003c/p>\n\u003cp>This is first film about Stalingrad, for example, to open with voiceover in Japanese. The completely unnecessary framing story is set in the Tohoku region just after it was pummeled by the 2011 earthquake and tsunami. Among the international rescue workers is a Russian who speaks German. Seeking to calm five German students trapped in a collapsed building, he tells them a reassuring tale. It’s about Russians behind enemy lines, trapped in a nearly collapsed building during what some reckon was the bloodiest military campaign in human history.\u003c/p>\n\u003cp>Cheered up yet, kids?\u003c/p>\n\u003cp>Cut to 1942, when Russians are sneaking across the Volga to strike German positions. To stop them, German Col. Peter Kahn (Thomas Kretschmann) manages to blow up a fuel dump, setting many of the attackers afire. In a deliriously impossible scene, blazing Russian soldiers continue their offensive, killing Germans as their own bodies char.\u003c/p>\n\u003cp style=\"text-align: center\">\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/_Da3EgZUA0Y'\n title='//www.youtube.com/embed/_Da3EgZUA0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This brutal sequence is as sweeping as anything in \u003cem>Enemy at the Gates\u003c/em>, the 2001 English-language Stalingrad epic. But then the movie shifts to a more intimate (and affordable) scale. A few survivors of the onslaught take shelter in a bombed-out apartment house. For most of the rest of story, they hold their position against the much larger German contingent outside. Eventually, only five Russian fighters remain, each waiting for a chance to demonstrate his noble spirit of self-sacrifice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just one tenant has survived the fighting: Katya (Maria Smolnikova), who’s almost 19. To the Russian soldiers, she’s everything they’re fighting for — country, sisters, mothers, wives. Radio operator Sergey (Sergey Bondarchuk Jr.) is particularly taken with the girl. When not battling the Germans hand-to-hand in kung fu-style brawls, the men plan Katya’s birthday party.\u003c/p>\n\u003cp>To balance this sentimental tale, there’s a harsher one about another woman: Masha (Yana Studilina), who’s reluctantly under Kahn’s protection. Compared to his abominable commanding officer, the Colonel is almost a nice guy; he bristles at his fellow Germans’ brutality toward civilians, but intervenes to help only Masha, a blonde beauty who reminds him of his late wife. The fate of one of these women will ultimately be revealed on the movie’s concluding trip to Japan, which is just as disorienting as the first one.\u003c/p>\n\u003cp>This is the first Russian production to be presented in IMAX 3-D, technology that doesn’t add much to the film but does distinguish it from the 1989 Russian \u003cem>Stalingrad \u003c/em>(which starred Fedor Bondarchuk) and the 1993 German \u003cem>Stalingrad \u003c/em>(which starred Thomas Kretschmann).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spectacle, literally amplified by Angelo Badalamenti’s strident score, helped make Bondarchuk’s movie a hit not just in Russia but also in China. It faces much dicier prospects in the United States, whose filmgoers didn’t grow up on the heroic national legend of Stalingrad — and lately haven’t shown much taste for gory war sagas unless they feature aliens, superheroes or the undead. Indeed, for all of \u003cem>Stalingrad\u003c/em>‘s curious developments and bewildering gestures, the strangest thing about the movie may be that it’s even being released in the U.S.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Stalingrad%2C%27+Where+The+Fog+Of+War+Is+Plenty+Thick&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "UC Santa Cruz Professor Helps Keep Alive the Legacy of India's Greatest Filmmaker",
"headTitle": "UC Santa Cruz Professor Helps Keep Alive the Legacy of India’s Greatest Filmmaker | KQED",
"content": "\u003cp>At the same time that Ray was dying, the original prints of his films were dying, too — from neglect and attrition, after decades of being stored in buildings open to India’s hot climate. Because so few good copies of Ray’s films existed in 1992, the Academy had trouble finding bona fide clips to show during the Oscar telecast. Basu and film restorer David Shepard conducted a fact-finding trip to see for themselves how Ray’s films were holding up in India.\u003c/p>\n\u003cp>“The negatives of his early films were in tatters,” Basu says. “Shepard said, ‘Unless something is done quickly, future generations will not see Satyajit Ray’s films anymore.’ It was due to benign neglect on the part of Ray’s producers.”\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=xksRC4AcEzk\u003c/p>\n\u003cp>Eighteen of Ray’s movies have now been completely restored, and Berkeley’s Pacific Film Archive is presenting a new seven-month retrospective, \u003cb>The Brilliance of Satyajit Ray\u003c/b>, that continues through August 31, 2014. The screenings are a chance to see Ray’s films as they were meant to be seen: In a theater, with crisp frames, with other audience members who take in Ray’s indelible arc of scenes and storylines. Ray’s films, the best-known of which form the “Apu Trilogy,” showcase the lives of people who experience big gains or losses from small and profound moments. A taxi driver loses his wife and his cherished car, then tries desperately to earn money and recoup his dignity (\u003ci>Abhijan\u003c/i>). A young boy and his sister grow up on the poor grounds of their family’s compound as their parents try to make a better life for them (\u003ci>Pather Panchali [Song of the Little Road]\u003c/i>, the first of the Apu Trilogy, from 1955). Members of India’s ruling nobility immerse themselves in chess as British colonialists take over even more of India (\u003ci>Shatranj Ke Khilari [The Chess Players] \u003c/i>, from 1977).\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/raythunder.jpg\" width=\"500\" height=\"315\" alt=\"Satyajit Ray, Distant Thunder, 1973\" class>\u003cfigcaption class=\"wp-caption-text\">Satyajit Ray, Distant Thunder, 1973\u003c/figcaption>\u003c/figure>\n\u003cp>With their slow pacing and precise settings, Ray’s films have an intimacy that is striking — the result of his unique influences, which range from the literature of the Indian subcontinent (including Rabindranath Tagore) to old Hollywood films (including those of Billy Wilder). Ray didn’t romanticized India. But there is unmistakable beauty in his work — what some people would call a poetic universalism. It’s why Ray’s films seem so timeless, and why it was so important for Basu to take on the role as director of Satyajit Ray Film and Study Center at UC Santa Cruz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basu, who grew up in Calcutta and is Bengali like Ray, earned his masters’ degree from Harvard and his doctorate from UC Berkeley before becoming a professor at UC Santa Cruz, where he specializes in the histories of South Asia and Southeast Asia. He’s the founding trustee of the Ray Society in Calcutta, and in the last years of Ray’s life, Basu was arranging for Ray to speak at UC Santa Cruz at a Regents’ Lecture. Ray’s frail health prevented him from flying to California. After his death, Ray’s widow, Bijoya Ray, helped give the go-ahead to establish the center in Santa Cruz.\u003c/p>\n\u003cp>The Satyajit Ray Film and Study Center now oversees the world’s most extensive archive of Ray’s work. Of Ray’s 37 films, the center has 32 in 35 millimeter, which it lends out to festivals abroad and across the United States. Basu is working to establish an endowment that would keep the center at full strength for many years. He’s done a lot of work pro bono, as when he provided the new English subtitles for the restored prints of Ray’s films. Keeping costs low was Ray’s mandate, too.\u003c/p>\n\u003cp>Ray (whose last name is pronounced like “rye”) did nearly everything for his films, including casting, screenwriting, storyboarding, editing, and (for films after 1961), musical scoring. He designed the posters for his movies. And he designed publicity materials, too.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/raycharulata.jpg\" width=\"500\" height=\"317\" alt=\"Satyajit Ray, Charulata, 1964\" class>\u003cfigcaption class=\"wp-caption-text\">Satyajit Ray, Charulata, 1964\u003c/figcaption>\u003c/figure>\n\u003cp>“All his films were made with very modest budgets, something like $20,000,” Basu says. “His most expensive film, \u003ci>The Chess Players\u003c/i>), cost $250,000. One reason his costs were down was that he pretty much did everything in his films. I asked him, ‘Why did you do all the work?’ And he said, ‘First of all, I wanted to save the producers money. And I wasn’t sure whether the films would fly at the box office. And secondly, I loved doing the work.’ It’s incredible he could make his films with such small budgets.”\u003c/p>\n\u003cp>Before becoming a filmmaker, Ray made his living as a graphic designer, and even as he directed movies, he continued to make books. He had to, in order to thrive financially. In its archives, the Satyajit Ray Film and Study Center has a wide collection of Ray’s book designs.\u003c/p>\n\u003cp>“He made little or no money making films, and charged very little for directing films — his maximum limit was 100,000 rupees, which was less than $2,000 per film,” Basu says. “That will not support a family, so he found a new vocation, which started before he became a filmmaker. He designed book jackets; they became very famous and popular. He was trained as an artist. He designed some 500 book jackets; he made his living doing that kind of work.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/raygoopy.jpg\" width=\"500\" height=\"371\" alt=\"Satyajit Ray, The Adventures of Goopy and Bagha, 1968\" class>\u003cfigcaption class=\"wp-caption-text\">Satyajit Ray, The Adventures of Goopy and Bagha, 1968\u003c/figcaption>\u003c/figure>\n\u003cp>This facet of Ray’s life gets lost to the cinematic focus, which is not surprising since Ray is India’s greatest director — one of the country’s few early filmmakers to establish a reputation on every continent. The best film festivals in Berlin, Cannes, Venice, Tokyo, and other cities (including San Francisco) honored Ray’s films with their top awards. At the start of Ray’s career, Jawaharlal Nehru, India’s first Prime Minister, was a personal advocate of his work. Martin Scorsese and Francis Ford Coppola remain two of Ray’s biggest Hollywood supporters. It’s Basu, though, who has become a consistent public face of Ray’s continuing screenings. At a Los Angeles celebration last September of Ray’s newly restored films, the Academy of Motion Picture Arts and Sciences (which funded the restoration) featured Basu and actress Sharmila Tagore, who made her film debut in 1959’s \u003ci>Apur Sansar (The World of Apu)\u003c/i>. Basu is always thrilled to present Ray’s work to audiences who are new to the films. Introducing the films at the Pacific Film Archive, and getting feedback from audiences, keeps alive not just Ray’s legacy but everyone who was inspired by the idea of a center to promote Ray’s work. Audrey Hepburn was among them.\u003c/p>\n\u003cp>“She did a beautiful job” at the 1992 telecast, Basu says. “After that, she said, ‘I want to speak with you on the phone in Santa Cruz. We talked for an hour. She said, ‘You should establish a Satyajit Ray society in Calcutta and also at your university in Santa Cruz, and coordinate the restoration and preservation work of Ray’s films. I have spoken to the president of the Academy, and he has agreed to undertake this as an academic project.’ She said, ‘You may have to help the Academy to raise some funds.’ And then she said, ‘The entire project needs a coordinator who knows the producers, knows the family in Calcutta, and who is also here, and also has a passion for Ray’s films, and that person is you.’ And I protested and said, ‘I may have the passion, but I don’t know anything about film restoration.’ And she said, ‘You don’t really have to. You just have to coordinate the activity.’ And if you don’t do it, no one else will do it.’ And she proved to be right.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Berkeley’s Pacific Film Archive is holding a seven-month retrospective, \u003cb>The Brilliance of Satyajit Ray\u003c/b>, that continues through August 31, 2014. The next screening on Sunday, February 23, is of Ray’s 1962 film \u003ci>Abhijan (The Expedition)\u003c/i>, which UC Santa Cruz professor Dilip Basu will introduce. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/ray\">tickets and more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the same time that Ray was dying, the original prints of his films were dying, too — from neglect and attrition, after decades of being stored in buildings open to India’s hot climate. Because so few good copies of Ray’s films existed in 1992, the Academy had trouble finding bona fide clips to show during the Oscar telecast. Basu and film restorer David Shepard conducted a fact-finding trip to see for themselves how Ray’s films were holding up in India.\u003c/p>\n\u003cp>“The negatives of his early films were in tatters,” Basu says. “Shepard said, ‘Unless something is done quickly, future generations will not see Satyajit Ray’s films anymore.’ It was due to benign neglect on the part of Ray’s producers.”\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/xksRC4AcEzk'\n title='//www.youtube.com/embed/xksRC4AcEzk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eighteen of Ray’s movies have now been completely restored, and Berkeley’s Pacific Film Archive is presenting a new seven-month retrospective, \u003cb>The Brilliance of Satyajit Ray\u003c/b>, that continues through August 31, 2014. The screenings are a chance to see Ray’s films as they were meant to be seen: In a theater, with crisp frames, with other audience members who take in Ray’s indelible arc of scenes and storylines. Ray’s films, the best-known of which form the “Apu Trilogy,” showcase the lives of people who experience big gains or losses from small and profound moments. A taxi driver loses his wife and his cherished car, then tries desperately to earn money and recoup his dignity (\u003ci>Abhijan\u003c/i>). A young boy and his sister grow up on the poor grounds of their family’s compound as their parents try to make a better life for them (\u003ci>Pather Panchali [Song of the Little Road]\u003c/i>, the first of the Apu Trilogy, from 1955). Members of India’s ruling nobility immerse themselves in chess as British colonialists take over even more of India (\u003ci>Shatranj Ke Khilari [The Chess Players] \u003c/i>, from 1977).\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/raythunder.jpg\" width=\"500\" height=\"315\" alt=\"Satyajit Ray, Distant Thunder, 1973\" class>\u003cfigcaption class=\"wp-caption-text\">Satyajit Ray, Distant Thunder, 1973\u003c/figcaption>\u003c/figure>\n\u003cp>With their slow pacing and precise settings, Ray’s films have an intimacy that is striking — the result of his unique influences, which range from the literature of the Indian subcontinent (including Rabindranath Tagore) to old Hollywood films (including those of Billy Wilder). Ray didn’t romanticized India. But there is unmistakable beauty in his work — what some people would call a poetic universalism. It’s why Ray’s films seem so timeless, and why it was so important for Basu to take on the role as director of Satyajit Ray Film and Study Center at UC Santa Cruz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basu, who grew up in Calcutta and is Bengali like Ray, earned his masters’ degree from Harvard and his doctorate from UC Berkeley before becoming a professor at UC Santa Cruz, where he specializes in the histories of South Asia and Southeast Asia. He’s the founding trustee of the Ray Society in Calcutta, and in the last years of Ray’s life, Basu was arranging for Ray to speak at UC Santa Cruz at a Regents’ Lecture. Ray’s frail health prevented him from flying to California. After his death, Ray’s widow, Bijoya Ray, helped give the go-ahead to establish the center in Santa Cruz.\u003c/p>\n\u003cp>The Satyajit Ray Film and Study Center now oversees the world’s most extensive archive of Ray’s work. Of Ray’s 37 films, the center has 32 in 35 millimeter, which it lends out to festivals abroad and across the United States. Basu is working to establish an endowment that would keep the center at full strength for many years. He’s done a lot of work pro bono, as when he provided the new English subtitles for the restored prints of Ray’s films. Keeping costs low was Ray’s mandate, too.\u003c/p>\n\u003cp>Ray (whose last name is pronounced like “rye”) did nearly everything for his films, including casting, screenwriting, storyboarding, editing, and (for films after 1961), musical scoring. He designed the posters for his movies. And he designed publicity materials, too.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/raycharulata.jpg\" width=\"500\" height=\"317\" alt=\"Satyajit Ray, Charulata, 1964\" class>\u003cfigcaption class=\"wp-caption-text\">Satyajit Ray, Charulata, 1964\u003c/figcaption>\u003c/figure>\n\u003cp>“All his films were made with very modest budgets, something like $20,000,” Basu says. “His most expensive film, \u003ci>The Chess Players\u003c/i>), cost $250,000. One reason his costs were down was that he pretty much did everything in his films. I asked him, ‘Why did you do all the work?’ And he said, ‘First of all, I wanted to save the producers money. And I wasn’t sure whether the films would fly at the box office. And secondly, I loved doing the work.’ It’s incredible he could make his films with such small budgets.”\u003c/p>\n\u003cp>Before becoming a filmmaker, Ray made his living as a graphic designer, and even as he directed movies, he continued to make books. He had to, in order to thrive financially. In its archives, the Satyajit Ray Film and Study Center has a wide collection of Ray’s book designs.\u003c/p>\n\u003cp>“He made little or no money making films, and charged very little for directing films — his maximum limit was 100,000 rupees, which was less than $2,000 per film,” Basu says. “That will not support a family, so he found a new vocation, which started before he became a filmmaker. He designed book jackets; they became very famous and popular. He was trained as an artist. He designed some 500 book jackets; he made his living doing that kind of work.”\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/raygoopy.jpg\" width=\"500\" height=\"371\" alt=\"Satyajit Ray, The Adventures of Goopy and Bagha, 1968\" class>\u003cfigcaption class=\"wp-caption-text\">Satyajit Ray, The Adventures of Goopy and Bagha, 1968\u003c/figcaption>\u003c/figure>\n\u003cp>This facet of Ray’s life gets lost to the cinematic focus, which is not surprising since Ray is India’s greatest director — one of the country’s few early filmmakers to establish a reputation on every continent. The best film festivals in Berlin, Cannes, Venice, Tokyo, and other cities (including San Francisco) honored Ray’s films with their top awards. At the start of Ray’s career, Jawaharlal Nehru, India’s first Prime Minister, was a personal advocate of his work. Martin Scorsese and Francis Ford Coppola remain two of Ray’s biggest Hollywood supporters. It’s Basu, though, who has become a consistent public face of Ray’s continuing screenings. At a Los Angeles celebration last September of Ray’s newly restored films, the Academy of Motion Picture Arts and Sciences (which funded the restoration) featured Basu and actress Sharmila Tagore, who made her film debut in 1959’s \u003ci>Apur Sansar (The World of Apu)\u003c/i>. Basu is always thrilled to present Ray’s work to audiences who are new to the films. Introducing the films at the Pacific Film Archive, and getting feedback from audiences, keeps alive not just Ray’s legacy but everyone who was inspired by the idea of a center to promote Ray’s work. Audrey Hepburn was among them.\u003c/p>\n\u003cp>“She did a beautiful job” at the 1992 telecast, Basu says. “After that, she said, ‘I want to speak with you on the phone in Santa Cruz. We talked for an hour. She said, ‘You should establish a Satyajit Ray society in Calcutta and also at your university in Santa Cruz, and coordinate the restoration and preservation work of Ray’s films. I have spoken to the president of the Academy, and he has agreed to undertake this as an academic project.’ She said, ‘You may have to help the Academy to raise some funds.’ And then she said, ‘The entire project needs a coordinator who knows the producers, knows the family in Calcutta, and who is also here, and also has a passion for Ray’s films, and that person is you.’ And I protested and said, ‘I may have the passion, but I don’t know anything about film restoration.’ And she said, ‘You don’t really have to. You just have to coordinate the activity.’ And if you don’t do it, no one else will do it.’ And she proved to be right.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Berkeley’s Pacific Film Archive is holding a seven-month retrospective, \u003cb>The Brilliance of Satyajit Ray\u003c/b>, that continues through August 31, 2014. The next screening on Sunday, February 23, is of Ray’s 1962 film \u003ci>Abhijan (The Expedition)\u003c/i>, which UC Santa Cruz professor Dilip Basu will introduce. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/ray\">tickets and more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "S.F. Film Society Looks North for New Executive Director",
"headTitle": "S.F. Film Society Looks North for New Executive Director | KQED",
"content": "\u003cp>The San Francisco Film Society, parent organization of the San Francisco International Film Festival, has named its fourth executive director in three years. Noah Cowan, a longtime programmer and executive at the Toronto International Film Festival and, for the last five years, artistic director of the cinema and exhibition space TIFF Bell Lightbox, officially takes the SFFS reins on March 3, 2014. He succeeds Ted Hope, an indie-film producer and distribution maven who left the post at the end of 2013 after 16 months.\u003c/p>\n\u003cp>Cowan expressed satisfaction with the Film Society’s flagship event in a phone interview Thursday morning, a welcome contrast to a faction of the SFFS board that has long yearned for the San Francisco International Film Festival to become a destination for Hollywood executives and stars. The Toronto native did cite the Bay Area’s epicurean bounty and technological innovation as elements he’d like to weave into Film Society programs. (More on that later in this post.)\u003c/p>\n\u003cp>“I think we should start by saying that the SFIFF is a really solid festival,” Cowan, 46, said. “It continues to show the right mix of artistically minded films from around the globe and red carpet premieres. It fits elegantly into the current calendar of festivals. There’s nothing broken here.”\u003c/p>\n\u003cp>Cowan has extensive experience programming Asian cinema, but his taste isn’t limited by geography or genre. One of his favorite films is Preston Sturges’ \u003ci>The Palm Beach Story\u003c/i>, which he’s seen some 25 times (discovering something new on every viewing). Cowan has a direction he’d like the SFIFF, which runs April 24-May 8, 2014, to go, but it doesn’t entail a rejiggering of the movie menu.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noahcowan-640.jpg\" width=\"640\" height=\"640\" alt=\"Noah Cowan\" class>\u003cfigcaption class=\"wp-caption-text\">Noah Cowan\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a topic I’ve contended with most of my adult life: the future of film festivals, the values of film festivals,” he explains. “These are key questions because festivals feel like the most vibrant aspects of artistically minded cinematic life. In some ways it’s a matter of preference, and a matter of strategic decision-making. I just happen to think there are too many market-oriented festivals in the world and we’re relying on an old-fashioned model of how we buy and sell films. I’m more interested in festivals like Telluride in Colorado, San Sebastian in Spain, Yamagata documentary festival in Japan where you’re not marketing [the attraction of] seeing films first or seeing films in a business context or seeing the biggest movie stars, but you are being offered an environment to truly see cinema as part of a larger cultural conversation. You’re surrounded by writers, performing artists and musicians, and eating great food and drinking great wine, while talking about the incredible films you’ve seen. It feels like environments like that can inspire creativity and provide audiences with lasting value.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cowan is familiar with the reinvention of the San Francisco International Asian American Film Festival as CAAMFest (March 13-23, 2014), with food and music now part of the mix. But one gets the sense he’s inspired less by any one event than by the prospect of trading Canadian frost for California sun.\u003c/p>\n\u003cp>“My personal feelings about festivals these days are that I’d like them all to be a little more festive,” Cowan emphasized. “It would be great to take advantage of the natural organic opportunities of the Bay Area — beautiful weather that allows for a little more outdoor activity, incredible access to food and drink beloved the world over, and the entrepreneurial tech community next door. We should be able to utilize these unique features to enhance the festival. From the perspective of a Canadian, the 12-month opportunities for outdoor fun are incredibly inspiring. We have maybe three months here [in Toronto]. That might be a focus for me right away.”\u003c/p>\n\u003cp>Graham Leggat, who headed the SFFS for six turbocharged years until stepping down in the summer of 2011, shortly before his premature death from cancer, resolved that the organization have a year-round theater for its various fall series (featuring new work from France, Italy, Hong Kong and the Bay Area) and ongoing programming. Unfortunately, the SFFS arrangement at the New People Cinema in Japantown failed to attract sufficient audiences and proved a financial burden. Cowan takes a pragmatic view of such a venture, based on his experience at TIFF Bell Lightbox in a far bigger city than San Francisco.\u003c/p>\n\u003cp>“We’re aware of the challenges of a year-round venue,” he says. “If the right situation came along, it would be wonderful to offer programming on a more consistent basis. I don’t think we’ll be spearheading a Lightbox, but we’re talking with lots of people, sometimes in sketchy or preliminary ways, and the organization isn’t opposed to conversation.”\u003c/p>\n\u003cp>In addition to its high-profile exhibition schedule, the SFFS offers an education program for elementary and high school students. The third major focus, Filmmaker360, provides a range of popular services for filmmakers that includes a well-funded array of grants. This latter program was one of the things about the job that attracted Cowan the most, he asserts.\u003c/p>\n\u003cp>“In short order they’ve created a coherent, highly functional filmmaker support program that actually has had global impact on cinema,” he declares. “My job is to learn more about it, find them more money and get out of their way.”\u003c/p>\n\u003cp>Not quite, for Cowan’s vision for Filmmaker360 extends beyond the Bay Area.\u003c/p>\n\u003cp>“The Filmmaker360 program points in the direction of ways that the Bay Area can have more of a national and international impact culturally, through the entrepreneurial energy of possibility, which always infuses the place but particularly now,” he said. “We can all admit that the sort of mundane production structures of American independent film need that kind of thinking. We’re uniquely positioned to lead the conversation in that regard.”\u003c/p>\n\u003cp>It’s no secret that the landscape for film production and exhibition has been in flux since the advent of the digital revolution. Cowan said he doesn’t fret over how the Internet, in combination with the prevalence of watching content on screens (like tablets and cell phones) outside of theaters, will influence cinema — or film festivals — in the near future.\u003c/p>\n\u003cp>“I have found [movies] to be relatively platform-agnostic over the years,” he said. “New developments in cinema always come with good and bad. This current round of changes [began] when video cameras replaced 16mm cameras in documentary filmmaking, and subsequently we had a golden age of American documentary film. While at the beginning there was a palpable loss of aesthetic power in the films we were seeing, that has largely been redressed and the technology has caught up to the aesthetic needs of the filmmaker. To take the longer view, the change was for the best, even if we had to suffer through some crappy, low-res video stuff. I kind of see every development in film taking place along the same lines.”\u003c/p>\n\u003cp>Although Cowan leaves certain types of innovation to filmmakers, he aspires to spearhead a discussion about film in the 21st century that would place the Bay Area at the center.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve come to trust the artist to lead the way on developments in our medium,” Cowan allows. “That being said, institutions like SFFS have a unique role to play in insuring that certain values are considered as technology makes its inevitable progress. So I’m hoping within the next short while to begin a process where we sit down with film-friendly people at big and small technology firms to start talking about what the future of cinema might look like. San Francisco is kinda small. Getting access to significant players in the cultural and technology and political fields is considerably less complicated than it is in other places. And we should take advantage of that to have what should be a fascinating conversation.”\u003c/p>\n\n",
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"excerpt": "The San Francisco Film Society, parent organization of the San Francisco International Film Festival, has named its fourth executive director in three years. We caught up with Noah Cowan, a longtime programmer and executive at the Toronto International Film Festival and artistic director of TIFF Bell Lightbox, who will officially take the SFFS reins on March 3, 2014.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Film Society, parent organization of the San Francisco International Film Festival, has named its fourth executive director in three years. Noah Cowan, a longtime programmer and executive at the Toronto International Film Festival and, for the last five years, artistic director of the cinema and exhibition space TIFF Bell Lightbox, officially takes the SFFS reins on March 3, 2014. He succeeds Ted Hope, an indie-film producer and distribution maven who left the post at the end of 2013 after 16 months.\u003c/p>\n\u003cp>Cowan expressed satisfaction with the Film Society’s flagship event in a phone interview Thursday morning, a welcome contrast to a faction of the SFFS board that has long yearned for the San Francisco International Film Festival to become a destination for Hollywood executives and stars. The Toronto native did cite the Bay Area’s epicurean bounty and technological innovation as elements he’d like to weave into Film Society programs. (More on that later in this post.)\u003c/p>\n\u003cp>“I think we should start by saying that the SFIFF is a really solid festival,” Cowan, 46, said. “It continues to show the right mix of artistically minded films from around the globe and red carpet premieres. It fits elegantly into the current calendar of festivals. There’s nothing broken here.”\u003c/p>\n\u003cp>Cowan has extensive experience programming Asian cinema, but his taste isn’t limited by geography or genre. One of his favorite films is Preston Sturges’ \u003ci>The Palm Beach Story\u003c/i>, which he’s seen some 25 times (discovering something new on every viewing). Cowan has a direction he’d like the SFIFF, which runs April 24-May 8, 2014, to go, but it doesn’t entail a rejiggering of the movie menu.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noahcowan-640.jpg\" width=\"640\" height=\"640\" alt=\"Noah Cowan\" class>\u003cfigcaption class=\"wp-caption-text\">Noah Cowan\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a topic I’ve contended with most of my adult life: the future of film festivals, the values of film festivals,” he explains. “These are key questions because festivals feel like the most vibrant aspects of artistically minded cinematic life. In some ways it’s a matter of preference, and a matter of strategic decision-making. I just happen to think there are too many market-oriented festivals in the world and we’re relying on an old-fashioned model of how we buy and sell films. I’m more interested in festivals like Telluride in Colorado, San Sebastian in Spain, Yamagata documentary festival in Japan where you’re not marketing [the attraction of] seeing films first or seeing films in a business context or seeing the biggest movie stars, but you are being offered an environment to truly see cinema as part of a larger cultural conversation. You’re surrounded by writers, performing artists and musicians, and eating great food and drinking great wine, while talking about the incredible films you’ve seen. It feels like environments like that can inspire creativity and provide audiences with lasting value.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cowan is familiar with the reinvention of the San Francisco International Asian American Film Festival as CAAMFest (March 13-23, 2014), with food and music now part of the mix. But one gets the sense he’s inspired less by any one event than by the prospect of trading Canadian frost for California sun.\u003c/p>\n\u003cp>“My personal feelings about festivals these days are that I’d like them all to be a little more festive,” Cowan emphasized. “It would be great to take advantage of the natural organic opportunities of the Bay Area — beautiful weather that allows for a little more outdoor activity, incredible access to food and drink beloved the world over, and the entrepreneurial tech community next door. We should be able to utilize these unique features to enhance the festival. From the perspective of a Canadian, the 12-month opportunities for outdoor fun are incredibly inspiring. We have maybe three months here [in Toronto]. That might be a focus for me right away.”\u003c/p>\n\u003cp>Graham Leggat, who headed the SFFS for six turbocharged years until stepping down in the summer of 2011, shortly before his premature death from cancer, resolved that the organization have a year-round theater for its various fall series (featuring new work from France, Italy, Hong Kong and the Bay Area) and ongoing programming. Unfortunately, the SFFS arrangement at the New People Cinema in Japantown failed to attract sufficient audiences and proved a financial burden. Cowan takes a pragmatic view of such a venture, based on his experience at TIFF Bell Lightbox in a far bigger city than San Francisco.\u003c/p>\n\u003cp>“We’re aware of the challenges of a year-round venue,” he says. “If the right situation came along, it would be wonderful to offer programming on a more consistent basis. I don’t think we’ll be spearheading a Lightbox, but we’re talking with lots of people, sometimes in sketchy or preliminary ways, and the organization isn’t opposed to conversation.”\u003c/p>\n\u003cp>In addition to its high-profile exhibition schedule, the SFFS offers an education program for elementary and high school students. The third major focus, Filmmaker360, provides a range of popular services for filmmakers that includes a well-funded array of grants. This latter program was one of the things about the job that attracted Cowan the most, he asserts.\u003c/p>\n\u003cp>“In short order they’ve created a coherent, highly functional filmmaker support program that actually has had global impact on cinema,” he declares. “My job is to learn more about it, find them more money and get out of their way.”\u003c/p>\n\u003cp>Not quite, for Cowan’s vision for Filmmaker360 extends beyond the Bay Area.\u003c/p>\n\u003cp>“The Filmmaker360 program points in the direction of ways that the Bay Area can have more of a national and international impact culturally, through the entrepreneurial energy of possibility, which always infuses the place but particularly now,” he said. “We can all admit that the sort of mundane production structures of American independent film need that kind of thinking. We’re uniquely positioned to lead the conversation in that regard.”\u003c/p>\n\u003cp>It’s no secret that the landscape for film production and exhibition has been in flux since the advent of the digital revolution. Cowan said he doesn’t fret over how the Internet, in combination with the prevalence of watching content on screens (like tablets and cell phones) outside of theaters, will influence cinema — or film festivals — in the near future.\u003c/p>\n\u003cp>“I have found [movies] to be relatively platform-agnostic over the years,” he said. “New developments in cinema always come with good and bad. This current round of changes [began] when video cameras replaced 16mm cameras in documentary filmmaking, and subsequently we had a golden age of American documentary film. While at the beginning there was a palpable loss of aesthetic power in the films we were seeing, that has largely been redressed and the technology has caught up to the aesthetic needs of the filmmaker. To take the longer view, the change was for the best, even if we had to suffer through some crappy, low-res video stuff. I kind of see every development in film taking place along the same lines.”\u003c/p>\n\u003cp>Although Cowan leaves certain types of innovation to filmmakers, he aspires to spearhead a discussion about film in the 21st century that would place the Bay Area at the center.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve come to trust the artist to lead the way on developments in our medium,” Cowan allows. “That being said, institutions like SFFS have a unique role to play in insuring that certain values are considered as technology makes its inevitable progress. So I’m hoping within the next short while to begin a process where we sit down with film-friendly people at big and small technology firms to start talking about what the future of cinema might look like. San Francisco is kinda small. Getting access to significant players in the cultural and technology and political fields is considerably less complicated than it is in other places. And we should take advantage of that to have what should be a fascinating conversation.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One Conflict, One Wall, Two Sides Of The Arab-Israeli World",
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"content": "\u003cp>American art-house audiences are being offered an intriguing exercise in double vision over the next couple of weeks: two movies about Palestinian informants and their complicated relationships with Israel’s secret service, one directed by a Palestinian, the other by an Israeli. Their similarities turn out to be nearly as intriguing as their differences.\u003c/p>\n\u003cp>First to arrive — this weekend, in limited release — is the Palestinian Oscar nominee for foreign-language film, \u003cem>Omar,\u003c/em> made by celebrated director Hany Abu-Assad, whose 2005 drama \u003cem>Paradise Now\u003c/em> also dealt with Arab-Israeli tensions. Two weeks from now, first-time writer-director Yuval Adler will unveil his thriller \u003cem>Bethlehem,\u003c/em> which has taken home prizes from a number of European festivals.\u003c/p>\n\u003cp>Both films start with gunfire — Palestinian teenagers using a rural street sign for target practice in \u003cem>Bethlehem,\u003c/em> Israeli soldiers using the title character for target practice in \u003cem>Omar\u003c/em>. Actually, I’m being overly glib: Omar, who’s Palestinian and a baker by trade, is scaling the Israeli-built wall that bisects his community when he’s shot at. He’s a genuine target, not target practice.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=OPcvn4Mtglc\u003c/p>\n\u003cp>But the place — a literally biblical landscape pierced by gunfire — feels identical in the two films. So do their basic outlines. In each, a militant Palestinian youngster will be coerced into ratting out his friends to an Israeli secret service agent. In each, the young man’s relationships with his community, and with his agent, will become fraught and complicated. In each, the price of betrayal will be measured in blood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the titles \u003cem>Omar\u003c/em> and \u003cem>Bethlehem\u003c/em> suggest, the films come at their stories differently. The Palestinian \u003cem>Omar\u003c/em> feels intimate, centering on its young baker (Adam Bakri) and his romance with a friend’s sister (Leem Lubany); it was she, Nadia, he was trying to visit on the other side of the wall. Only after establishing those characters, and how Shin Bet agent Rami (Waleed Zuaiter) comes between them, does the director expand the film’s focus to embrace their divided community.\u003c/p>\n\u003cp>The Israeli film takes the opposite course, concentrating initially on its titular town’s unraveling social fabric — its Palestinian community is run by officious politicos and overrun by Kalashnikov-toting thugs — and then delving into what that unraveling means for one troubled teen. Sanfur (Shadi Mar’i) has an older brother who’s a notorious terrorist, along with a Shin Bet handler (Tsahi Halevi) who has adopted an almost parental attitude toward him.\u003c/p>\n\u003cp>While the films are equally earnest, they are not equally accomplished. \u003cem>Bethlehem\u003c/em> qualifies as a promising debut for its first-time actors and director, but it’s slack at first, and the thriller tricks it uses to ratchet up the tension later — musical underscoring, careening vehicles, threatening crowds — keep it from sneaking past your defenses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> gets past those barriers mostly by being an effective nail-biter of a personal story, but also by creating a persuasive real-world milieu. It’s the sort of film that feels so authentic that even knowing it’s a fiction, the morning after seeing it, I found myself scanning headlines to see if there were any new developments. \u003cem>Omar\u003c/em> had me doing that — and had me, tragically, finding plenty of parallels in the real world from which it arises.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+Conflict%2C+One+Wall%2C+Two+Sides+Of+The+Arab-Israeli+World&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Bob Mondello reviews \u003cem>Omar\u003c/em> and\u003cem> Bethlehem,\u003c/em> two intriguingly similar films about the complicated relationships between Israeli secret service agents and their Palestinian informants.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American art-house audiences are being offered an intriguing exercise in double vision over the next couple of weeks: two movies about Palestinian informants and their complicated relationships with Israel’s secret service, one directed by a Palestinian, the other by an Israeli. Their similarities turn out to be nearly as intriguing as their differences.\u003c/p>\n\u003cp>First to arrive — this weekend, in limited release — is the Palestinian Oscar nominee for foreign-language film, \u003cem>Omar,\u003c/em> made by celebrated director Hany Abu-Assad, whose 2005 drama \u003cem>Paradise Now\u003c/em> also dealt with Arab-Israeli tensions. Two weeks from now, first-time writer-director Yuval Adler will unveil his thriller \u003cem>Bethlehem,\u003c/em> which has taken home prizes from a number of European festivals.\u003c/p>\n\u003cp>Both films start with gunfire — Palestinian teenagers using a rural street sign for target practice in \u003cem>Bethlehem,\u003c/em> Israeli soldiers using the title character for target practice in \u003cem>Omar\u003c/em>. Actually, I’m being overly glib: Omar, who’s Palestinian and a baker by trade, is scaling the Israeli-built wall that bisects his community when he’s shot at. He’s a genuine target, not target practice.\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/OPcvn4Mtglc'\n title='//www.youtube.com/embed/OPcvn4Mtglc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the place — a literally biblical landscape pierced by gunfire — feels identical in the two films. So do their basic outlines. In each, a militant Palestinian youngster will be coerced into ratting out his friends to an Israeli secret service agent. In each, the young man’s relationships with his community, and with his agent, will become fraught and complicated. In each, the price of betrayal will be measured in blood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the titles \u003cem>Omar\u003c/em> and \u003cem>Bethlehem\u003c/em> suggest, the films come at their stories differently. The Palestinian \u003cem>Omar\u003c/em> feels intimate, centering on its young baker (Adam Bakri) and his romance with a friend’s sister (Leem Lubany); it was she, Nadia, he was trying to visit on the other side of the wall. Only after establishing those characters, and how Shin Bet agent Rami (Waleed Zuaiter) comes between them, does the director expand the film’s focus to embrace their divided community.\u003c/p>\n\u003cp>The Israeli film takes the opposite course, concentrating initially on its titular town’s unraveling social fabric — its Palestinian community is run by officious politicos and overrun by Kalashnikov-toting thugs — and then delving into what that unraveling means for one troubled teen. Sanfur (Shadi Mar’i) has an older brother who’s a notorious terrorist, along with a Shin Bet handler (Tsahi Halevi) who has adopted an almost parental attitude toward him.\u003c/p>\n\u003cp>While the films are equally earnest, they are not equally accomplished. \u003cem>Bethlehem\u003c/em> qualifies as a promising debut for its first-time actors and director, but it’s slack at first, and the thriller tricks it uses to ratchet up the tension later — musical underscoring, careening vehicles, threatening crowds — keep it from sneaking past your defenses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> gets past those barriers mostly by being an effective nail-biter of a personal story, but also by creating a persuasive real-world milieu. It’s the sort of film that feels so authentic that even knowing it’s a fiction, the morning after seeing it, I found myself scanning headlines to see if there were any new developments. \u003cem>Omar\u003c/em> had me doing that — and had me, tragically, finding plenty of parallels in the real world from which it arises.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+Conflict%2C+One+Wall%2C+Two+Sides+Of+The+Arab-Israeli+World&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Pompeii': In Ancient Rome, A Hot 3-D Mess",
"headTitle": "‘Pompeii’: In Ancient Rome, A Hot 3-D Mess | KQED",
"content": "\u003cp>You can say this for director Paul W.S. Anderson: He gets the basic purpose of 3-D movies. While the current renaissance in cinematic stereoscopy is touted as a method for creating more “immersive” experiences for audiences, the list of movies that achieve that lofty goal can be counted on one hand: \u003cem>Gravity\u003c/em>, \u003cem>Hugo\u003c/em>, \u003cem>Life of Pi\u003c/em>. Most 3-D exists to bilk customers out of a few extra bucks.\u003c/p>\n\u003cp>But as it was conceived back in the mid-20th century, 3-D was all about kitschy spectacle, about giving an audience a cheap thrill by making them duck involuntarily in their seats. In that context, Anderson’s repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of \u003cem>Pompeii\u003c/em> — is firmly in the lovably trashy spirit of the ’50s drive-in.\u003c/p>\n\u003cp>Pity that beyond those pyroclastic missiles, Anderson seems to want us to see his film and its hackneyed romance — basically \u003cem>Titanic\u003c/em> with swords and sandals — as a serious-minded historical epic. If there were a hint of a sense of play or humor in the filmmaking, beyond a briefly amusing moment of comeuppance for a foppish slaveowner, \u003ci>Pompeii\u003c/i> might be a fun February diversion instead of a dull, eye-rolling slog.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=t6TRwfxDICM\u003c/p>\n\u003cp>Maybe it’s not all Anderson’s fault. The fact is that our expectations for this sort of thing have changed in recent years, thanks not least to \u003cem>Game of Thrones\u003c/em>. While HBO’s popular series is technically a fantasy, and not set in our world, it doesn’t look so different in many respects from Europe in the first century A.D. The show sets a high bar for depictions of romance and political machinations in an ancient world, as well as for pure visual grandeur. It’s a bar so far above the reach of the video-gamey digital backdrops of \u003cem>Pompeii\u003c/em> that it might as well be on top of Vesuvius.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Any hopes of dodging \u003cem>Game of Thrones\u003c/em> comparisons are dashed by the casting of Kit Harington — \u003cem>Thrones\u003c/em>‘ Jon Snow — as Milo, a prodigiously skilled Celtic gladiator with a long-simmering vendetta against Rome. While \u003cem>Game of Thrones\u003c/em> mostly effectively employs Harington’s knack for brow-furrowed brooding, \u003cem>Pompeii\u003c/em> looks to use his full range: that brooding \u003cem>and\u003c/em> his well-chiseled torso. (“Didn’t you see his muscles?” asks one character excitedly, early in the film. Yes. Yes, we did.)\u003c/p>\n\u003cp>As the fates and the screenwriters would have it, Milo arrives in Pompeii at the same time that Cassia (Emily Browning), the daughter of the local governor, is returning from a year in the imperial capital. After a standard rom-com meet cute, in which they find starry-eyed love over the corpse of a dead horse on the highway, she goes to her opulent villa to be petulant with her parents while he heads to the dungeons below the Pompeiian coliseum, where he’ll forge an unlikely friendship with a fellow gladiator (Adewale Akinnuoye-Agbaje).\u003c/p>\n\u003cp>Also arriving at the same time – fortuitous coincidence! — is the Roman Senator Corvis (Kiefer Sutherland), who 17 years earlier slaughtered Milo’s entire village and left our hero for dead. It’s a good thing this is history, as it would otherwise be pretty tough to believe that the cards would be set up with such unlikely perfection for Milo to find love, friendship, and vengeance all in one crazy Vulcanalia-festival weekend.\u003c/p>\n\u003cp>If I sound flippant, it’s only because \u003cem>Pompeii\u003c/em> invites so many unintended laughs, from the puppy-eyed romance of Milo and Cassia (which makes \u003cem>Twilight\u003c/em> look like \u003cem>Casablanca\u003c/em>) to the ridiculously implausible final chase, which is essentially \u003cem>Fast & Furious\u003c/em> on horseback. The lengths they go to in order to salvage a PG-13 rating — multiple slit throats result in almost no blood at all — make the whole thing seem like a pantomimed rehearsal. Meanwhile, the movie’s final image, which I won’t spoil here, caused an eruption of laughter at my screening that was louder than any response to most straight comedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only person in the entire cast who seems remotely aware of the ridiculousness of the whole thing is Sutherland, who chews scenery like a starving man handed a turkey leg. He certainly had more laughs making it than anyone will watching it; if only he’d let the rest of the cast and crew in on the joke.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Pompeii%27%3A+In+Ancient+Rome%2C+A+Hot+3-D+Mess&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can say this for director Paul W.S. Anderson: He gets the basic purpose of 3-D movies. While the current renaissance in cinematic stereoscopy is touted as a method for creating more “immersive” experiences for audiences, the list of movies that achieve that lofty goal can be counted on one hand: \u003cem>Gravity\u003c/em>, \u003cem>Hugo\u003c/em>, \u003cem>Life of Pi\u003c/em>. Most 3-D exists to bilk customers out of a few extra bucks.\u003c/p>\n\u003cp>But as it was conceived back in the mid-20th century, 3-D was all about kitschy spectacle, about giving an audience a cheap thrill by making them duck involuntarily in their seats. In that context, Anderson’s repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of \u003cem>Pompeii\u003c/em> — is firmly in the lovably trashy spirit of the ’50s drive-in.\u003c/p>\n\u003cp>Pity that beyond those pyroclastic missiles, Anderson seems to want us to see his film and its hackneyed romance — basically \u003cem>Titanic\u003c/em> with swords and sandals — as a serious-minded historical epic. If there were a hint of a sense of play or humor in the filmmaking, beyond a briefly amusing moment of comeuppance for a foppish slaveowner, \u003ci>Pompeii\u003c/i> might be a fun February diversion instead of a dull, eye-rolling slog.\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/t6TRwfxDICM'\n title='//www.youtube.com/embed/t6TRwfxDICM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe it’s not all Anderson’s fault. The fact is that our expectations for this sort of thing have changed in recent years, thanks not least to \u003cem>Game of Thrones\u003c/em>. While HBO’s popular series is technically a fantasy, and not set in our world, it doesn’t look so different in many respects from Europe in the first century A.D. The show sets a high bar for depictions of romance and political machinations in an ancient world, as well as for pure visual grandeur. It’s a bar so far above the reach of the video-gamey digital backdrops of \u003cem>Pompeii\u003c/em> that it might as well be on top of Vesuvius.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Any hopes of dodging \u003cem>Game of Thrones\u003c/em> comparisons are dashed by the casting of Kit Harington — \u003cem>Thrones\u003c/em>‘ Jon Snow — as Milo, a prodigiously skilled Celtic gladiator with a long-simmering vendetta against Rome. While \u003cem>Game of Thrones\u003c/em> mostly effectively employs Harington’s knack for brow-furrowed brooding, \u003cem>Pompeii\u003c/em> looks to use his full range: that brooding \u003cem>and\u003c/em> his well-chiseled torso. (“Didn’t you see his muscles?” asks one character excitedly, early in the film. Yes. Yes, we did.)\u003c/p>\n\u003cp>As the fates and the screenwriters would have it, Milo arrives in Pompeii at the same time that Cassia (Emily Browning), the daughter of the local governor, is returning from a year in the imperial capital. After a standard rom-com meet cute, in which they find starry-eyed love over the corpse of a dead horse on the highway, she goes to her opulent villa to be petulant with her parents while he heads to the dungeons below the Pompeiian coliseum, where he’ll forge an unlikely friendship with a fellow gladiator (Adewale Akinnuoye-Agbaje).\u003c/p>\n\u003cp>Also arriving at the same time – fortuitous coincidence! — is the Roman Senator Corvis (Kiefer Sutherland), who 17 years earlier slaughtered Milo’s entire village and left our hero for dead. It’s a good thing this is history, as it would otherwise be pretty tough to believe that the cards would be set up with such unlikely perfection for Milo to find love, friendship, and vengeance all in one crazy Vulcanalia-festival weekend.\u003c/p>\n\u003cp>If I sound flippant, it’s only because \u003cem>Pompeii\u003c/em> invites so many unintended laughs, from the puppy-eyed romance of Milo and Cassia (which makes \u003cem>Twilight\u003c/em> look like \u003cem>Casablanca\u003c/em>) to the ridiculously implausible final chase, which is essentially \u003cem>Fast & Furious\u003c/em> on horseback. The lengths they go to in order to salvage a PG-13 rating — multiple slit throats result in almost no blood at all — make the whole thing seem like a pantomimed rehearsal. Meanwhile, the movie’s final image, which I won’t spoil here, caused an eruption of laughter at my screening that was louder than any response to most straight comedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only person in the entire cast who seems remotely aware of the ridiculousness of the whole thing is Sutherland, who chews scenery like a starving man handed a turkey leg. He certainly had more laughs making it than anyone will watching it; if only he’d let the rest of the cast and crew in on the joke.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Pompeii%27%3A+In+Ancient+Rome%2C+A+Hot+3-D+Mess&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gotta feel a little sorry for director José Padilha, tasked with taking over an action-classic remake that had been stuck in development for years — and that fans of the much-admired original eyed with considerable skepticism.\u003c/p>\n\u003cp>But let’s also be honest for a moment about the movie Padilha is revisiting: Paul Verhoeven’s 1987 \u003cem>RoboCop\u003c/em>, a B movie punching far above its weight, with some cheekily subversive Establishment-tweaking and brilliantly executed subtext buried under some truly clunky performances and stock ’80s action. In short: There was plenty of room for improvement. And in taking advantage of that, Padilha’s new take on the material isn’t the disaster some might have predicted.\u003c/p>\n\u003cp>It doesn’t hurt that Padilha and screenwriter Joshua Zetumer have even more fertile political material to work with in 2014. Verhoeven’s film had no shortage of targets — among them rampant crime, corruption, the vapidity of media and entertainment, and corporate greed. The update manages to work with all of those while also taking high-caliber shots at drone warfare, flag-waving cable-news talking heads and the vulnerability of legislators to money and marketing.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=FnRJ0r0eivk\u003c/p>\n\u003cp>The basic story is the same: Detroit cop Alex Murphy (Joel Kinnaman), recently all but killed in the line of duty, is rebuilt as a cyborg crime fighter by a huge corporation looking to mine the city’s out-of-control crime troubles for profit. As before, nearly everyone involved is crooked in one way or another, and it’s up to our metallic hero to find the humanity still tangled up amid the circuitry that’s so thoroughly clouding his brain functions, so he can clean up more than just the city’s streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around that core, the biggest improvement is in the performances — no surprise, with names like Michael Keaton and Gary Oldman at the top of the cast list. Keaton plays conniving OmniCorp head honcho Raymond Sellars, Oldman the morally compromised biomechanics visionary Dr. Dennett Norton; it’s the battle of wills between these two men that really drives this new \u003cem>RoboCop,\u003c/em> with Murphy as a kind of hulking rag doll being pulled in both directions by the competing needs of commerce and science.\u003c/p>\n\u003cp>Keaton brings a smug but personable arrogance to his role — just the kind of charismatic sliminess it requires — while Oldman is the movie’s wobbly moral center, a good man corrupted by circumstance and weakness. Norton is a doctor who wants funding to further research and develop mechanical prosthetics, but Sellars cares only about using the scientist’s successes to influence legislation that would let him supply fully automated crime-control drones to the government. The CEO’s primary ally is Mattox (Jackie Earl Haley), a robot tactician who finds RoboCop a laughable project — like his boss, he favors pure robotics over the cyborg approach.\u003c/p>\n\u003cp>All those political threads are on point, but the film is strongest when it’s wrestling with notions of what it really means to be human — this after Murphy has been reduced to literally nothing more than a head, heart and lungs encased in a metal shell. (The big reveal of his true physical state is an eye-opening effect.) If the undercurrent of the story has echoes of Frankenstein, Mattox sees Murphy as nothing more than a hollow Tin Man, and underlines his derision with a nicely deployed rendition of “If I Only Had a Heart” during a key training sequence.\u003c/p>\n\u003cp>Even with those excellent performances, augmented by a fantastically entertaining Samuel L. Jackson as a wild-eyed right-wing TV political host, there’s still something about Padilha’s \u003cem>RoboCop\u003c/em> that feels cold and distant. Part of the charm of the original was its raggedness, its embrace of a B-movie aesthetic in the service of smart, dark satire. Padilha’s take is almost all business, as grimly efficient at getting its points across as Murphy himself is during the period when his handlers have suppressed his emotions entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s well made, polished, and hits every mark — but is it crazy to want a futuristic sci-fi action flick about a motorcycle-riding metal supercop to be just a little more fun? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RoboCop%27+Remake%2C+As+Mechanical+As+Its+Cyborg+Hero&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gotta feel a little sorry for director José Padilha, tasked with taking over an action-classic remake that had been stuck in development for years — and that fans of the much-admired original eyed with considerable skepticism.\u003c/p>\n\u003cp>But let’s also be honest for a moment about the movie Padilha is revisiting: Paul Verhoeven’s 1987 \u003cem>RoboCop\u003c/em>, a B movie punching far above its weight, with some cheekily subversive Establishment-tweaking and brilliantly executed subtext buried under some truly clunky performances and stock ’80s action. In short: There was plenty of room for improvement. And in taking advantage of that, Padilha’s new take on the material isn’t the disaster some might have predicted.\u003c/p>\n\u003cp>It doesn’t hurt that Padilha and screenwriter Joshua Zetumer have even more fertile political material to work with in 2014. Verhoeven’s film had no shortage of targets — among them rampant crime, corruption, the vapidity of media and entertainment, and corporate greed. The update manages to work with all of those while also taking high-caliber shots at drone warfare, flag-waving cable-news talking heads and the vulnerability of legislators to money and marketing.\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/FnRJ0r0eivk'\n title='//www.youtube.com/embed/FnRJ0r0eivk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The basic story is the same: Detroit cop Alex Murphy (Joel Kinnaman), recently all but killed in the line of duty, is rebuilt as a cyborg crime fighter by a huge corporation looking to mine the city’s out-of-control crime troubles for profit. As before, nearly everyone involved is crooked in one way or another, and it’s up to our metallic hero to find the humanity still tangled up amid the circuitry that’s so thoroughly clouding his brain functions, so he can clean up more than just the city’s streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around that core, the biggest improvement is in the performances — no surprise, with names like Michael Keaton and Gary Oldman at the top of the cast list. Keaton plays conniving OmniCorp head honcho Raymond Sellars, Oldman the morally compromised biomechanics visionary Dr. Dennett Norton; it’s the battle of wills between these two men that really drives this new \u003cem>RoboCop,\u003c/em> with Murphy as a kind of hulking rag doll being pulled in both directions by the competing needs of commerce and science.\u003c/p>\n\u003cp>Keaton brings a smug but personable arrogance to his role — just the kind of charismatic sliminess it requires — while Oldman is the movie’s wobbly moral center, a good man corrupted by circumstance and weakness. Norton is a doctor who wants funding to further research and develop mechanical prosthetics, but Sellars cares only about using the scientist’s successes to influence legislation that would let him supply fully automated crime-control drones to the government. The CEO’s primary ally is Mattox (Jackie Earl Haley), a robot tactician who finds RoboCop a laughable project — like his boss, he favors pure robotics over the cyborg approach.\u003c/p>\n\u003cp>All those political threads are on point, but the film is strongest when it’s wrestling with notions of what it really means to be human — this after Murphy has been reduced to literally nothing more than a head, heart and lungs encased in a metal shell. (The big reveal of his true physical state is an eye-opening effect.) If the undercurrent of the story has echoes of Frankenstein, Mattox sees Murphy as nothing more than a hollow Tin Man, and underlines his derision with a nicely deployed rendition of “If I Only Had a Heart” during a key training sequence.\u003c/p>\n\u003cp>Even with those excellent performances, augmented by a fantastically entertaining Samuel L. Jackson as a wild-eyed right-wing TV political host, there’s still something about Padilha’s \u003cem>RoboCop\u003c/em> that feels cold and distant. Part of the charm of the original was its raggedness, its embrace of a B-movie aesthetic in the service of smart, dark satire. Padilha’s take is almost all business, as grimly efficient at getting its points across as Murphy himself is during the period when his handlers have suppressed his emotions entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s well made, polished, and hits every mark — but is it crazy to want a futuristic sci-fi action flick about a motorcycle-riding metal supercop to be just a little more fun? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RoboCop%27+Remake%2C+As+Mechanical+As+Its+Cyborg+Hero&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kirsten Lepore is a master of stop-motion animation and an incredibly creative storyteller. She fabricates every aspect of her humorous and poignant short films, including sets, characters and sound design, and the results are always overwhelmingly popular. I love introducing Lepore’s films to other people, and am yet to find someone who doesn’t fall in love with her work at first sight, which is just one of the reasons we featured \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=120314\">Lepore on \u003ci>Art School\u003c/i>\u003c/a> last year.\u003c/p>\n\u003cp>As a follow-up to her stand-out films \u003ci>Bottle\u003c/i> and \u003ci>Sweet Dreams\u003c/i>, Lepore just released \u003ca href=\"http://www.kirstenlepore.com/move-mountain\">\u003ci>Move Mountain\u003c/i>\u003c/a>, her newest opus. It’s been on view at film festivals around the world, and has already picked up several prestigious awards. And now, thanks to Lepore’s generous online release, you can watch it for free right now!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/60358403?badge=0\" width=\"500\" height=\"281\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \n\u003cp>\u003ca href=\"http://vimeo.com/60358403\">Move Mountain\u003c/a> from \u003ca href=\"http://vimeo.com/kirstenlepore\">Kirsten Lepore\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As soon as I finished watching the stunning \u003ci>Move Mountain\u003c/i> (didn’t you love it?) I couldn’t wait to email Lepore and ask her about this new work of animated art.\u003c/p>\n\u003cp>KF: In your past films, you worked with materials like sand, snow, and cookies. What kind of unexpected materials did you use this time? The mountain waterfalls looked like candy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KL: Haha, yeah, they do look a bit like Twizzlers Pull n’ Peel candy or something! The waterfalls were actually a huge challenge to figure out. They’re a clear, flexible urethane that I tinted and cast with a wire inside so they can move and bend. The water is a mixture of actual colored water and these big clear gel balls I found at Jo-Anns called Aqua Gems. I did a lot of weird experimentation with materials for this film.\u003c/p>\n\u003cp>KF: The party scene must’ve been fun to create. I love how your characters dance. What made you want to collaborate with other artists to make characters for \u003ci>Move Mountain\u003c/i>? I recognized an elephant by Julia Pott.\u003c/p>\n\u003cp>KL: I knew from the start that I wanted to have animator friends’ characters make cameos in the film, both for fun and also for conceptual reasons. I think having them take part in the dance scene is important in communicating the role of friendship and its power in overcoming struggles. The story’s a bit autobiographical, so I figured why not pay homage to my actual friends who have helped me.\u003c/p>\n\u003cp>KF: So, it’s a metaphorical self portrait?\u003c/p>\n\u003cp>KL: Totally. It was ultimately inspired by my experience with chronic illness (Lyme’s disease) a few years ago.\u003c/p>\n\u003cp>KF: Would you say there is a moral to the story?\u003c/p>\n\u003cp>KL: I always feel like it sounds cheesy when I say it, but to me, the moral is about not giving up and taking the initiative to solve problems yourself (since no one can truly solve them for you).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/02/09/leporemountain1.jpg\" style=\"margin-bottom: 10px;\" alt=\"kirsten leport move mountain\">\u003c/center>\n\u003cp>KF: You tell really powerful stories without any dialogue. Why do you like storytelling without words?\u003c/p>\n\u003cp>KL: I think dialogue-less storytelling has always come more naturally to me, because I feel like any dialogue I write just comes out sounding hokey. I also think that any words you choose in any given language each have such inherent connotations to every viewer, and inevitably things break down and drift away from the writer’s intention. Language is also limiting — and by trying to tell stories more visually without language, I think I’m able to reach a wider (and non-English speaking) audience.\u003c/p>\n\u003cp>KF: You seem to like juxtaposing natural materials with synthetic ones, is that intentional or something you think about when planning?\u003c/p>\n\u003cp>KL: I think I try to keep things as natural as possible, but am forced to resort to synthetic materials when there are no natural options available — like using silicones and urethanes for casting elements, for example. But, ultimately, I’m attempting to use those materials to create a naturalistic product. Sometimes, as is the case with this film, I’ll imagine up my own version of a natural world which I’ve completely fabricated.\u003c/p>\n\u003cp>KF: What are you working on now?\u003c/p>\n\u003cp>KL: I have a few small film and music video ideas floating around that I’d love to start working on. Hopefully they won’t take over 2 years to complete like this film, ha!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kirstenlepore.com/\">Keep up with Kirsten Lepore\u003c/a> (and watch the rest of her films) at kirstenlepore.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kirsten Lepore is a master of stop-motion animation and an incredibly creative storyteller. She fabricates every aspect of her humorous and poignant short films, including sets, characters and sound design, and the results are always overwhelmingly popular. I love introducing Lepore’s films to other people, and am yet to find someone who doesn’t fall in love with her work at first sight, which is just one of the reasons we featured \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=120314\">Lepore on \u003ci>Art School\u003c/i>\u003c/a> last year.\u003c/p>\n\u003cp>As a follow-up to her stand-out films \u003ci>Bottle\u003c/i> and \u003ci>Sweet Dreams\u003c/i>, Lepore just released \u003ca href=\"http://www.kirstenlepore.com/move-mountain\">\u003ci>Move Mountain\u003c/i>\u003c/a>, her newest opus. It’s been on view at film festivals around the world, and has already picked up several prestigious awards. And now, thanks to Lepore’s generous online release, you can watch it for free right now!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/60358403?badge=0\" width=\"500\" height=\"281\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \n\u003cp>\u003ca href=\"http://vimeo.com/60358403\">Move Mountain\u003c/a> from \u003ca href=\"http://vimeo.com/kirstenlepore\">Kirsten Lepore\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As soon as I finished watching the stunning \u003ci>Move Mountain\u003c/i> (didn’t you love it?) I couldn’t wait to email Lepore and ask her about this new work of animated art.\u003c/p>\n\u003cp>KF: In your past films, you worked with materials like sand, snow, and cookies. What kind of unexpected materials did you use this time? The mountain waterfalls looked like candy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KL: Haha, yeah, they do look a bit like Twizzlers Pull n’ Peel candy or something! The waterfalls were actually a huge challenge to figure out. They’re a clear, flexible urethane that I tinted and cast with a wire inside so they can move and bend. The water is a mixture of actual colored water and these big clear gel balls I found at Jo-Anns called Aqua Gems. I did a lot of weird experimentation with materials for this film.\u003c/p>\n\u003cp>KF: The party scene must’ve been fun to create. I love how your characters dance. What made you want to collaborate with other artists to make characters for \u003ci>Move Mountain\u003c/i>? I recognized an elephant by Julia Pott.\u003c/p>\n\u003cp>KL: I knew from the start that I wanted to have animator friends’ characters make cameos in the film, both for fun and also for conceptual reasons. I think having them take part in the dance scene is important in communicating the role of friendship and its power in overcoming struggles. The story’s a bit autobiographical, so I figured why not pay homage to my actual friends who have helped me.\u003c/p>\n\u003cp>KF: So, it’s a metaphorical self portrait?\u003c/p>\n\u003cp>KL: Totally. It was ultimately inspired by my experience with chronic illness (Lyme’s disease) a few years ago.\u003c/p>\n\u003cp>KF: Would you say there is a moral to the story?\u003c/p>\n\u003cp>KL: I always feel like it sounds cheesy when I say it, but to me, the moral is about not giving up and taking the initiative to solve problems yourself (since no one can truly solve them for you).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/02/09/leporemountain1.jpg\" style=\"margin-bottom: 10px;\" alt=\"kirsten leport move mountain\">\u003c/center>\n\u003cp>KF: You tell really powerful stories without any dialogue. Why do you like storytelling without words?\u003c/p>\n\u003cp>KL: I think dialogue-less storytelling has always come more naturally to me, because I feel like any dialogue I write just comes out sounding hokey. I also think that any words you choose in any given language each have such inherent connotations to every viewer, and inevitably things break down and drift away from the writer’s intention. Language is also limiting — and by trying to tell stories more visually without language, I think I’m able to reach a wider (and non-English speaking) audience.\u003c/p>\n\u003cp>KF: You seem to like juxtaposing natural materials with synthetic ones, is that intentional or something you think about when planning?\u003c/p>\n\u003cp>KL: I think I try to keep things as natural as possible, but am forced to resort to synthetic materials when there are no natural options available — like using silicones and urethanes for casting elements, for example. But, ultimately, I’m attempting to use those materials to create a naturalistic product. Sometimes, as is the case with this film, I’ll imagine up my own version of a natural world which I’ve completely fabricated.\u003c/p>\n\u003cp>KF: What are you working on now?\u003c/p>\n\u003cp>KL: I have a few small film and music video ideas floating around that I’d love to start working on. Hopefully they won’t take over 2 years to complete like this film, ha!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kirstenlepore.com/\">Keep up with Kirsten Lepore\u003c/a> (and watch the rest of her films) at kirstenlepore.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sun And Water, And A Dangerous Brand Of Desire",
"headTitle": "Sun And Water, And A Dangerous Brand Of Desire | KQED",
"content": "\u003cp>The lake in Alain Guiraudie’s \u003cem>Stranger by the Lake\u003c/em> is gorgeous — aquamarine, pristine, surrounded by pebbly beaches and dense woods. Families cluster on the far side of it, but on the side we see, there are only men. It’s a gay cruising spot, frequented by mostly nude sunbathers and swimmers, many of whom come here often enough to know each other by sight if not by name.\u003c/p>\n\u003cp>Franck (Pierre Deladonchamps) is a handsome, slender, 30-something regular who turns a lot of heads as he heads for the water, but he’s relaxed enough that, after a bit of swimming, he strikes up a conversation with Henri (Patrick d’Assumcao), a pudgy middle-aged fellow he doesn’t know. Henri sits apart from the rest of the pack, claiming to be disinterested in anything but solitude and fresh air.\u003c/p>\n\u003cp>Theirs is a friendly, entirely platonic encounter — just two guys talking about jobs, and whether the lake is really home to a 15-foot catfish. But as they talk, Franck eyes other men ambling up to the woods alone or in pairs for what will clearly be less platonic encounters. When a rugged-looking guy (Christophe Paou) with a Tom Selleck mustache heads for the tree line, Franck excuses himself and follows.\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=PgcEGKn7waI\u003c/p>\n\u003cp>Other filmmakers might leave to your imagination what goes on in those woods. Not writer-director Guiraudie, who’s ventured into erotic territory, both hetero- and homo-, in such films as \u003cem>The King of Escape\u003c/em> and \u003cem>No Rest for the Brave; \u003c/em>he makes explicit a fairly Kama Sutric display of what men can do with men with other men watching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What he captures — and what the men involved quite evidently want — is an environment where physical intimacy is coupled with social isolation. Anonymous sex, observed and practiced in the now, without entanglements or any thought of the future.\u003c/p>\n\u003cp>And just how little future there is for at least one coupling becomes clear a few hours later, when the sun sets and the beach is deserted. Franck watches from a shadowed spot in the woods — spying two swimmers in the middle of the lake, horsing around … and then not. One man is pushed underwater and doesn’t resurface; the other swims to shore, gets dressed, looks around to make sure he’s not been observed, and leaves.\u003c/p>\n\u003cp>By this point, \u003cem>Stranger by the Lake\u003c/em> has become a psychosexually intriguing blend of Alfred Hitchcock’s \u003cem>Rear Window\u003c/em> and William Friedkin’s \u003cem>Cruising\u003c/em> — one in which sex gets intertwined with murder, fear battles desire, and the police discover that voyeurs don’t necessarily make good witnesses if no one ever exchanges names or phone numbers.\u003c/p>\n\u003cp>Franck’s two lakeside relationships — one involving conversation, the other sex — get tangled in harrowing ways as a police inspector (Jerome Chappatte) raises questions the film pointedly chooses not to answer: What does it say about the spot’s regulars that two days after a murder, everything’s back to normal? Where’s the concern for the drowned man? For each other? For their personal safety? And why should a potentially lethal silence be so universally embraced by this marginalized community?\u003c/p>\n\u003cp>“We have to go on living,” says Franck, even as his actions compromise his own chances of doing that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You have,” observes the inspector, “a funny way of loving each other.” An indictment, clearly, although the film suggests there’s more complexity to the intersection of danger and desire in this disconnected community than outsiders will ever be able to see. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sun+And+Water%2C+And+A+Dangerous+Brand+Of+Desire&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Alain Guiraudie's French-language thriller \u003cem>Stranger By The Lake\u003c/em> is an unnerving mix of Hitchcock's \u003cem>Rear Window\u003c/em> and Friedkin's \u003cem>Cruising,\u003c/em> blending sex and murder, fear and desire. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lake in Alain Guiraudie’s \u003cem>Stranger by the Lake\u003c/em> is gorgeous — aquamarine, pristine, surrounded by pebbly beaches and dense woods. Families cluster on the far side of it, but on the side we see, there are only men. It’s a gay cruising spot, frequented by mostly nude sunbathers and swimmers, many of whom come here often enough to know each other by sight if not by name.\u003c/p>\n\u003cp>Franck (Pierre Deladonchamps) is a handsome, slender, 30-something regular who turns a lot of heads as he heads for the water, but he’s relaxed enough that, after a bit of swimming, he strikes up a conversation with Henri (Patrick d’Assumcao), a pudgy middle-aged fellow he doesn’t know. Henri sits apart from the rest of the pack, claiming to be disinterested in anything but solitude and fresh air.\u003c/p>\n\u003cp>Theirs is a friendly, entirely platonic encounter — just two guys talking about jobs, and whether the lake is really home to a 15-foot catfish. But as they talk, Franck eyes other men ambling up to the woods alone or in pairs for what will clearly be less platonic encounters. When a rugged-looking guy (Christophe Paou) with a Tom Selleck mustache heads for the tree line, Franck excuses himself and follows.\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=PgcEGKn7waI\u003c/p>\n\u003cp>Other filmmakers might leave to your imagination what goes on in those woods. Not writer-director Guiraudie, who’s ventured into erotic territory, both hetero- and homo-, in such films as \u003cem>The King of Escape\u003c/em> and \u003cem>No Rest for the Brave; \u003c/em>he makes explicit a fairly Kama Sutric display of what men can do with men with other men watching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What he captures — and what the men involved quite evidently want — is an environment where physical intimacy is coupled with social isolation. Anonymous sex, observed and practiced in the now, without entanglements or any thought of the future.\u003c/p>\n\u003cp>And just how little future there is for at least one coupling becomes clear a few hours later, when the sun sets and the beach is deserted. Franck watches from a shadowed spot in the woods — spying two swimmers in the middle of the lake, horsing around … and then not. One man is pushed underwater and doesn’t resurface; the other swims to shore, gets dressed, looks around to make sure he’s not been observed, and leaves.\u003c/p>\n\u003cp>By this point, \u003cem>Stranger by the Lake\u003c/em> has become a psychosexually intriguing blend of Alfred Hitchcock’s \u003cem>Rear Window\u003c/em> and William Friedkin’s \u003cem>Cruising\u003c/em> — one in which sex gets intertwined with murder, fear battles desire, and the police discover that voyeurs don’t necessarily make good witnesses if no one ever exchanges names or phone numbers.\u003c/p>\n\u003cp>Franck’s two lakeside relationships — one involving conversation, the other sex — get tangled in harrowing ways as a police inspector (Jerome Chappatte) raises questions the film pointedly chooses not to answer: What does it say about the spot’s regulars that two days after a murder, everything’s back to normal? Where’s the concern for the drowned man? For each other? For their personal safety? And why should a potentially lethal silence be so universally embraced by this marginalized community?\u003c/p>\n\u003cp>“We have to go on living,” says Franck, even as his actions compromise his own chances of doing that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You have,” observes the inspector, “a funny way of loving each other.” An indictment, clearly, although the film suggests there’s more complexity to the intersection of danger and desire in this disconnected community than outsiders will ever be able to see. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sun+And+Water%2C+And+A+Dangerous+Brand+Of+Desire&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"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.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"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.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"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 />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"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.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"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",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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