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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a fascinating tale to be told in \u003cem>The Monuments Men\u003c/em>, George Clooney’s new film based on the true story of a search for looted art stolen by the Nazis during World War II. In real life, with fighting still raging on the battlefields of Europe, a small team of art experts searched urgently for tens of thousands of missing paintings and sculptures. The movie’s audience will search for something a little different.\u003c/p>\n\u003cp>It’s the spring of 1944 when middle-aged museum curator George Clooney tells middle-aged art restorer Matt Damon that he’s got the go-ahead from President Franklin Delano Roosevelt to head for the Continent. The only catch: He’s got to go as an enlisted man, with everything that entails.\u003c/p>\n\u003cp>Damon’s character is skeptical. “You want to go into a war zone and tell our boys what they can and cannot blow up?”\u003c/p>\n\u003cp>That’s the idea, he’s told — though commanders on the front won’t be terribly sympatico when they get there. He’s even more skeptical about the notion of their joining a whole cultural-over-the-hill-gang in basic training.\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/CreneTs7sGs'\n title='//www.youtube.com/embed/CreneTs7sGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And when we meet the gang, it’s evident why. There’s a disgraced museum director straight from \u003cem>Downton Abbey\u003c/em> (Hugh Bonneville), an artist straight from \u003cem>The Artist\u003c/em> (Jean Dujardin), a bickering odd-couple of non-artist hangers-on (Bill Murray and Bob Balaban), and a sculptor (John Goodman) who drags himself through a basic-training obstacle course with cheerful abandon, assuming erroneously that the teenagers firing just over his head are shooting blanks.\u003c/p>\n\u003cp>You needn’t worry for a while, though, because Clooney not only acts in and directs this high-spirited little epic — which seems to want to be the best World War II movie of 1963 — but he also co-scripted, and he has a lot to get off his chest before anything much can happen.\u003c/p>\n\u003cp>Get off his chest not in dialogue, exactly, but in speeches — patriotic (“We must and will win this war”), noble (“We’re fighting for a culture and a way of life”), expository (“It’s not random, it’s systematic; every one of those paintings is a masterpiece”), lofty (“Remember the high price that’ll be paid if the very foundation of modern society is destroyed”) and philosophical (“You can wipe out a generation of people, you can burn their homes to the ground and somehow they’ll come back, but if you destroy their achievements, their history, it’s as if they never existed”).\u003c/p>\n\u003cp>I’m guessing audiences would get the point without all the pointing, but credit the director-star-producer-co-writer with making a film that almost no one else in Hollywood could have gotten made. And credit his buddies for being good sports in it. Damon, for instance, isn’t so much playing a part as playing a walking bad-French joke, who’s mocked by Cate Blanchett in an Australian-French accent. (The crust!)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thing is, though, they’re all working hard to liven-up what turns out to be a surprisingly lackadaisical race against time. There’s lots of information, some nice images, plenty of earnest sermonizing about culture and almost no suspense, or tension, or character development, or structure. Or, well, art. \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=Plenty+Of+Heart%2C+Not+Much+Art+In+%27Monuments+Men%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Lego Movie': A Goofy Toy Story That Genuinely Clicks",
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"content": "\u003cp>If you’d told 10-year-old me there was going to be a movie all about Legos and the world they inhabit, I’d have been in line at the theater right then. Oh, it’s not out until 2014? Okay, let me just \u003cem>build a time machine out of Legos\u003c/em> and travel to the future. But adult me, hardened by years of non-Lego life experience — insipid toy-to-movie adaptations like \u003cem>Battleship\u003c/em>, for instance, plus a sore lack of a regular free-form building sessions — had his guard up.\u003c/p>\n\u003cp>Wasn’t necessary: \u003cem>The Lego Movie \u003c/em>maybe be one giant advertisement, but all the way to its plastic-mat foundation, it’s an earnest piece of work — a cash grab with a heart. Made for, with and about Legos, the movie is also made for, with and about imagination, and when that association seems completely natural, it’s a win all around.\u003c/p>\n\u003cp>The movie chooses as its hero the unimaginative but boundlessly positive Emmet (voiced by Chris Pratt), who’s just another average Lego guy living in the big Lego city going about his regular Lego day. As with most things Lego, there’s an instruction manual for everything, and Emmet eats, watches and says exactly what he’s supposed to. The instructions say that’s how you fit in, make friends, lead a happy life — only somehow that hasn’t worked out for Emmet, who doesn’t really have friends yet. (There’s an unsubtle critique of mainstream conformity going on here, exemplified by the transparently dumb yet incredibly catchy Lego pop hit “Everything is AWESOME,” which won’t be leaving your head for days after you hear it.)\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=fZ_JOBCLF-I\u003c/p>\n\u003cp>There’s an evil mastermind bent on destroying the world, a prophecy about a chosen one and a spirited adventure to get to, but let’s talk for a second about how this movie moves: When Emmet showers, the water and soap suds are Lego pieces. When circumstances lead Emmet out of the city and across Lego deserts, forests and oceans, the land, sea and lava are all solid Legos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Animated in 3-D, but made to look like it’s a stop-motion joint, the movie takes pleasure in translating how we move to a Lego-based reality and revels in the goofiness of a world operating under Lego-specific laws of physics. When you ride a horse its legs stay frozen even at a gallop; your head can swivel 180 degrees; and Krazy Glue spells immobilizing doom.\u003c/p>\n\u003cp>Writer-directors Phil Lord and Christopher Miller, of \u003cem>Cloudy with a Chance of Meatballs\u003c/em>, charged both with balancing the needs of a brand and telling a lighthearted story, never miss an opportunity to get silly with how Legos work: When Emmet catches a mysterious woman named Wyldstyle (Elizabeth Banks) poking around the construction site where he works, for instance, the slow-motion hair-flip you’ve seen in a thousand Hollywood romances is a clip-on hair piece swiveling back and forth on her yellow Lego head.\u003c/p>\n\u003cp>The self-conscious, irreverent tone holds steady as the stakes increase. When Emmet finds a strange red piece that sticks itself to his back, Wyldstyle identifies him as The Special — the smartest, most talented, most interesting, most superlative-in-everything person who’s destined to save the Lego world from the order-obsessed Lord Business (Will Ferrell). Of course Emmet goes along with the idea, with Pratt lending him a can-do enthusiasm that’s infectious to everyone but the movie’s other characters — especially once Wyldstyle, along with sage Lego wizard Vitruvius (Morgan Freeman), and a brooding, self-absorbed Lego Batman (Will Arnett) discover that he’s not special at all.\u003c/p>\n\u003cp>That doesn’t stop Emmet from being pursued by Bad Cop (Liam Neeson), on orders from Business, across the diverse Lego world. (If there’s a Lego set for it, they go there.) Neeson also voices Good Cop — the split personality living on the back side of Bad Cop’s head — and it’s a rare delight to hear Neeson depart from the growl for cheery words of encouragement.\u003c/p>\n\u003cp>Energetically plotted and lousy with jokes,\u003cem> The Lego Movie\u003c/em> succeeds as much more than a marketing ploy, not least because it understands what makes Legos so appealing and embraces the anarchic way kids actually play with them: The instructions are there, but often the most fun you can have is when you break the rules and assemble something weird and new that only you could create — whether it’s a spaceship built from mountains and alligators or a double-decker couch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emphasizing that idea too bluntly in a sharp swerve near the movie’s end almost sends our heroes jumping the Lego shark, but it’s hard to fault the filmmakers for getting a little saccharine; they’re sincere about celebrating imagination and play. They’ve delivered a story that could have been spun from the head of a kid sitting down to play with their Legos — and for adults ready to dust off their childhood sets, they’ve captured that feeling of creative possibility remarkably well. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em> \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=%27Lego+Movie%27%3A+A+Goofy+Toy+Story+That+Genuinely+Clicks&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "An order-loving businessman plans to destroy the Lego universe by permanently gluing all of its pieces together. Critic Joel Arnold says the film is a brash brand-merchandising exercise with a gratifyingly silly sense of creativity and play. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’d told 10-year-old me there was going to be a movie all about Legos and the world they inhabit, I’d have been in line at the theater right then. Oh, it’s not out until 2014? Okay, let me just \u003cem>build a time machine out of Legos\u003c/em> and travel to the future. But adult me, hardened by years of non-Lego life experience — insipid toy-to-movie adaptations like \u003cem>Battleship\u003c/em>, for instance, plus a sore lack of a regular free-form building sessions — had his guard up.\u003c/p>\n\u003cp>Wasn’t necessary: \u003cem>The Lego Movie \u003c/em>maybe be one giant advertisement, but all the way to its plastic-mat foundation, it’s an earnest piece of work — a cash grab with a heart. Made for, with and about Legos, the movie is also made for, with and about imagination, and when that association seems completely natural, it’s a win all around.\u003c/p>\n\u003cp>The movie chooses as its hero the unimaginative but boundlessly positive Emmet (voiced by Chris Pratt), who’s just another average Lego guy living in the big Lego city going about his regular Lego day. As with most things Lego, there’s an instruction manual for everything, and Emmet eats, watches and says exactly what he’s supposed to. The instructions say that’s how you fit in, make friends, lead a happy life — only somehow that hasn’t worked out for Emmet, who doesn’t really have friends yet. (There’s an unsubtle critique of mainstream conformity going on here, exemplified by the transparently dumb yet incredibly catchy Lego pop hit “Everything is AWESOME,” which won’t be leaving your head for days after you hear it.)\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/fZ_JOBCLF-I'\n title='//www.youtube.com/embed/fZ_JOBCLF-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s an evil mastermind bent on destroying the world, a prophecy about a chosen one and a spirited adventure to get to, but let’s talk for a second about how this movie moves: When Emmet showers, the water and soap suds are Lego pieces. When circumstances lead Emmet out of the city and across Lego deserts, forests and oceans, the land, sea and lava are all solid Legos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Animated in 3-D, but made to look like it’s a stop-motion joint, the movie takes pleasure in translating how we move to a Lego-based reality and revels in the goofiness of a world operating under Lego-specific laws of physics. When you ride a horse its legs stay frozen even at a gallop; your head can swivel 180 degrees; and Krazy Glue spells immobilizing doom.\u003c/p>\n\u003cp>Writer-directors Phil Lord and Christopher Miller, of \u003cem>Cloudy with a Chance of Meatballs\u003c/em>, charged both with balancing the needs of a brand and telling a lighthearted story, never miss an opportunity to get silly with how Legos work: When Emmet catches a mysterious woman named Wyldstyle (Elizabeth Banks) poking around the construction site where he works, for instance, the slow-motion hair-flip you’ve seen in a thousand Hollywood romances is a clip-on hair piece swiveling back and forth on her yellow Lego head.\u003c/p>\n\u003cp>The self-conscious, irreverent tone holds steady as the stakes increase. When Emmet finds a strange red piece that sticks itself to his back, Wyldstyle identifies him as The Special — the smartest, most talented, most interesting, most superlative-in-everything person who’s destined to save the Lego world from the order-obsessed Lord Business (Will Ferrell). Of course Emmet goes along with the idea, with Pratt lending him a can-do enthusiasm that’s infectious to everyone but the movie’s other characters — especially once Wyldstyle, along with sage Lego wizard Vitruvius (Morgan Freeman), and a brooding, self-absorbed Lego Batman (Will Arnett) discover that he’s not special at all.\u003c/p>\n\u003cp>That doesn’t stop Emmet from being pursued by Bad Cop (Liam Neeson), on orders from Business, across the diverse Lego world. (If there’s a Lego set for it, they go there.) Neeson also voices Good Cop — the split personality living on the back side of Bad Cop’s head — and it’s a rare delight to hear Neeson depart from the growl for cheery words of encouragement.\u003c/p>\n\u003cp>Energetically plotted and lousy with jokes,\u003cem> The Lego Movie\u003c/em> succeeds as much more than a marketing ploy, not least because it understands what makes Legos so appealing and embraces the anarchic way kids actually play with them: The instructions are there, but often the most fun you can have is when you break the rules and assemble something weird and new that only you could create — whether it’s a spaceship built from mountains and alligators or a double-decker couch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emphasizing that idea too bluntly in a sharp swerve near the movie’s end almost sends our heroes jumping the Lego shark, but it’s hard to fault the filmmakers for getting a little saccharine; they’re sincere about celebrating imagination and play. They’ve delivered a story that could have been spun from the head of a kid sitting down to play with their Legos — and for adults ready to dust off their childhood sets, they’ve captured that feeling of creative possibility remarkably well. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em> \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=%27Lego+Movie%27%3A+A+Goofy+Toy+Story+That+Genuinely+Clicks&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Chilean drama \u003ci>Gloria\u003c/i> is a lovely surprise. Paulina Garcia plays Gloria, 58 years old, middle class, 10 years divorced. We first see her sitting at the bar at a single’s event for older people. She wears big, round glasses like the specs worn by Dustin Hoffman as Dorothy Michaels in \u003ci>Tootsie\u003c/i>. Her aloneness comes through vividly, yet she waits with a kind of equanimity.\u003c/p>\n\u003cp>The music is vintage disco and it seems to keep her buoyant — and the movie buoyant too. It is a lonely life. Her son is emotionally distant, her daughter who teaches yoga, is absorbed in a new relationship with a roving Swede. The streets of Santiago are full of young demonstrators. Her intellectual friends argue nervously about the country’s future.\u003c/p>\n\u003cp>In the flat above her, an unseen man rants into the night, his grasp of reality tenuous. His cat has wandered into Gloria’s apartment — a skeletal, hairless beast that she feeds. Most unsettling. But when Gloria drives through the city, she sings along to pop songs full of hope.\u003c/p>\n\u003cp>Paulina Garcia is well known in Chile as a TV actress, a playwright, and a director. She’s new to me, but now I’ll go see her in anything. What makes her performance so wonderful is how she portrays a state of flux. She is always game, always slightly wary. Never quite sure of her place in the world. The more you get to know her the more fascinating she becomes.\u003c/p>\n\u003cp>And we don’t meet women like Gloria enough in movies. An older man named Rodolfo, played by Sergio Hernandez, fastens onto her. He’s a retired navy man who owns a sort of fun center — paintball games and the like. His passion is hard for Gloria to resist. But there are worrying signs. There’s something pleading in his demeanor. And he’s besieged by calls from his ex-wife and overly dependent grown daughters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When her daughter asks, “Who is this guy, Mom,” the uncertainty on her face is haunting. Damned if she knows. The writer-director Sebastian Lelio wrote “Gloria” for Garcia. In an interview, he said its emotional heart is the bassa nova song “Waters of March,” best known in English in a gorgeous rendition by the late Susannah McCorkle, here sung by Gloria and her friends.\u003c/p>\n\u003cp>The movie, says Lelio, is a cinematic bassa nova — bittersweet, full of difficult themes, but also the poetry of daily life manifest even in silly pop song lyrics. The movie doesn’t lie about its heroine’s dwindling options. Her romantic life is tenuous; her children are gone. Her eyesight is going. It’s rife with disappointments and humiliations, among them a sequence that’s delirious and excruciating in which Gloria gets drunk at a casino.”\u003c/p>\n\u003cp>“But the film has a wild card up its sleeve — the old disco hit “Gloria” which arrives when we need it most. In the Laura Brannigan English cover, it’s about a woman nobody wants. In the original, written by Umberto Tozzi, it’s positively throbbing with possibilities. The movie is a seesaw between happy and horrible, but it still leaves you wanting to dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/2014/01/24/265353238/middle-aged-and-divorced-gloria-takes-on-life-s-uncertainties\">NPR\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Chilean drama \u003ci>Gloria\u003c/i> is a lovely surprise. Paulina Garcia plays Gloria, 58 years old, middle class, 10 years divorced. We first see her sitting at the bar at a single’s event for older people. She wears big, round glasses like the specs worn by Dustin Hoffman as Dorothy Michaels in \u003ci>Tootsie\u003c/i>. Her aloneness comes through vividly, yet she waits with a kind of equanimity.\u003c/p>\n\u003cp>The music is vintage disco and it seems to keep her buoyant — and the movie buoyant too. It is a lonely life. Her son is emotionally distant, her daughter who teaches yoga, is absorbed in a new relationship with a roving Swede. The streets of Santiago are full of young demonstrators. Her intellectual friends argue nervously about the country’s future.\u003c/p>\n\u003cp>In the flat above her, an unseen man rants into the night, his grasp of reality tenuous. His cat has wandered into Gloria’s apartment — a skeletal, hairless beast that she feeds. Most unsettling. But when Gloria drives through the city, she sings along to pop songs full of hope.\u003c/p>\n\u003cp>Paulina Garcia is well known in Chile as a TV actress, a playwright, and a director. She’s new to me, but now I’ll go see her in anything. What makes her performance so wonderful is how she portrays a state of flux. She is always game, always slightly wary. Never quite sure of her place in the world. The more you get to know her the more fascinating she becomes.\u003c/p>\n\u003cp>And we don’t meet women like Gloria enough in movies. An older man named Rodolfo, played by Sergio Hernandez, fastens onto her. He’s a retired navy man who owns a sort of fun center — paintball games and the like. His passion is hard for Gloria to resist. But there are worrying signs. There’s something pleading in his demeanor. And he’s besieged by calls from his ex-wife and overly dependent grown daughters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When her daughter asks, “Who is this guy, Mom,” the uncertainty on her face is haunting. Damned if she knows. The writer-director Sebastian Lelio wrote “Gloria” for Garcia. In an interview, he said its emotional heart is the bassa nova song “Waters of March,” best known in English in a gorgeous rendition by the late Susannah McCorkle, here sung by Gloria and her friends.\u003c/p>\n\u003cp>The movie, says Lelio, is a cinematic bassa nova — bittersweet, full of difficult themes, but also the poetry of daily life manifest even in silly pop song lyrics. The movie doesn’t lie about its heroine’s dwindling options. Her romantic life is tenuous; her children are gone. Her eyesight is going. It’s rife with disappointments and humiliations, among them a sequence that’s delirious and excruciating in which Gloria gets drunk at a casino.”\u003c/p>\n\u003cp>“But the film has a wild card up its sleeve — the old disco hit “Gloria” which arrives when we need it most. In the Laura Brannigan English cover, it’s about a woman nobody wants. In the original, written by Umberto Tozzi, it’s positively throbbing with possibilities. The movie is a seesaw between happy and horrible, but it still leaves you wanting to dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/2014/01/24/265353238/middle-aged-and-divorced-gloria-takes-on-life-s-uncertainties\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cy Musiker and David Wiegand scout the Bay Area for things to do this coming weekend and turn up founding mothers, feminist dancing, and much more!\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Kronos: Under 30\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 6 – 9, 2014\u003cbr>\nZ Space\u003c/p>\n\u003cp>http://youtu.be/7PQYF4-BbrE\u003c/p>\n\u003cp>For \u003ca href=\"http://zspace.org/guest-shows/kronos-quartet\">tickets and more information\u003c/a>, visit zspace.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">The Seventh Voyage of Sinbad\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 8, 2014\u003cbr>\nBalboa Theatre\u003c/p>\n\u003cp>http://youtu.be/ZMFdVEQcH_0\u003c/p>\n\u003cp>For \u003ca href=\"http://www.cinemasf.com/balboa/\">more information\u003c/a>, visit cinemasf.com/balboa.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">A Midsummer Night’s Dream, Performed by the Hamburg Ballet\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 12 – 13, 2014\u003cbr>\nSF Opera House\u003c/p>\n\u003cp>http://youtu.be/akFrzmuKn6o\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfballet.org/tickets/production/overview/hamburg-2014\">more information\u003c/a>, visit sfballet.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Black Choreographers Festival: Here & Now\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 9 – March 8, 2014\u003cbr>\nVarious Bay Area locations\u003c/p>\n\u003cp>http://youtu.be/vR5VegK4Xyk\u003c/p>\n\u003cp>For \u003ca href=\"http://www.bcfhereandnow.com/\">tickets and more information\u003c/a>, visit bcfhereandnow.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">R. Buckminster Fuller: The History (and Mystery) of the Universe\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 30 – February 23, 2014\u003cbr>\nSan Jose Rep\u003c/p>\n\u003cp>http://youtu.be/AfbdgkziKOg\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sjrep.com/plays/1314/r-buckminster-fuller/media.php\">tickets and more information\u003c/a>, visit sjrep.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Taylor Mac’s HIR\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 29 – February 23, 2014\u003cbr>\nMagic Theatre\u003c/p>\n\u003cp>http://youtu.be/NfcmIPYSy0M\u003c/p>\n\u003cp>For \u003ca href=\"http://magictheatre.org/season/hir\">more information\u003c/a>, visit magictheatre.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Hospitality\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 11, 2014\u003cbr>\nRickshaw Stop\u003c/p>\n\u003cp>http://youtu.be/pdzJs1KBUPQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.mergerecords.com/hospitality\">tickets and more information\u003c/a>, visit mergerecords.com.\u003c/p>\n\n",
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Buckminster Fuller: The History (and Mystery) of the Universe\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 30 – February 23, 2014\u003cbr>\nSan Jose Rep\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/AfbdgkziKOg'\n title='//www.youtube.com/embed/AfbdgkziKOg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://www.sjrep.com/plays/1314/r-buckminster-fuller/media.php\">tickets and more information\u003c/a>, visit sjrep.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Taylor Mac’s HIR\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 29 – February 23, 2014\u003cbr>\nMagic Theatre\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/NfcmIPYSy0M'\n title='//www.youtube.com/embed/NfcmIPYSy0M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://magictheatre.org/season/hir\">more information\u003c/a>, visit magictheatre.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Hospitality\u003c/span>\u003c/b>\u003c/p>\n\u003cp>February 11, 2014\u003cbr>\nRickshaw Stop\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pdzJs1KBUPQ'\n title='//www.youtube.com/embed/pdzJs1KBUPQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.mergerecords.com/hospitality\">tickets and more information\u003c/a>, visit mergerecords.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fools for Love: 5 to Watch",
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"content": "\u003cp>Valentine’s Month in San Francisco should be less inhibited than anywhere else in the country. We have a reputation to uphold, after all. So the normally innocuous phrase “date movie” necessarily must take on a different meaning, sans innocence. Infuse it with inuendo and suggestiveness, and when the lights go down, whisper sweet nothings in his or her ear. These films will do the rest.\u003c/p>\n\u003cp>With a lineup deviously strewn with half-demented fictions and outré visions, S.F. Indiefest (Feb 6-20, 2014 at the Roxie) is a magnet for adventurous lovebirds and existential slackers. Pick your rose-red poison from a bouquet of singular works. Here are two exceptionally seductive lookers. \u003ci>Cheatin’\u003c/i> (Feb. 7 and 11 at the Roxie, Feb. 17 at the New Parkway) finds the wildly imaginative animator Bill Plympton applying his puckish worldview to a love story jump-started by a minor car accident. Sparks fly, desires ignite and, eventually, the green-eyed monster makes an appearance. \u003ci>Loveless Zoritsa\u003c/i> (Feb. 9 and 11 at the Roxie) is a dark-haired sorceress who inflames passions in a Serbian village: Anyone who falls for her meets an untimely demise, while everyone else thinks she’s a witch or worse. When a cop arrives to investigate, black comedy and romance square off in a heartfelt battle. For \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\">more information\u003c/a> visit sfindie.com.\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/zoritsa.jpg\" width=\"500\" height=\"329\" alt=\"Loveless Zoritsa\" class>\u003cfigcaption class=\"wp-caption-text\">Loveless Zoritsa\u003c/figcaption>\u003c/figure>\n\u003cp>Experimental film revels in the nonlinear, poetic and abstract. Love is illogical. See the connection? Open your mind — and someone else’s — at the second ASKEW Film and Performance Festival at Yerba Bunea Center for the Arts. The three-night extravaganza, curated by Madison Young under the auspices of Femina Potens Art Gallery’s Live Art Movement, draws on a range of art forms (film, dance, song, etc.) to rebuke, reject and revoke conventional views of conformity, gender and sexuality. Each program is different, and it’s mighty hard to choose among We All Live Here: Primal Expressionism (Feb 6), Breaking Stones: Defining New Roles of Masculinity (Feb 7) and The Sacred and the Profane (Feb 8), the one most germane to this month’s theme. Feel lucky? You should. For \u003ca href=\"http://www.ybca.org/femina-potens\">more information\u003c/a> visit ybca.org.\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/leweekend.jpg\" width=\"500\" height=\"333\" alt=\"Le Week-end\" class>\u003cfigcaption class=\"wp-caption-text\">Le Week-end\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Le Week-end\u003c/i>, Roger Michell’s wise and enthralling portrait of an English couple marking and occasionally celebrating their 30th anniversary on a sojourn to Paris, asks us to consider the numerous things that familiarity breeds. The opening night selection (Feb 13 at the Jewish Community Center) of the annual Mostly British Film Festival (running through Feb 20 at the Vogue, and Feb 18-20 at the Smith Rafael Film Center) stars the criminally underappreciated Jim Broadbent opposite Lindsay Duncan. It’s hard to imagine any of the pretty young things dipping and darting through \u003ci>Love Me ‘Till Monday\u003c/i> (Feb 14) sticking with a partner for three decades, which doesn’t make Justin Hardy’s debut feature any less juicy a Valentine’s Day treat. For \u003ca href=\"http://mostlybritish.org/\">more information\u003c/a> visit mostlybritish.org. If you prefer your romantic and emotional climaxes in 90 seconds or less, you’re already a fan of the annual British Arrow Awards (Feb 13-20 at Yerba Buena Center for the Arts) saluting the best ads of the year from across the pond. Or do you say adverts? For \u003ca href=\"http://www.ybca.org/british-arrows\">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://a.s.kqed.net/img/arts/blog/colorpurple.jpg\" width=\"500\" height=\"281\" alt=\"The Color Purple\" class>\u003cfigcaption class=\"wp-caption-text\">The Color Purple\u003c/figcaption>\u003c/figure>\n\u003cp>What’s the hottest color? There are multiple answers at the Castro in February. Marc Huestis choreographs a Valentine’s Day homage with Academy Award-nominated actress Margaret Avery (Shug) dishing the goods onstage before \u003ci>The Color Purple\u003c/i>. Filmmaker Pratibha Parmar joins in the festivities with a chunk of her new documentary, \u003ci>Alice Walker: Beauty in Truth\u003c/i>. If, by some bizarre circumstance, you need help getting in the mood, the intense French (do I repeat myself?) relationship drama \u003ci>Blue Is the Warmest Color\u003c/i> plays Feb 3. And if you detest Valentine’s Day above all other holidays, Wednesdays provide a stiff antidote with Coen Brothers Abridged (Feb 12, 19, 26). Love is in desperately short supply in this mini-retrospective. For \u003ca href=\"www.castrotheatre.com/coming-soon.html\">more information\u003c/a> visit castrotheatre.com.\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/hump.jpg\" width=\"500\" height=\"334\" alt=\"Hump!\" class>\u003cfigcaption class=\"wp-caption-text\">Hump!\u003c/figcaption>\u003c/figure>\n\u003cp>Five minutes is enough time to — whoa! Is that all you think about? I was going to say construct a potent and satisfying short story on film (or digital video, more likely). 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Month in San Francisco should be less inhibited than anywhere else in the country. We have a reputation to uphold, after all. So the normally innocuous phrase “date movie” necessarily must take on a different meaning, sans innocence. Infuse it with inuendo and suggestiveness, and when the lights go down, whisper sweet nothings in his or her ear. These films will do the rest.\u003c/p>\n\u003cp>With a lineup deviously strewn with half-demented fictions and outré visions, S.F. Indiefest (Feb 6-20, 2014 at the Roxie) is a magnet for adventurous lovebirds and existential slackers. Pick your rose-red poison from a bouquet of singular works. Here are two exceptionally seductive lookers. \u003ci>Cheatin’\u003c/i> (Feb. 7 and 11 at the Roxie, Feb. 17 at the New Parkway) finds the wildly imaginative animator Bill Plympton applying his puckish worldview to a love story jump-started by a minor car accident. Sparks fly, desires ignite and, eventually, the green-eyed monster makes an appearance. \u003ci>Loveless Zoritsa\u003c/i> (Feb. 9 and 11 at the Roxie) is a dark-haired sorceress who inflames passions in a Serbian village: Anyone who falls for her meets an untimely demise, while everyone else thinks she’s a witch or worse. When a cop arrives to investigate, black comedy and romance square off in a heartfelt battle. For \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\">more information\u003c/a> visit sfindie.com.\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/zoritsa.jpg\" width=\"500\" height=\"329\" alt=\"Loveless Zoritsa\" class>\u003cfigcaption class=\"wp-caption-text\">Loveless Zoritsa\u003c/figcaption>\u003c/figure>\n\u003cp>Experimental film revels in the nonlinear, poetic and abstract. Love is illogical. See the connection? Open your mind — and someone else’s — at the second ASKEW Film and Performance Festival at Yerba Bunea Center for the Arts. The three-night extravaganza, curated by Madison Young under the auspices of Femina Potens Art Gallery’s Live Art Movement, draws on a range of art forms (film, dance, song, etc.) to rebuke, reject and revoke conventional views of conformity, gender and sexuality. Each program is different, and it’s mighty hard to choose among We All Live Here: Primal Expressionism (Feb 6), Breaking Stones: Defining New Roles of Masculinity (Feb 7) and The Sacred and the Profane (Feb 8), the one most germane to this month’s theme. Feel lucky? You should. For \u003ca href=\"http://www.ybca.org/femina-potens\">more information\u003c/a> visit ybca.org.\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/leweekend.jpg\" width=\"500\" height=\"333\" alt=\"Le Week-end\" class>\u003cfigcaption class=\"wp-caption-text\">Le Week-end\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Le Week-end\u003c/i>, Roger Michell’s wise and enthralling portrait of an English couple marking and occasionally celebrating their 30th anniversary on a sojourn to Paris, asks us to consider the numerous things that familiarity breeds. The opening night selection (Feb 13 at the Jewish Community Center) of the annual Mostly British Film Festival (running through Feb 20 at the Vogue, and Feb 18-20 at the Smith Rafael Film Center) stars the criminally underappreciated Jim Broadbent opposite Lindsay Duncan. It’s hard to imagine any of the pretty young things dipping and darting through \u003ci>Love Me ‘Till Monday\u003c/i> (Feb 14) sticking with a partner for three decades, which doesn’t make Justin Hardy’s debut feature any less juicy a Valentine’s Day treat. For \u003ca href=\"http://mostlybritish.org/\">more information\u003c/a> visit mostlybritish.org. If you prefer your romantic and emotional climaxes in 90 seconds or less, you’re already a fan of the annual British Arrow Awards (Feb 13-20 at Yerba Buena Center for the Arts) saluting the best ads of the year from across the pond. Or do you say adverts? For \u003ca href=\"http://www.ybca.org/british-arrows\">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://a.s.kqed.net/img/arts/blog/colorpurple.jpg\" width=\"500\" height=\"281\" alt=\"The Color Purple\" class>\u003cfigcaption class=\"wp-caption-text\">The Color Purple\u003c/figcaption>\u003c/figure>\n\u003cp>What’s the hottest color? There are multiple answers at the Castro in February. Marc Huestis choreographs a Valentine’s Day homage with Academy Award-nominated actress Margaret Avery (Shug) dishing the goods onstage before \u003ci>The Color Purple\u003c/i>. Filmmaker Pratibha Parmar joins in the festivities with a chunk of her new documentary, \u003ci>Alice Walker: Beauty in Truth\u003c/i>. If, by some bizarre circumstance, you need help getting in the mood, the intense French (do I repeat myself?) relationship drama \u003ci>Blue Is the Warmest Color\u003c/i> plays Feb 3. And if you detest Valentine’s Day above all other holidays, Wednesdays provide a stiff antidote with Coen Brothers Abridged (Feb 12, 19, 26). Love is in desperately short supply in this mini-retrospective. For \u003ca href=\"www.castrotheatre.com/coming-soon.html\">more information\u003c/a> visit castrotheatre.com.\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/hump.jpg\" width=\"500\" height=\"334\" alt=\"Hump!\" class>\u003cfigcaption class=\"wp-caption-text\">Hump!\u003c/figcaption>\u003c/figure>\n\u003cp>Five minutes is enough time to — whoa! Is that all you think about? I was going to say construct a potent and satisfying short story on film (or digital video, more likely). If the subject matter happens to be sex, well, odds are we’re referring to the Hump! Tour. Curated by the proudly subversive advice columnist Dan Savage from a starburst of entries from regular folks in the Pacific Northwest, the 15 short films on view (seven shows spread across Feb 28 and Mar 1 at the Roxie) cover the SGLBT waterfront. (S is for straight, don’t you know.) What may sound like catnip for voyeurs is likely, at some point, to turn into embarrassed or amused self-recognition. Go with someone you want to love. For \u003ca href=\"http://www.roxie.com/ai1ec_event/hump-tour/?instance_id=520\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Valentine’s Month in San Francisco should be less inhibited than anywhere else in the country. We have a reputation to uphold, after all. So the normally innocuous phrase “date movie” necessarily must take on a different meaning, sans innocence. Infuse it with inuendo and suggestiveness, and when the lights go down, whisper sweet nothings in his or her ear. These films will do the rest.\u003c/p>\n\u003cp>With a lineup deviously strewn with half-demented fictions and outré visions, S.F. Indiefest (Feb 6-20, 2014 at the Roxie) is a magnet for adventurous lovebirds and existential slackers. Pick your rose-red poison from a bouquet of singular works. Here are two exceptionally seductive lookers. \u003ci>Cheatin’\u003c/i> (Feb. 7 and 11 at the Roxie, Feb. 17 at the New Parkway) finds the wildly imaginative animator Bill Plympton applying his puckish worldview to a love story jump-started by a minor car accident. Sparks fly, desires ignite and, eventually, the green-eyed monster makes an appearance. \u003ci>Loveless Zoritsa\u003c/i> (Feb. 9 and 11 at the Roxie) is a dark-haired sorceress who inflames passions in a Serbian village: Anyone who falls for her meets an untimely demise, while everyone else thinks she’s a witch or worse. When a cop arrives to investigate, black comedy and romance square off in a heartfelt battle. For \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\">more information\u003c/a> visit sfindie.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zoritsa.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Loveless Zoritsa\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Experimental film revels in the nonlinear, poetic and abstract. Love is illogical. See the connection? Open your mind — and someone else’s — at the second ASKEW Film and Performance Festival at Yerba Bunea Center for the Arts. The three-night extravaganza, curated by Madison Young under the auspices of Femina Potens Art Gallery’s Live Art Movement, draws on a range of art forms (film, dance, song, etc.) to rebuke, reject and revoke conventional views of conformity, gender and sexuality. Each program is different, and it’s mighty hard to choose among We All Live Here: Primal Expressionism (Feb 6), Breaking Stones: Defining New Roles of Masculinity (Feb 7) and The Sacred and the Profane (Feb 8), the one most germane to this month’s theme. Feel lucky? You should. For \u003ca href=\"http://www.ybca.org/femina-potens\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/leweekend.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Le Week-end\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003ci>Le Week-end\u003c/i>, Roger Michell’s wise and enthralling portrait of an English couple marking and occasionally celebrating their 30th anniversary on a sojourn to Paris, asks us to consider the numerous things that familiarity breeds. The opening night selection (Feb 13 at the Jewish Community Center) of the annual Mostly British Film Festival (running through Feb 20 at the Vogue, and Feb 18-20 at the Smith Rafael Film Center) stars the criminally underappreciated Jim Broadbent opposite Lindsay Duncan. It’s hard to imagine any of the pretty young things dipping and darting through \u003ci>Love Me ‘Till Monday\u003c/i> (Feb 14) sticking with a partner for three decades, which doesn’t make Justin Hardy’s debut feature any less juicy a Valentine’s Day treat. For \u003ca href=\"http://mostlybritish.org/\">more information\u003c/a> visit mostlybritish.org. If you prefer your romantic and emotional climaxes in 90 seconds or less, you’re already a fan of the annual British Arrow Awards (Feb 13-20 at Yerba Buena Center for the Arts) saluting the best ads of the year from across the pond. Or do you say adverts? For \u003ca href=\"http://www.ybca.org/british-arrows\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colorpurple.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>The Color Purple\u003c/i>\u003cbr>\u003c/center>\n\u003cp>What’s the hottest color? There are multiple answers at the Castro in February. Marc Huestis choreographs a Valentine’s Day homage with Academy Award-nominated actress Margaret Avery (Shug) dishing the goods onstage before \u003ci>The Color Purple\u003c/i>. Filmmaker Pratibha Parmar joins in the festivities with a chunk of her new documentary, \u003ci>Alice Walker: Beauty in Truth\u003c/i>. If, by some bizarre circumstance, you need help getting in the mood, the intense French (do I repeat myself?) relationship drama \u003ci>Blue Is the Warmest Color\u003c/i> plays Feb 3. And if you detest Valentine’s Day above all other holidays, Wednesdays provide a stiff antidote with Coen Brothers Abridged (Feb 12, 19, 26). Love is in desperately short supply in this mini-retrospective. For \u003ca href=\"www.castrotheatre.com/coming-soon.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hump.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Hump!\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Five minutes is enough time to — whoa! Is that all you think about? I was going to say construct a potent and satisfying short story on film (or digital video, more likely). If the subject matter happens to be sex, well, odds are we’re referring to the Hump! Tour. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Month in San Francisco should be less inhibited than anywhere else in the country. We have a reputation to uphold, after all. So the normally innocuous phrase “date movie” necessarily must take on a different meaning, sans innocence. Infuse it with inuendo and suggestiveness, and when the lights go down, whisper sweet nothings in his or her ear. These films will do the rest.\u003c/p>\n\u003cp>With a lineup deviously strewn with half-demented fictions and outré visions, S.F. Indiefest (Feb 6-20, 2014 at the Roxie) is a magnet for adventurous lovebirds and existential slackers. Pick your rose-red poison from a bouquet of singular works. Here are two exceptionally seductive lookers. \u003ci>Cheatin’\u003c/i> (Feb. 7 and 11 at the Roxie, Feb. 17 at the New Parkway) finds the wildly imaginative animator Bill Plympton applying his puckish worldview to a love story jump-started by a minor car accident. Sparks fly, desires ignite and, eventually, the green-eyed monster makes an appearance. \u003ci>Loveless Zoritsa\u003c/i> (Feb. 9 and 11 at the Roxie) is a dark-haired sorceress who inflames passions in a Serbian village: Anyone who falls for her meets an untimely demise, while everyone else thinks she’s a witch or worse. When a cop arrives to investigate, black comedy and romance square off in a heartfelt battle. For \u003ca href=\"http://sfindie.com/festivals/sf-indiefest/\">more information\u003c/a> visit sfindie.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zoritsa.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Loveless Zoritsa\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Experimental film revels in the nonlinear, poetic and abstract. Love is illogical. See the connection? Open your mind — and someone else’s — at the second ASKEW Film and Performance Festival at Yerba Bunea Center for the Arts. The three-night extravaganza, curated by Madison Young under the auspices of Femina Potens Art Gallery’s Live Art Movement, draws on a range of art forms (film, dance, song, etc.) to rebuke, reject and revoke conventional views of conformity, gender and sexuality. Each program is different, and it’s mighty hard to choose among We All Live Here: Primal Expressionism (Feb 6), Breaking Stones: Defining New Roles of Masculinity (Feb 7) and The Sacred and the Profane (Feb 8), the one most germane to this month’s theme. Feel lucky? You should. For \u003ca href=\"http://www.ybca.org/femina-potens\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/leweekend.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Le Week-end\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003ci>Le Week-end\u003c/i>, Roger Michell’s wise and enthralling portrait of an English couple marking and occasionally celebrating their 30th anniversary on a sojourn to Paris, asks us to consider the numerous things that familiarity breeds. The opening night selection (Feb 13 at the Jewish Community Center) of the annual Mostly British Film Festival (running through Feb 20 at the Vogue, and Feb 18-20 at the Smith Rafael Film Center) stars the criminally underappreciated Jim Broadbent opposite Lindsay Duncan. It’s hard to imagine any of the pretty young things dipping and darting through \u003ci>Love Me ‘Till Monday\u003c/i> (Feb 14) sticking with a partner for three decades, which doesn’t make Justin Hardy’s debut feature any less juicy a Valentine’s Day treat. For \u003ca href=\"http://mostlybritish.org/\">more information\u003c/a> visit mostlybritish.org. If you prefer your romantic and emotional climaxes in 90 seconds or less, you’re already a fan of the annual British Arrow Awards (Feb 13-20 at Yerba Buena Center for the Arts) saluting the best ads of the year from across the pond. Or do you say adverts? For \u003ca href=\"http://www.ybca.org/british-arrows\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actor Philip Seymour Hoffman, who won a best actor Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>, was reportedly dead in his Manhattan apartment at the age of 46.\u003c/p>\n\u003cp>Multiple media outlets have reported, quoting unnamed law enforcement officials, say \u003ca href=\"http://www.nytimes.com/2014/02/03/movies/philip-seymour-hoffman-actor-dies-at-46.html?hp\">the suspected cause of death is a drug overdose\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://online.wsj.com/news/articles/SB10001424052702304626804579358943360702878?mod=WSJ_hp_LEFTTopStories%20\">\u003ci>The Wall Street Journal\u003c/i> reports\u003c/a> that the New York Police Department and the Office of the Chief Medical Examiner are investigating to determine a cause of death. The newspaper quotes a police official as saying the actor was found dead at his apartment in the West Village neighborhood of Manhattan.\u003c/p>\n\u003cp>Hoffman’s first role was as a defendant in a 1991 episode of \u003ci>Law & Order\u003c/i>, he went on to appear in films \u003ci>Twister\u003c/i> (1996), \u003ci>Boogie Nights\u003c/i> (1997) and \u003ci>The Big Lebowski\u003c/i> (1998). He was nominated for a best supporting actor Oscar for the 2007 film \u003ci>Charlie Wilson’s War\u003c/i> and was in the process of filming a sequel to \u003ci>The Hunger Games\u003c/i>.\u003c/p>\n\u003cp>In a 2012 interview with \u003ca href=\"http://www.npr.org/2012/04/12/150305122/philip-seymour-hoffman-broadways-new-salesman\">NPR’s \u003ci>Morning Edition\u003c/i>\u003c/a>, Hoffman, who was then appearing on Broadway in the lead role of Willy Loman in Arthur Miller’s \u003ci>Death of a Salesman\u003c/i>, said it is a play that provokes thinking on all aspects of life, including family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It really seeps into why we’re here,” Hoffman told host Steve Inskeep. “What are we doing, family, work, friends, hopes, dreams, careers, what’s happiness, what’s success, what does it mean, is it important, how do you get it?”\u003c/p>\n\u003cp>In 2009, he told \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=100888309\">\u003ci>Fresh Air\u003c/i>\u003c/a> that acting is a bit like athletics.\u003c/p>\n\u003cp>“What it takes to be a great athlete is the same thing that it takes to be a great actor,” says Hoffman. “… that kind of concentration, that kind of privacy in public and that kind of unselfconscious kind of experience are very similar.”\u003c/p>\n\u003cp>\u003ca href=\"http://international.nytimes.com/\">\u003ci>The New York Times\u003c/i>\u003c/a> says:\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Hoffman continued to solidify his status as one of his generation’s finest actors in 2008 with two very different roles. By choosing to play the lead in Charlie Kaufmann’s directorial debut \u003ci>Synecdoche, New York\u003c/i>, Hoffman again displayed his fearlessness, as well as his desire to work with the very best writers and directors he can find. That willfully difficult film never connected with mainstream audiences, but that was not true at all for Hoffman’s other picture of 2008, \u003ci>Doubt\u003c/i>. John Patrick Shanley’s cinematic adaptation of his own award-winning play earned acting nominations for Hoffman and his three costars (Meryl Streep, Amy Adams, and Viola Davis) from both the Screen Actors Guild, and the Academy.”\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Over the following years, Hoffman would continue to appear in a variety of interesting films, like \u003ci>Pirate Radio\u003c/i>, \u003ci>The Ides of March\u003c/i>, and \u003ci>Moneyball\u003c/i>. In 2012 he again collaborated with Paul Thomas Anderson, playing a cult leader in the drama \u003ci>The Master\u003c/i> opposite Joaquin Phoenix. For his work in that movie, Hoffman got a Best Supporting Actor nomination from both the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences.”\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/wsj-report-philip-seymour-hoffman-found-dead-in-new-york-1201082934/\">\u003ci>Variety\u003c/i>\u003c/a> notes that last year Hoffman “completed a 10-day substance abuse program for heroin. The actor later revealed that he had been addicted to the drug when he was younger but had been clean for over 20 years.”\u003c/p>\n\u003cp>\u003ci>The Times\u003c/i> says Hoffman has spoken in interviews about “falling off the wagon” last year after staying clean for 23 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/02/02/270599816/philip-seymour-hoffman-oscar-winner-found-dead-at-46\">NPR\u003c/a>\u003c/p>\n\n",
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"excerpt": "Citing law enforcement officials, multiple news outlets report that Hoffman was found dead in his New York apartment Sunday. The acclaimed actor won an Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Philip Seymour Hoffman, who won a best actor Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>, was reportedly dead in his Manhattan apartment at the age of 46.\u003c/p>\n\u003cp>Multiple media outlets have reported, quoting unnamed law enforcement officials, say \u003ca href=\"http://www.nytimes.com/2014/02/03/movies/philip-seymour-hoffman-actor-dies-at-46.html?hp\">the suspected cause of death is a drug overdose\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://online.wsj.com/news/articles/SB10001424052702304626804579358943360702878?mod=WSJ_hp_LEFTTopStories%20\">\u003ci>The Wall Street Journal\u003c/i> reports\u003c/a> that the New York Police Department and the Office of the Chief Medical Examiner are investigating to determine a cause of death. The newspaper quotes a police official as saying the actor was found dead at his apartment in the West Village neighborhood of Manhattan.\u003c/p>\n\u003cp>Hoffman’s first role was as a defendant in a 1991 episode of \u003ci>Law & Order\u003c/i>, he went on to appear in films \u003ci>Twister\u003c/i> (1996), \u003ci>Boogie Nights\u003c/i> (1997) and \u003ci>The Big Lebowski\u003c/i> (1998). He was nominated for a best supporting actor Oscar for the 2007 film \u003ci>Charlie Wilson’s War\u003c/i> and was in the process of filming a sequel to \u003ci>The Hunger Games\u003c/i>.\u003c/p>\n\u003cp>In a 2012 interview with \u003ca href=\"http://www.npr.org/2012/04/12/150305122/philip-seymour-hoffman-broadways-new-salesman\">NPR’s \u003ci>Morning Edition\u003c/i>\u003c/a>, Hoffman, who was then appearing on Broadway in the lead role of Willy Loman in Arthur Miller’s \u003ci>Death of a Salesman\u003c/i>, said it is a play that provokes thinking on all aspects of life, including family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It really seeps into why we’re here,” Hoffman told host Steve Inskeep. “What are we doing, family, work, friends, hopes, dreams, careers, what’s happiness, what’s success, what does it mean, is it important, how do you get it?”\u003c/p>\n\u003cp>In 2009, he told \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=100888309\">\u003ci>Fresh Air\u003c/i>\u003c/a> that acting is a bit like athletics.\u003c/p>\n\u003cp>“What it takes to be a great athlete is the same thing that it takes to be a great actor,” says Hoffman. “… that kind of concentration, that kind of privacy in public and that kind of unselfconscious kind of experience are very similar.”\u003c/p>\n\u003cp>\u003ca href=\"http://international.nytimes.com/\">\u003ci>The New York Times\u003c/i>\u003c/a> says:\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Hoffman continued to solidify his status as one of his generation’s finest actors in 2008 with two very different roles. By choosing to play the lead in Charlie Kaufmann’s directorial debut \u003ci>Synecdoche, New York\u003c/i>, Hoffman again displayed his fearlessness, as well as his desire to work with the very best writers and directors he can find. That willfully difficult film never connected with mainstream audiences, but that was not true at all for Hoffman’s other picture of 2008, \u003ci>Doubt\u003c/i>. John Patrick Shanley’s cinematic adaptation of his own award-winning play earned acting nominations for Hoffman and his three costars (Meryl Streep, Amy Adams, and Viola Davis) from both the Screen Actors Guild, and the Academy.”\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Over the following years, Hoffman would continue to appear in a variety of interesting films, like \u003ci>Pirate Radio\u003c/i>, \u003ci>The Ides of March\u003c/i>, and \u003ci>Moneyball\u003c/i>. In 2012 he again collaborated with Paul Thomas Anderson, playing a cult leader in the drama \u003ci>The Master\u003c/i> opposite Joaquin Phoenix. For his work in that movie, Hoffman got a Best Supporting Actor nomination from both the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences.”\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/wsj-report-philip-seymour-hoffman-found-dead-in-new-york-1201082934/\">\u003ci>Variety\u003c/i>\u003c/a> notes that last year Hoffman “completed a 10-day substance abuse program for heroin. The actor later revealed that he had been addicted to the drug when he was younger but had been clean for over 20 years.”\u003c/p>\n\u003cp>\u003ci>The Times\u003c/i> says Hoffman has spoken in interviews about “falling off the wagon” last year after staying clean for 23 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/02/02/270599816/philip-seymour-hoffman-oscar-winner-found-dead-at-46\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So here’s the setup: It’s 1987. Frank, a convicted murderer, has escaped from a New Hampshire prison, and he’s holding Adele, a fragile divorcee, and her 12-year-old son, Henry, captive in their own house until they eat his chili.\u003c/p>\n\u003cp>Turns out it’s good chili — so good that it inspires Adele, whom the handsome convict has tied up very gently and tenderly, to reminisce about a conversation she and her son had about his sex education class. Seriously, it’s some good chili. And did I mention that Frank is handsome?\u003c/p>\n\u003cp>Later, Adele will free herself, and Frank — who must’ve been a big help around the prison — will start doing household chores. Changing the oil in the car, replacing the filter on the furnace, washing the floor and waxing it, teaching Henry (whom he calls Hank) to throw a baseball.\u003c/p>\n\u003cp>All of which is nothing next to what happens when a neighbor leaves a brimming bushel basket at their door. Soon he and Henry and Adele are all plunging hands into a big bowl of cut peaches — massaging them into submission, I guess.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=QOQL3Xi8dPE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At which point Frank says, “What I want to talk about is crust,” and there’s another montage of hands smushing sugar, flour and butter. Dough is rolled and piled high with filling, with half reserved for the moment when Frank guides Adele’s hands toward the pie plate and together, they, in his words, “put the roof on this house.”\u003c/p>\n\u003cp>At this point, Tobey Maguire — who appears in the film only as the voice of an adult Henry — tells us that Adele’s “hands started shaking beyond her control.”\u003c/p>\n\u003cp>And who could blame them? Hilarious, right? Except the movie is entirely straight-faced. I kept thinking, “The guy who made \u003cem>Juno\u003c/em> made this? The guy who made \u003cem>Up in the Air\u003c/em>?” It’s the sort of overcooked melodrama that used to be called a “woman’s picture,” though no one would call it that now for fear of insulting women.\u003c/p>\n\u003cp>Kate Winslet trembles vulnerably as Josh Brolin does the studly perfection thing, making it seem that all any woman really needs around the house is a convicted murderer. The filming is as polished as you’d expect from Jason Reitman, and parts of the picture are reasonably suspenseful. (Mostly that’s because the music keeps having conniptions every time Brolin comes into a room, but also because kidnapping stories rarely work out well.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Labor Day\u003c/em> may be filled with autumn’s falling leaves, but it makes sense that they’re bringing it out as a prelude to spring, for the sap — and I do mean sap — is rising. \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=At+Home%2C+With+Mom+And+Her+Murderous+Beau&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At which point Frank says, “What I want to talk about is crust,” and there’s another montage of hands smushing sugar, flour and butter. Dough is rolled and piled high with filling, with half reserved for the moment when Frank guides Adele’s hands toward the pie plate and together, they, in his words, “put the roof on this house.”\u003c/p>\n\u003cp>At this point, Tobey Maguire — who appears in the film only as the voice of an adult Henry — tells us that Adele’s “hands started shaking beyond her control.”\u003c/p>\n\u003cp>And who could blame them? Hilarious, right? Except the movie is entirely straight-faced. I kept thinking, “The guy who made \u003cem>Juno\u003c/em> made this? The guy who made \u003cem>Up in the Air\u003c/em>?” It’s the sort of overcooked melodrama that used to be called a “woman’s picture,” though no one would call it that now for fear of insulting women.\u003c/p>\n\u003cp>Kate Winslet trembles vulnerably as Josh Brolin does the studly perfection thing, making it seem that all any woman really needs around the house is a convicted murderer. The filming is as polished as you’d expect from Jason Reitman, and parts of the picture are reasonably suspenseful. (Mostly that’s because the music keeps having conniptions every time Brolin comes into a room, but also because kidnapping stories rarely work out well.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Labor Day\u003c/em> may be filled with autumn’s falling leaves, but it makes sense that they’re bringing it out as a prelude to spring, for the sap — and I do mean sap — is rising. \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=At+Home%2C+With+Mom+And+Her+Murderous+Beau&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "3 Documentaries That Will Change Your Life",
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"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/01/21/documentaries-that-will-change-your-life-blackfish-dirty-wars-blood-brother/doc/\" rel=\"attachment wp-att-10720\">\u003cimg class=\"aligncenter size-full wp-image-10720\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/doc.jpg\" alt=\"doc\" width=\"500\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It's awards season, which means we've been hit over the head with talk of the same movies ad nauseum for months. There's only so much you can discuss the wigs of \u003cem>American Hustle\u003c/em>. So let's take a break from all of that and talk about the most under-appreciated film category, the documentary. Here are a few that changed the lives of some KQED Pop writers this year.\u003c/p>\n\u003cp>Jeremy Scahill's \u003ca href=\"http://www.huffingtonpost.com/2014/01/16/jeremy-scahill-oscar_n_4609315.html\">Oscar nominated\u003c/a> documentary \u003cem>\u003ca href=\"http://dirtywars.org/\">Dirty Wars\u003c/a>\u003c/em>, directed by Rick Rowly, will be at \u003ca href=\"http://www.castrotheatre.com/\">The Castro Theatre\u003c/a> tonight at 5:05pm and 9:30pm. Based on Scahill's book by the same name, this film is smart, brave, profoundly empathetic and utterly devastating. Scahill, an investigative journalist known for his reporting for \u003ca href=\"http://www.thenation.com/authors/jeremy-scahill\">The Nation\u003c/a> and his book \u003cem>Blackwater: The Rise and Fall of the World's Most Powerful Mercenary Army\u003c/em>, is willing to travel places few (or no) other journalist will go, and the resulting information is the brutal and shocking truth you wish wasn't really true. He talks to Somalian warlords funded by the United States government, the father of a \u003ca href=\"http://www.thenation.com/article/173980/inside-americas-dirty-wars?page=full#\">U.S. citizen killed in a drone strike\u003c/a>, and an anonymous informant from the Joint Special Operations Command, painting a horrifying portrait of the covert wars happening all over the world, not just in the places where we think they are.\u003c/p>\n\u003cp>\u003cem>Dirty Wars\u003c/em> has already won the \u003ca href=\"http://www.sundance.org/festival/stories/award-winners/\">Cinematography Award\u003c/a> at Sundance, and I can see why; it has the compelling artistry often designated for fiction, and the writing has none of the cheesy voice-over that sometimes takes down even the best of documentaries. Scahill is clearly ferocious (in a good way), committed and just a little bit reckless. Next up, he is rumored to be working with \u003ca href=\"http://www.rollingstone.com/politics/news/snowden-and-greenwald-the-men-who-leaked-the-secrets-20131204\">Glen Greenwald\u003c/a> and \u003ca href=\"http://www.nytimes.com/2013/08/18/magazine/laura-poitras-snowden.html?pagewanted=all&_r=0\">Laura Poitrus\u003c/a> on a \u003ca href=\"http://www.huffingtonpost.com/2013/10/16/glen-greenwald-media_n_4107289.html\">new project\u003c/a> funded by eBay founder Pierre Omidyar, and he can be found tweeting with \u003ca href=\"http://thenewinquiry.com/blogs/dtake/seven-short-stories-about-drones/\">Teju Cole\u003c/a> \u003ca href=\"https://twitter.com/jeremyscahill\">here\u003c/a>. \u003cem>Dirty Wars\u003c/em> is also streaming on Netflix, so you have no excuse to miss it. \u003cem>--Laura Schadler\u003c/em>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=AE8mmV8eg3Y]\u003c/p>\n\u003cp>Last night, while surfing through the endless amount of reality/non-HBO television, I happened upon a documentary titled \u003cem>Blood Brother\u003c/em>, the ninth episode in (coincidentally!) PBS's \u003cem>Independent Lens\u003c/em> series. I read the premise quickly and the main subject was a graphic designer, Rocky Braat, who moves to India to care for children and women affected by HIV. I had never heard of this film and went into it with no expectations, thinking I might even just turn the channel. And then the story unfolded and it turned out to be one of the most compelling and inspirational things I've seen on television perhaps in my 30 years on Earth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a nutshell, Rocky leaves America for India and becomes part of a small village in Chennai. The children look up to him as they might a big brother. He cares for them and they care for him. One might read this and think of it as another tale of a First World-er attempting to fix the Third, but this is not one of those tales. Rocky is a young man whose heart is so full and so genuine that he will have you questioning and redefining love and what it means to be human. So much more than a film like \u003cem>Her\u003c/em> ever could.\u003c/p>\n\u003cp>We've heard time and time again how television can rot your brain and it's better to pick up a book, but if you find the right shows, or in this case stumble upon them, they can really have an effect on your life. I have a feeling Rocky and the women and children will linger with me for some time and perhaps (hopefully) even encourage me to take some kind of action with some part of my life. It's not just the power of a story, it's the power of a pure story. \u003cem>Blood Brother\u003c/em> will humble you in the sort of way that not much else can. \u003cem>(Blood Brother is playing on KQED Life tonight (January 21, 2014) at 9pm.) --David Aloi\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=8OEjYquyjcg]\u003c/p>\n\u003cp>Documentaries have taught me a lot through the years. \u003cem>Grey Gardens\u003c/em> taught me to own my eccentricities and to have as many cats as I want. \u003cem>Man on Wire\u003c/em> taught me to never take my eye off my dream. \u003cem>The Times of Harvey Milk\u003c/em> taught me to speak up. And \u003cem>Ai Weiwei: Never Sorry\u003c/em> taught me never to shut up. It had been a while since I had \u003ca href=\"http://i4.photobucket.com/albums/y117/overwhelming_hostility/Random%20crap/GIFS/oprah.gif\">an Oprah a-ha moment\u003c/a> because of a documentary. That all changed when I saw \u003cem>Blackfish\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film by director Gabriela Cowperthwaite tells the story of an orca named Tilikum who has killed several trainers due to the stressful conditions of living in captivity at SeaWorld. We learn about whales as a species, how intelligent they are and how intricate their relationships with each other can be. And it asks the question, why is our desire to gawk at these majestic creatures more important than their well-being, and what happens to these animals after we've been splashed and taken our photos and left the theme park? The answers are difficult to hear. But it's essential that we do. It'll make you want to help change the way we treat animals...and even \u003ca href=\"https://31.media.tumblr.com/687916e489f48f284df92d947f1f5d53/tumblr_mzppsa0lUb1qb4m0io1_500.jpg\">photoshop yourself freeing them\u003c/a>. \u003cem>--Emmanuel Hapsis\u003c/em>\u003c/p>\n\n",
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"excerpt": "Here are a few documentaries that changed the lives of some KQED Pop writers this year (not to mention totally ruined their makeup).",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/01/21/documentaries-that-will-change-your-life-blackfish-dirty-wars-blood-brother/doc/\" rel=\"attachment wp-att-10720\">\u003cimg class=\"aligncenter size-full wp-image-10720\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/doc.jpg\" alt=\"doc\" width=\"500\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/doc-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It's awards season, which means we've been hit over the head with talk of the same movies ad nauseum for months. There's only so much you can discuss the wigs of \u003cem>American Hustle\u003c/em>. So let's take a break from all of that and talk about the most under-appreciated film category, the documentary. Here are a few that changed the lives of some KQED Pop writers this year.\u003c/p>\n\u003cp>Jeremy Scahill's \u003ca href=\"http://www.huffingtonpost.com/2014/01/16/jeremy-scahill-oscar_n_4609315.html\">Oscar nominated\u003c/a> documentary \u003cem>\u003ca href=\"http://dirtywars.org/\">Dirty Wars\u003c/a>\u003c/em>, directed by Rick Rowly, will be at \u003ca href=\"http://www.castrotheatre.com/\">The Castro Theatre\u003c/a> tonight at 5:05pm and 9:30pm. Based on Scahill's book by the same name, this film is smart, brave, profoundly empathetic and utterly devastating. Scahill, an investigative journalist known for his reporting for \u003ca href=\"http://www.thenation.com/authors/jeremy-scahill\">The Nation\u003c/a> and his book \u003cem>Blackwater: The Rise and Fall of the World's Most Powerful Mercenary Army\u003c/em>, is willing to travel places few (or no) other journalist will go, and the resulting information is the brutal and shocking truth you wish wasn't really true. He talks to Somalian warlords funded by the United States government, the father of a \u003ca href=\"http://www.thenation.com/article/173980/inside-americas-dirty-wars?page=full#\">U.S. citizen killed in a drone strike\u003c/a>, and an anonymous informant from the Joint Special Operations Command, painting a horrifying portrait of the covert wars happening all over the world, not just in the places where we think they are.\u003c/p>\n\u003cp>\u003cem>Dirty Wars\u003c/em> has already won the \u003ca href=\"http://www.sundance.org/festival/stories/award-winners/\">Cinematography Award\u003c/a> at Sundance, and I can see why; it has the compelling artistry often designated for fiction, and the writing has none of the cheesy voice-over that sometimes takes down even the best of documentaries. Scahill is clearly ferocious (in a good way), committed and just a little bit reckless. Next up, he is rumored to be working with \u003ca href=\"http://www.rollingstone.com/politics/news/snowden-and-greenwald-the-men-who-leaked-the-secrets-20131204\">Glen Greenwald\u003c/a> and \u003ca href=\"http://www.nytimes.com/2013/08/18/magazine/laura-poitras-snowden.html?pagewanted=all&_r=0\">Laura Poitrus\u003c/a> on a \u003ca href=\"http://www.huffingtonpost.com/2013/10/16/glen-greenwald-media_n_4107289.html\">new project\u003c/a> funded by eBay founder Pierre Omidyar, and he can be found tweeting with \u003ca href=\"http://thenewinquiry.com/blogs/dtake/seven-short-stories-about-drones/\">Teju Cole\u003c/a> \u003ca href=\"https://twitter.com/jeremyscahill\">here\u003c/a>. \u003cem>Dirty Wars\u003c/em> is also streaming on Netflix, so you have no excuse to miss it. \u003cem>--Laura Schadler\u003c/em>\u003c/p>\n\u003cp>\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/AE8mmV8eg3Y'\n title='//www.youtube.com/embed/AE8mmV8eg3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last night, while surfing through the endless amount of reality/non-HBO television, I happened upon a documentary titled \u003cem>Blood Brother\u003c/em>, the ninth episode in (coincidentally!) PBS's \u003cem>Independent Lens\u003c/em> series. I read the premise quickly and the main subject was a graphic designer, Rocky Braat, who moves to India to care for children and women affected by HIV. I had never heard of this film and went into it with no expectations, thinking I might even just turn the channel. And then the story unfolded and it turned out to be one of the most compelling and inspirational things I've seen on television perhaps in my 30 years on Earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a nutshell, Rocky leaves America for India and becomes part of a small village in Chennai. The children look up to him as they might a big brother. He cares for them and they care for him. One might read this and think of it as another tale of a First World-er attempting to fix the Third, but this is not one of those tales. Rocky is a young man whose heart is so full and so genuine that he will have you questioning and redefining love and what it means to be human. So much more than a film like \u003cem>Her\u003c/em> ever could.\u003c/p>\n\u003cp>We've heard time and time again how television can rot your brain and it's better to pick up a book, but if you find the right shows, or in this case stumble upon them, they can really have an effect on your life. I have a feeling Rocky and the women and children will linger with me for some time and perhaps (hopefully) even encourage me to take some kind of action with some part of my life. It's not just the power of a story, it's the power of a pure story. \u003cem>Blood Brother\u003c/em> will humble you in the sort of way that not much else can. \u003cem>(Blood Brother is playing on KQED Life tonight (January 21, 2014) at 9pm.) --David Aloi\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\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/8OEjYquyjcg'\n title='//www.youtube.com/embed/8OEjYquyjcg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Documentaries have taught me a lot through the years. \u003cem>Grey Gardens\u003c/em> taught me to own my eccentricities and to have as many cats as I want. \u003cem>Man on Wire\u003c/em> taught me to never take my eye off my dream. \u003cem>The Times of Harvey Milk\u003c/em> taught me to speak up. And \u003cem>Ai Weiwei: Never Sorry\u003c/em> taught me never to shut up. It had been a while since I had \u003ca href=\"http://i4.photobucket.com/albums/y117/overwhelming_hostility/Random%20crap/GIFS/oprah.gif\">an Oprah a-ha moment\u003c/a> because of a documentary. That all changed when I saw \u003cem>Blackfish\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film by director Gabriela Cowperthwaite tells the story of an orca named Tilikum who has killed several trainers due to the stressful conditions of living in captivity at SeaWorld. We learn about whales as a species, how intelligent they are and how intricate their relationships with each other can be. And it asks the question, why is our desire to gawk at these majestic creatures more important than their well-being, and what happens to these animals after we've been splashed and taken our photos and left the theme park? The answers are difficult to hear. But it's essential that we do. It'll make you want to help change the way we treat animals...and even \u003ca href=\"https://31.media.tumblr.com/687916e489f48f284df92d947f1f5d53/tumblr_mzppsa0lUb1qb4m0io1_500.jpg\">photoshop yourself freeing them\u003c/a>. \u003cem>--Emmanuel Hapsis\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's an Honor Just To Be Nominated",
"headTitle": "It’s an Honor Just To Be Nominated | KQED",
"content": "\u003cp>It’s not quite a rematch of 1998, when \u003ci>Shakespeare in Love\u003c/i> beat \u003ci>Saving Private Ryan\u003c/i>, but the contest for this year’s Academy Award for Best Picture shapes up as another showdown between campy, costumed entertainment and weighty historical drama.\u003c/p>\n\u003cp>\u003ci>American Hustle\u003c/i>, with 10 nominations overall, and \u003ci>12 Years a Slave\u003c/i> (nominated in seven major categories, including production design and adapted screenplay) face off for the Best Picture Oscar in a clear-cut choice between out-and-out fun and wrenching reality. It wouldn’t be a bit surprising if Academy members sidestepped a difficult decision and simply voted for the cinematic spectacle of the year (and a box-office hit, to boot), \u003ci>Gravity\u003c/i> (which landed safely with 10 nominations altogether).\u003c/p>\n\u003cp>\u003ci>Captain Phillips\u003c/i>, \u003ci>Dallas Buyers Club\u003c/i>, \u003ci>The Wolf of Wall Street\u003c/i>, \u003ci>Philomena\u003c/i>, \u003ci>Nebraska\u003c/i> and \u003ci>Her\u003c/i> round out the field vying for the Best Picture Oscar. The presence of nine nominees (out of a possible maximum of 10), rather than the five that prevailed from 1944 through 2008, spreads out the votes and makes it much harder to predict a winner. It’s even tougher in a year like 2013, with many solid, well-acted films but no masterpieces.\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/o-blue.jpg\" style=\"margin-bottom: 10px;\" alt=\"Cate Blanchett in \u003ci>Blue Jasmine\u003c/i>” />\u003cbr>Cate Blanchett in \u003ci>Blue Jasmine\u003c/i>\u003c/p>\n\u003cp>The acting categories offer plenty to ponder, not least the inability of the Academy to recognize actresses beyond the tiny handful of household names and usual suspects. The Best Actress nominees are Cate Blanchett (ordained as the winner since \u003ci>Blue Jasmine\u003c/i> opened in late July), Sandra Bullock, Judi Dench, Amy Adams (who’s achieved heading-for-a-fall status of seriously overrated between \u003ci>The Master\u003c/i> and \u003ci>American Hustle\u003c/i>) and Meryl Streep (who is technically excellent, as always, in \u003ci>August: Osage County\u003c/i>, but are voters so Pavlovian that they must scribble her name every single year, even for movies that don’t work, in part because of distracting casting?)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-nebraska.jpg\" style=\"margin-bottom: 10px\" alt=\"June Squibb and Bruce Dern in Nebraska\">\u003cbr>June Squibb and Bruce Dern in \u003ci>Nebraska\u003c/i>\u003c/p>\n\u003cp>The Academy did a smidgen of original thinking for Supporting Actress, nominating Lupita Nyong’o (\u003ci>12 Years a Slave\u003c/i>), Sally Hawkins (presumably for holding her own opposite Cate Blanchett) and June Squibb (the heart and anger of \u003ci>Nebraska\u003c/i>) along with now-perennial sweethearts Jennifer Lawrence (\u003ci>American Hustle\u003c/i>) and Julia Roberts (\u003ci>August: Osage County\u003c/i>). Perhaps the voters were generously considering that familiar faces in lavish gowns are an essential element of the Oscar telecast (March 2, 2014), and wanted to be sure we were taken care of.\u003c/p>\n\u003cp>It’s hard to find fault with the nominees for Best Actor, each of whom is worthy of the statuette: Matthew McConaughey (\u003ci>Dallas Buyers Club\u003c/i>), Chiwetel Ejiofor (\u003ci>12 Years a Slave\u003c/i>), Christian Bale (\u003ci>American Hustle\u003c/i>), Bruce Dern (\u003ci>Nebraska\u003c/i>) and Leonardo DiCaprio (\u003ci>The Wolf of Wall Street\u003c/i>).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-dallas.jpg\" style=\"margin-bottom: 10px\" alt=\"Matthew McConaughey and Jared Leto in Dallas Buyers Club\">\u003cbr>Matthew McConaughey and Jared Leto in \u003ci>Dallas Buyers Club\u003c/i>\u003c/p>\n\u003cp>I tab Jared Leto as the favorite in the Supporting Actor category for \u003ci>Dallas Buyers Club\u003c/i> — I choose to believe in the existence of a gay Mafia in Hollywood — although Barkhad Abdi (\u003ci>Captain Phillips\u003c/i>), Bradley Cooper (\u003ci>American Hustle\u003c/i>) and Michael Fassbender (\u003ci>12 Years a Slave\u003c/i>) all have a coterie of fans. Jonah Hill is the lone egregious and undeserving performance in this category, for \u003ci>The Wolf of Wall Street\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Nebraska\u003c/i> is this year’s little indie that could, with a Best Picture nod, two major acting citations and even a nomination for director Alexander Payne (who has no chance, but I’m sure he’s honored if not humbled to be nominated). Some might pick \u003ci>Her\u003c/i> as the underdog of the year, but it boasts the name casting of Joaquin Phoenix and Scarlett Johansson. The question is whether it possesses enough pseudo-hip and quasi-insightful touches to bamboozle older members of the Academy along with the younger ones.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-her.jpg\" style=\"margin-bottom: 10px\" alt=\"Joaquin Phoenix in Her\">\u003cbr>Joaquin Phoenix in \u003ci>Her\u003c/i>\u003c/p>\n\u003cp>The major travesty of the nominations is that the impeccably crafted and painfully funny \u003ci>Inside Llewyn Davis\u003c/i> inexplicably missed the cut in every category except cinematography. It’s worth noting that the Coen brothers don’t do interviews, PR tours and the related schmoozing and glad-handing that enhances one’s chances with the Academy, but frankly I think that the last thing show-business types want to confront, contemplate and reward is failure. I’m referring to Llewyn, not the movie.\u003c/p>\n\u003cp>(Yes, the Coens won for \u003ci>No Country for Old Men\u003c/i>, but that film was a critical and popular triumph. And yes, Woody Allen got nominated again this year for Original Screenplay and he’s never participated in awards-season self-promotion. But the Academy has long recognized that he stands outside the system, and doesn’t penalize him for it. He’s an exception.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-50.jpg\" style=\"margin-bottom: 10px\" alt=\"Merry Clayton in 20 Feet From Stardom\">\u003cbr>Merry Clayton in \u003ci>20 Feet From Stardom\u003c/i>\u003c/p>\n\u003cp>The question in the documentary feature category is whether the Academy will sidestep the heavy issue-oriented films and push the unsung singers of \u003ci>20 Feet From Stardom\u003c/i> into the spotlight. \u003ci>The Act of Killing\u003c/i> unequivocally deserves the trophy, with \u003ci>The Square\u003c/i>, \u003ci>Cutie and the Boxer\u003c/i> and \u003ci>Dirty Wars\u003c/i> acceptably completing the field.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-great.jpg\" style=\"margin-bottom: 10px\" alt=\"Toni Servillo in The Great Beauty\">\u003cbr>Toni Servillo in \u003ci>The Great Beauty\u003c/i>\u003c/p>\n\u003cp>The only political controversy to be found among this year’s nominations — that is, if we pretend that the heinous history depicted in \u003ci>12 Years a Slave\u003c/i> has no contemporary relevance — is the Foreign Language nomination for \u003ci>Omar\u003c/i> (opening Feb. 21 in the Bay Area), Palestinian filmmaker Hany Abu-Assad’s street-level drama set against the backdrop of the Israeli occupation. Whether it can outpoll a devastating reenactment of Cambodian genocide (\u003ci>The Missing Picture\u003c/i>) and a gorgeously cinematic Fellini update from Italy (\u003ci>The Great Beauty\u003c/i>), as well as the ill-fated romance of \u003ci>The Broken Circle Breakdown\u003c/i> (from Belgium) and former Bond villain Mads Mikkelsen as a wrongfully accused teacher in \u003ci>The Hunt\u003c/i> (from Denmark), remains to be seen. Admittedly, this isn’t the category that millions of people will be watching with bated breath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the \u003ca href=\"http://oscar.go.com/\">full list of nominees\u003c/a>, visit oscar.go.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not quite a rematch of 1998, when \u003ci>Shakespeare in Love\u003c/i> beat \u003ci>Saving Private Ryan\u003c/i>, but the contest for this year’s Academy Award for Best Picture shapes up as another showdown between campy, costumed entertainment and weighty historical drama.\u003c/p>\n\u003cp>\u003ci>American Hustle\u003c/i>, with 10 nominations overall, and \u003ci>12 Years a Slave\u003c/i> (nominated in seven major categories, including production design and adapted screenplay) face off for the Best Picture Oscar in a clear-cut choice between out-and-out fun and wrenching reality. It wouldn’t be a bit surprising if Academy members sidestepped a difficult decision and simply voted for the cinematic spectacle of the year (and a box-office hit, to boot), \u003ci>Gravity\u003c/i> (which landed safely with 10 nominations altogether).\u003c/p>\n\u003cp>\u003ci>Captain Phillips\u003c/i>, \u003ci>Dallas Buyers Club\u003c/i>, \u003ci>The Wolf of Wall Street\u003c/i>, \u003ci>Philomena\u003c/i>, \u003ci>Nebraska\u003c/i> and \u003ci>Her\u003c/i> round out the field vying for the Best Picture Oscar. The presence of nine nominees (out of a possible maximum of 10), rather than the five that prevailed from 1944 through 2008, spreads out the votes and makes it much harder to predict a winner. It’s even tougher in a year like 2013, with many solid, well-acted films but no masterpieces.\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/o-blue.jpg\" style=\"margin-bottom: 10px;\" alt=\"Cate Blanchett in \u003ci>Blue Jasmine\u003c/i>” />\u003cbr>Cate Blanchett in \u003ci>Blue Jasmine\u003c/i>\u003c/p>\n\u003cp>The acting categories offer plenty to ponder, not least the inability of the Academy to recognize actresses beyond the tiny handful of household names and usual suspects. The Best Actress nominees are Cate Blanchett (ordained as the winner since \u003ci>Blue Jasmine\u003c/i> opened in late July), Sandra Bullock, Judi Dench, Amy Adams (who’s achieved heading-for-a-fall status of seriously overrated between \u003ci>The Master\u003c/i> and \u003ci>American Hustle\u003c/i>) and Meryl Streep (who is technically excellent, as always, in \u003ci>August: Osage County\u003c/i>, but are voters so Pavlovian that they must scribble her name every single year, even for movies that don’t work, in part because of distracting casting?)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-nebraska.jpg\" style=\"margin-bottom: 10px\" alt=\"June Squibb and Bruce Dern in Nebraska\">\u003cbr>June Squibb and Bruce Dern in \u003ci>Nebraska\u003c/i>\u003c/p>\n\u003cp>The Academy did a smidgen of original thinking for Supporting Actress, nominating Lupita Nyong’o (\u003ci>12 Years a Slave\u003c/i>), Sally Hawkins (presumably for holding her own opposite Cate Blanchett) and June Squibb (the heart and anger of \u003ci>Nebraska\u003c/i>) along with now-perennial sweethearts Jennifer Lawrence (\u003ci>American Hustle\u003c/i>) and Julia Roberts (\u003ci>August: Osage County\u003c/i>). Perhaps the voters were generously considering that familiar faces in lavish gowns are an essential element of the Oscar telecast (March 2, 2014), and wanted to be sure we were taken care of.\u003c/p>\n\u003cp>It’s hard to find fault with the nominees for Best Actor, each of whom is worthy of the statuette: Matthew McConaughey (\u003ci>Dallas Buyers Club\u003c/i>), Chiwetel Ejiofor (\u003ci>12 Years a Slave\u003c/i>), Christian Bale (\u003ci>American Hustle\u003c/i>), Bruce Dern (\u003ci>Nebraska\u003c/i>) and Leonardo DiCaprio (\u003ci>The Wolf of Wall Street\u003c/i>).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-dallas.jpg\" style=\"margin-bottom: 10px\" alt=\"Matthew McConaughey and Jared Leto in Dallas Buyers Club\">\u003cbr>Matthew McConaughey and Jared Leto in \u003ci>Dallas Buyers Club\u003c/i>\u003c/p>\n\u003cp>I tab Jared Leto as the favorite in the Supporting Actor category for \u003ci>Dallas Buyers Club\u003c/i> — I choose to believe in the existence of a gay Mafia in Hollywood — although Barkhad Abdi (\u003ci>Captain Phillips\u003c/i>), Bradley Cooper (\u003ci>American Hustle\u003c/i>) and Michael Fassbender (\u003ci>12 Years a Slave\u003c/i>) all have a coterie of fans. Jonah Hill is the lone egregious and undeserving performance in this category, for \u003ci>The Wolf of Wall Street\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Nebraska\u003c/i> is this year’s little indie that could, with a Best Picture nod, two major acting citations and even a nomination for director Alexander Payne (who has no chance, but I’m sure he’s honored if not humbled to be nominated). Some might pick \u003ci>Her\u003c/i> as the underdog of the year, but it boasts the name casting of Joaquin Phoenix and Scarlett Johansson. The question is whether it possesses enough pseudo-hip and quasi-insightful touches to bamboozle older members of the Academy along with the younger ones.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-her.jpg\" style=\"margin-bottom: 10px\" alt=\"Joaquin Phoenix in Her\">\u003cbr>Joaquin Phoenix in \u003ci>Her\u003c/i>\u003c/p>\n\u003cp>The major travesty of the nominations is that the impeccably crafted and painfully funny \u003ci>Inside Llewyn Davis\u003c/i> inexplicably missed the cut in every category except cinematography. It’s worth noting that the Coen brothers don’t do interviews, PR tours and the related schmoozing and glad-handing that enhances one’s chances with the Academy, but frankly I think that the last thing show-business types want to confront, contemplate and reward is failure. I’m referring to Llewyn, not the movie.\u003c/p>\n\u003cp>(Yes, the Coens won for \u003ci>No Country for Old Men\u003c/i>, but that film was a critical and popular triumph. And yes, Woody Allen got nominated again this year for Original Screenplay and he’s never participated in awards-season self-promotion. But the Academy has long recognized that he stands outside the system, and doesn’t penalize him for it. He’s an exception.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-50.jpg\" style=\"margin-bottom: 10px\" alt=\"Merry Clayton in 20 Feet From Stardom\">\u003cbr>Merry Clayton in \u003ci>20 Feet From Stardom\u003c/i>\u003c/p>\n\u003cp>The question in the documentary feature category is whether the Academy will sidestep the heavy issue-oriented films and push the unsung singers of \u003ci>20 Feet From Stardom\u003c/i> into the spotlight. \u003ci>The Act of Killing\u003c/i> unequivocally deserves the trophy, with \u003ci>The Square\u003c/i>, \u003ci>Cutie and the Boxer\u003c/i> and \u003ci>Dirty Wars\u003c/i> acceptably completing the field.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/o-great.jpg\" style=\"margin-bottom: 10px\" alt=\"Toni Servillo in The Great Beauty\">\u003cbr>Toni Servillo in \u003ci>The Great Beauty\u003c/i>\u003c/p>\n\u003cp>The only political controversy to be found among this year’s nominations — that is, if we pretend that the heinous history depicted in \u003ci>12 Years a Slave\u003c/i> has no contemporary relevance — is the Foreign Language nomination for \u003ci>Omar\u003c/i> (opening Feb. 21 in the Bay Area), Palestinian filmmaker Hany Abu-Assad’s street-level drama set against the backdrop of the Israeli occupation. Whether it can outpoll a devastating reenactment of Cambodian genocide (\u003ci>The Missing Picture\u003c/i>) and a gorgeously cinematic Fellini update from Italy (\u003ci>The Great Beauty\u003c/i>), as well as the ill-fated romance of \u003ci>The Broken Circle Breakdown\u003c/i> (from Belgium) and former Bond villain Mads Mikkelsen as a wrongfully accused teacher in \u003ci>The Hunt\u003c/i> (from Denmark), remains to be seen. Admittedly, this isn’t the category that millions of people will be watching with bated breath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the \u003ca href=\"http://oscar.go.com/\">full list of nominees\u003c/a>, visit oscar.go.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not quite a rematch of 1998, when \u003ci>Shakespeare in Love\u003c/i> beat \u003ci>Saving Private Ryan\u003c/i>, but the contest for this year’s Academy Award for Best Picture shapes up as another showdown between campy, costumed entertainment and weighty historical drama.\u003c/p>\n\u003cp>\u003ci>American Hustle\u003c/i>, with 10 nominations overall, and \u003ci>12 Years a Slave\u003c/i> (nominated in seven major categories, including production design and adapted screenplay) face off for the Best Picture Oscar in a clear-cut choice between out-and-out fun and wrenching reality. It wouldn’t be a bit surprising if Academy members sidestepped a difficult decision and simply voted for the cinematic spectacle of the year (and a box-office hit, to boot), \u003ci>Gravity\u003c/i> (which landed safely with 10 nominations altogether).\u003c/p>\n\u003cp>\u003ci>Captain Phillips\u003c/i>, \u003ci>Dallas Buyers Club\u003c/i>, \u003ci>The Wolf of Wall Street\u003c/i>, \u003ci>Philomena\u003c/i>, \u003ci>Nebraska\u003c/i> and \u003ci>Her\u003c/i> round out the field vying for the Best Picture Oscar. The presence of nine nominees (out of a possible maximum of 10), rather than the five that prevailed from 1944 through 2008, spreads out the votes and makes it much harder to predict a winner. It’s even tougher in a year like 2013, with many solid, well-acted films but no masterpieces.\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/o-blue.jpg\" width=\"500\" height=\"281\" alt=\"Cate Blanchett in Blue Jasmine\" class>\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett in Blue Jasmine\u003c/figcaption>\u003c/figure>\n\u003cp>The acting categories offer plenty to ponder, not least the inability of the Academy to recognize actresses beyond the tiny handful of household names and usual suspects. The Best Actress nominees are Cate Blanchett (ordained as the winner since \u003ci>Blue Jasmine\u003c/i> opened in late July), Sandra Bullock, Judi Dench, Amy Adams (who’s achieved heading-for-a-fall status of seriously overrated between \u003ci>The Master\u003c/i> and \u003ci>American Hustle\u003c/i>) and Meryl Streep (who is technically excellent, as always, in \u003ci>August: Osage County\u003c/i>, but are voters so Pavlovian that they must scribble her name every single year, even for movies that don’t work, in part because of distracting casting?)\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/o-nebraska.jpg\" width=\"500\" height=\"333\" alt=\"Bruce Dern and June Squibb in Nebraska\" class>\u003cfigcaption class=\"wp-caption-text\">Bruce Dern and June Squibb in Nebraska\u003c/figcaption>\u003c/figure>\n\u003cp>The Academy did a smidgen of original thinking for Supporting Actress, nominating Lupita Nyong’o (\u003ci>12 Years a Slave\u003c/i>), Sally Hawkins (presumably for holding her own opposite Cate Blanchett) and June Squibb (the heart and anger of \u003ci>Nebraska\u003c/i>) along with now-perennial sweethearts Jennifer Lawrence (\u003ci>American Hustle\u003c/i>) and Julia Roberts (\u003ci>August: Osage County\u003c/i>). Perhaps the voters were generously considering that familiar faces in lavish gowns are an essential element of the Oscar telecast (March 2, 2014), and wanted to be sure we were taken care of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s hard to find fault with the nominees for Best Actor, each of whom is worthy of the statuette: Matthew McConaughey (\u003ci>Dallas Buyers Club\u003c/i>), Chiwetel Ejiofor (\u003ci>12 Years a Slave\u003c/i>), Christian Bale (\u003ci>American Hustle\u003c/i>), Bruce Dern (\u003ci>Nebraska\u003c/i>) and Leonardo DiCaprio (\u003ci>The Wolf of Wall Street\u003c/i>).\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/o-dallas.jpg\" width=\"500\" height=\"333\" alt=\"Matthew McConaughey and Jared Leto in Dallas Buyers Club\" class>\u003cfigcaption class=\"wp-caption-text\">Matthew McConaughey and Jared Leto in Dallas Buyers Club\u003c/figcaption>\u003c/figure>\n\u003cp>I tab Jared Leto as the favorite in the Supporting Actor category for \u003ci>Dallas Buyers Club\u003c/i> — I choose to believe in the existence of a gay Mafia in Hollywood — although Barkhad Abdi (\u003ci>Captain Phillips\u003c/i>), Bradley Cooper (\u003ci>American Hustle\u003c/i>) and Michael Fassbender (\u003ci>12 Years a Slave\u003c/i>) all have a coterie of fans. Jonah Hill is the lone egregious and undeserving performance in this category, for \u003ci>The Wolf of Wall Street\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Nebraska\u003c/i> is this year’s little indie that could, with a Best Picture nod, two major acting citations and even a nomination for director Alexander Payne (who has no chance, but I’m sure he’s honored if not humbled to be nominated). Some might pick \u003ci>Her\u003c/i> as the underdog of the year, but it boasts the name casting of Joaquin Phoenix and Scarlett Johansson. The question is whether it possesses enough pseudo-hip and quasi-insightful touches to bamboozle older members of the Academy along with the younger ones.\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/o-her.jpg\" width=\"500\" height=\"333\" alt=\"Joaquin Phoenix in Her\" class>\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix in Her\u003c/figcaption>\u003c/figure>\n\u003cp>The major travesty of the nominations is that the impeccably crafted and painfully funny \u003ci>Inside Llewyn Davis\u003c/i> inexplicably missed the cut in every category except cinematography. It’s worth noting that the Coen brothers don’t do interviews, PR tours and the related schmoozing and glad-handing that enhances one’s chances with the Academy, but frankly I think that the last thing show-business types want to confront, contemplate and reward is failure. I’m referring to Llewyn, not the movie.\u003c/p>\n\u003cp>(Yes, the Coens won for \u003ci>No Country for Old Men\u003c/i>, but that film was a critical and popular triumph. And yes, Woody Allen got nominated again this year for Original Screenplay and he’s never participated in awards-season self-promotion. But the Academy has long recognized that he stands outside the system, and doesn’t penalize him for it. He’s an exception.)\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/o-50.jpg\" width=\"500\" height=\"263\" alt=\"Merry Clayton in 20 Feet From Stardom\" class>\u003cfigcaption class=\"wp-caption-text\">Merry Clayton in 20 Feet From Stardom\u003c/figcaption>\u003c/figure>\n\u003cp>The question in the documentary feature category is whether the Academy will sidestep the heavy issue-oriented films and push the unsung singers of \u003ci>20 Feet From Stardom\u003c/i> into the spotlight. \u003ci>The Act of Killing\u003c/i> unequivocally deserves the trophy, with \u003ci>The Square\u003c/i>, \u003ci>Cutie and the Boxer\u003c/i> and \u003ci>Dirty Wars\u003c/i> acceptably completing the field.\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/o-great.jpg\" width=\"500\" height=\"333\" alt=\"Toni Servillo in The Great Beauty\" class>\u003cfigcaption class=\"wp-caption-text\">Toni Servillo in The Great Beauty\u003c/figcaption>\u003c/figure>\n\u003cp>The only political controversy to be found among this year’s nominations — that is, if we pretend that the heinous history depicted in \u003ci>12 Years a Slave\u003c/i> has no contemporary relevance — is the Foreign Language nomination for \u003ci>Omar\u003c/i> (opening Feb. 21 in the Bay Area), Palestinian filmmaker Hany Abu-Assad’s street-level drama set against the backdrop of the Israeli occupation. Whether it can outpoll a devastating reenactment of Cambodian genocide (\u003ci>The Missing Picture\u003c/i>) and a gorgeously cinematic Fellini update from Italy (\u003ci>The Great Beauty\u003c/i>), as well as the ill-fated romance of \u003ci>The Broken Circle Breakdown\u003c/i> (from Belgium) and former Bond villain Mads Mikkelsen as a wrongfully accused teacher in \u003ci>The Hunt\u003c/i> (from Denmark), remains to be seen. Admittedly, this isn’t the category that millions of people will be watching with bated breath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the \u003ca href=\"http://oscar.go.com/\">full list of nominees\u003c/a>, visit oscar.go.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not quite a rematch of 1998, when \u003ci>Shakespeare in Love\u003c/i> beat \u003ci>Saving Private Ryan\u003c/i>, but the contest for this year’s Academy Award for Best Picture shapes up as another showdown between campy, costumed entertainment and weighty historical drama.\u003c/p>\n\u003cp>\u003ci>American Hustle\u003c/i>, with 10 nominations overall, and \u003ci>12 Years a Slave\u003c/i> (nominated in seven major categories, including production design and adapted screenplay) face off for the Best Picture Oscar in a clear-cut choice between out-and-out fun and wrenching reality. It wouldn’t be a bit surprising if Academy members sidestepped a difficult decision and simply voted for the cinematic spectacle of the year (and a box-office hit, to boot), \u003ci>Gravity\u003c/i> (which landed safely with 10 nominations altogether).\u003c/p>\n\u003cp>\u003ci>Captain Phillips\u003c/i>, \u003ci>Dallas Buyers Club\u003c/i>, \u003ci>The Wolf of Wall Street\u003c/i>, \u003ci>Philomena\u003c/i>, \u003ci>Nebraska\u003c/i> and \u003ci>Her\u003c/i> round out the field vying for the Best Picture Oscar. The presence of nine nominees (out of a possible maximum of 10), rather than the five that prevailed from 1944 through 2008, spreads out the votes and makes it much harder to predict a winner. It’s even tougher in a year like 2013, with many solid, well-acted films but no masterpieces.\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/o-blue.jpg\" width=\"500\" height=\"281\" alt=\"Cate Blanchett in Blue Jasmine\" class>\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett in Blue Jasmine\u003c/figcaption>\u003c/figure>\n\u003cp>The acting categories offer plenty to ponder, not least the inability of the Academy to recognize actresses beyond the tiny handful of household names and usual suspects. The Best Actress nominees are Cate Blanchett (ordained as the winner since \u003ci>Blue Jasmine\u003c/i> opened in late July), Sandra Bullock, Judi Dench, Amy Adams (who’s achieved heading-for-a-fall status of seriously overrated between \u003ci>The Master\u003c/i> and \u003ci>American Hustle\u003c/i>) and Meryl Streep (who is technically excellent, as always, in \u003ci>August: Osage County\u003c/i>, but are voters so Pavlovian that they must scribble her name every single year, even for movies that don’t work, in part because of distracting casting?)\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/o-nebraska.jpg\" width=\"500\" height=\"333\" alt=\"Bruce Dern and June Squibb in Nebraska\" class>\u003cfigcaption class=\"wp-caption-text\">Bruce Dern and June Squibb in Nebraska\u003c/figcaption>\u003c/figure>\n\u003cp>The Academy did a smidgen of original thinking for Supporting Actress, nominating Lupita Nyong’o (\u003ci>12 Years a Slave\u003c/i>), Sally Hawkins (presumably for holding her own opposite Cate Blanchett) and June Squibb (the heart and anger of \u003ci>Nebraska\u003c/i>) along with now-perennial sweethearts Jennifer Lawrence (\u003ci>American Hustle\u003c/i>) and Julia Roberts (\u003ci>August: Osage County\u003c/i>). Perhaps the voters were generously considering that familiar faces in lavish gowns are an essential element of the Oscar telecast (March 2, 2014), and wanted to be sure we were taken care of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to find fault with the nominees for Best Actor, each of whom is worthy of the statuette: Matthew McConaughey (\u003ci>Dallas Buyers Club\u003c/i>), Chiwetel Ejiofor (\u003ci>12 Years a Slave\u003c/i>), Christian Bale (\u003ci>American Hustle\u003c/i>), Bruce Dern (\u003ci>Nebraska\u003c/i>) and Leonardo DiCaprio (\u003ci>The Wolf of Wall Street\u003c/i>).\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/o-dallas.jpg\" width=\"500\" height=\"333\" alt=\"Matthew McConaughey and Jared Leto in Dallas Buyers Club\" class>\u003cfigcaption class=\"wp-caption-text\">Matthew McConaughey and Jared Leto in Dallas Buyers Club\u003c/figcaption>\u003c/figure>\n\u003cp>I tab Jared Leto as the favorite in the Supporting Actor category for \u003ci>Dallas Buyers Club\u003c/i> — I choose to believe in the existence of a gay Mafia in Hollywood — although Barkhad Abdi (\u003ci>Captain Phillips\u003c/i>), Bradley Cooper (\u003ci>American Hustle\u003c/i>) and Michael Fassbender (\u003ci>12 Years a Slave\u003c/i>) all have a coterie of fans. Jonah Hill is the lone egregious and undeserving performance in this category, for \u003ci>The Wolf of Wall Street\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Nebraska\u003c/i> is this year’s little indie that could, with a Best Picture nod, two major acting citations and even a nomination for director Alexander Payne (who has no chance, but I’m sure he’s honored if not humbled to be nominated). Some might pick \u003ci>Her\u003c/i> as the underdog of the year, but it boasts the name casting of Joaquin Phoenix and Scarlett Johansson. The question is whether it possesses enough pseudo-hip and quasi-insightful touches to bamboozle older members of the Academy along with the younger ones.\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/o-her.jpg\" width=\"500\" height=\"333\" alt=\"Joaquin Phoenix in Her\" class>\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix in Her\u003c/figcaption>\u003c/figure>\n\u003cp>The major travesty of the nominations is that the impeccably crafted and painfully funny \u003ci>Inside Llewyn Davis\u003c/i> inexplicably missed the cut in every category except cinematography. It’s worth noting that the Coen brothers don’t do interviews, PR tours and the related schmoozing and glad-handing that enhances one’s chances with the Academy, but frankly I think that the last thing show-business types want to confront, contemplate and reward is failure. I’m referring to Llewyn, not the movie.\u003c/p>\n\u003cp>(Yes, the Coens won for \u003ci>No Country for Old Men\u003c/i>, but that film was a critical and popular triumph. And yes, Woody Allen got nominated again this year for Original Screenplay and he’s never participated in awards-season self-promotion. But the Academy has long recognized that he stands outside the system, and doesn’t penalize him for it. He’s an exception.)\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/o-50.jpg\" width=\"500\" height=\"263\" alt=\"Merry Clayton in 20 Feet From Stardom\" class>\u003cfigcaption class=\"wp-caption-text\">Merry Clayton in 20 Feet From Stardom\u003c/figcaption>\u003c/figure>\n\u003cp>The question in the documentary feature category is whether the Academy will sidestep the heavy issue-oriented films and push the unsung singers of \u003ci>20 Feet From Stardom\u003c/i> into the spotlight. \u003ci>The Act of Killing\u003c/i> unequivocally deserves the trophy, with \u003ci>The Square\u003c/i>, \u003ci>Cutie and the Boxer\u003c/i> and \u003ci>Dirty Wars\u003c/i> acceptably completing the field.\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/o-great.jpg\" width=\"500\" height=\"333\" alt=\"Toni Servillo in The Great Beauty\" class>\u003cfigcaption class=\"wp-caption-text\">Toni Servillo in The Great Beauty\u003c/figcaption>\u003c/figure>\n\u003cp>The only political controversy to be found among this year’s nominations — that is, if we pretend that the heinous history depicted in \u003ci>12 Years a Slave\u003c/i> has no contemporary relevance — is the Foreign Language nomination for \u003ci>Omar\u003c/i> (opening Feb. 21 in the Bay Area), Palestinian filmmaker Hany Abu-Assad’s street-level drama set against the backdrop of the Israeli occupation. Whether it can outpoll a devastating reenactment of Cambodian genocide (\u003ci>The Missing Picture\u003c/i>) and a gorgeously cinematic Fellini update from Italy (\u003ci>The Great Beauty\u003c/i>), as well as the ill-fated romance of \u003ci>The Broken Circle Breakdown\u003c/i> (from Belgium) and former Bond villain Mads Mikkelsen as a wrongfully accused teacher in \u003ci>The Hunt\u003c/i> (from Denmark), remains to be seen. Admittedly, this isn’t the category that millions of people will be watching with bated breath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the \u003ca href=\"http://oscar.go.com/\">full list of nominees\u003c/a>, visit oscar.go.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Osage County,' A Family Consuming Itself",
"headTitle": "In ‘Osage County,’ A Family Consuming Itself | KQED",
"content": "\u003cp>“We shouldn’t be here.”\u003c/p>\n\u003cp>That’s the sense you get watching \u003cem>August: Osage County —\u003c/em> that you’re peering in on moments so intimate and painful that no one should witness them, perhaps not even those who are a part of it.\u003c/p>\n\u003cp>In fact, that’s what many characters in the movie — an adaptation of Tracy Letts’ Pulitzer Prize-winning play — decide for themselves. They don’t want to be part of it, either. In this story of an uncomfortable family reunion, time is marked by cars pulling out of their dusty Oklahoma driveway at regular intervals, never to be seen again.\u003c/p>\n\u003cp>The impetus for the gathering is the disappearance of Beverly (Sam Shepard), patriarch, poet and alcoholic. His wife, Violet (Meryl Streep), suffering from oral cancer and perpetually high on a laundry list of sedatives and painkillers, calls on her sister and her three daughters, along with their various significant others, to come to her aid during the developing crisis. And with everyone under one roof, years of family dysfunction come to bloom at the end of her cruel, pill-addled tongue.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=9Hd_uO72h1s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Letts reworked his own play for the screen, as he also has done in recent years for adaptations of his plays \u003cem>Bug\u003c/em> and \u003cem>Killer Joe, \u003c/em>and the dialogue — harsh, blackly comic, filled with exchanges of sulfuric intensity — is of a piece with those works.\u003c/p>\n\u003cp>Interestingly, the writer doesn’t bother making these screen ventures hugely distinct from their stage inspirations; their staginess works, though, because his characters seem trapped within their own dire lives just as much as if they were locked within the limited space of a theater.\u003c/p>\n\u003cp>And theatricality makes a kind of sense, really; these are lives lived without any letup from the heightened drama. Every member of this cast is a walking, talking open wound.\u003c/p>\n\u003cp>Eldest daughter Barbara (Julia Roberts) is separated from her philandering husband Bill (Ewan MacGregor), and can’t relate to her teenage daughter Jean (Abigail Breslin). Put-upon middle daughter Ivy (Julianne Nicholson) is conducting a secret relationship the family wouldn’t approve of, desperately seeking to escape Oklahoma and her mother. Airheaded youngest daughter Karen (Juliette Lewis) is engaged to a Ferrari-driving, thrice-divorced sleazebag (Dermot Mulroney).\u003c/p>\n\u003cp>Everyone here has pain, everyone has secrets, and while we join these characters for a short time, it’s easy to see that the cycles of lies, distrust, and abuse go back for generations, clinging to this family like the hot summer dust of the empty plains that surround them.\u003c/p>\n\u003cp>Director John Wells, a TV veteran directing his second feature, is at his best when he’s invisible. When he steps back and lets this formidable cast act their hearts out, the movie is a deeply affecting — and disturbing — storm of complicated emotions.\u003c/p>\n\u003cp>Roberts is especially impressive — bitter, broken, relatively restrained until a rage and profanity-filled climax lets out a lifetime of resentment. Chris Cooper is absolutely essential as the audience surrogate, reaching the end of his rope after 38 years of involvement with the family; he delivers perhaps the best monologue in the movie, wondering why there’s such a dearth of respect, kindness or basic decency in this house. But everyone here is uniformly exceptional, even if Streep could stand to dial back her swinging-for-the-fences performance just a notch.\u003c/p>\n\u003cp>Letts’ drama is built to leave the viewer uneasy and dissatisfied; don’t expect all or even most of those wounds to heal, either during the movie or ever in these characters’ lifetimes. But despite the standout performances, the film itself leaves one wanting as well, in ways that Letts likely didn’t intend.\u003c/p>\n\u003cp>When Wells doesn’t remain invisible, he steps in mostly to blunt the impact of the nonstop trauma onscreen. Some might welcome a little salve, but it runs counter to the harsh, uncompromising honesty of Letts’ work. We don’t need intrusively sad music to clue us in about how sad these lives are. We don’t need blandly pretty landscape shots to act as contrast to the ugliness elsewhere onscreen. Letts arms his characters with words as weapons, and William Friedkin’s prior Letts adaptations let them retain their raw destructive power.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film, a little too often, feels calculated to dull those verbal blades for awards-season palatability; when things get bad, Wells comes in again with a directorial “There, there, it’ll be OK.” But in Osage County, Okla., things are very much not OK. \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=In+%27Osage+County%2C%27+A+Family+Consuming+Itself&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "The much-ballyhooed film adaptation of Tracy Letts' Pulitzer Prize-winning play has a mind-boggling cast and a bitterly funny script. Critic Ian Buckwalter says it can be so intimate and painful that you feel like you shouldn't be watching.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Letts reworked his own play for the screen, as he also has done in recent years for adaptations of his plays \u003cem>Bug\u003c/em> and \u003cem>Killer Joe, \u003c/em>and the dialogue — harsh, blackly comic, filled with exchanges of sulfuric intensity — is of a piece with those works.\u003c/p>\n\u003cp>Interestingly, the writer doesn’t bother making these screen ventures hugely distinct from their stage inspirations; their staginess works, though, because his characters seem trapped within their own dire lives just as much as if they were locked within the limited space of a theater.\u003c/p>\n\u003cp>And theatricality makes a kind of sense, really; these are lives lived without any letup from the heightened drama. Every member of this cast is a walking, talking open wound.\u003c/p>\n\u003cp>Eldest daughter Barbara (Julia Roberts) is separated from her philandering husband Bill (Ewan MacGregor), and can’t relate to her teenage daughter Jean (Abigail Breslin). Put-upon middle daughter Ivy (Julianne Nicholson) is conducting a secret relationship the family wouldn’t approve of, desperately seeking to escape Oklahoma and her mother. Airheaded youngest daughter Karen (Juliette Lewis) is engaged to a Ferrari-driving, thrice-divorced sleazebag (Dermot Mulroney).\u003c/p>\n\u003cp>Everyone here has pain, everyone has secrets, and while we join these characters for a short time, it’s easy to see that the cycles of lies, distrust, and abuse go back for generations, clinging to this family like the hot summer dust of the empty plains that surround them.\u003c/p>\n\u003cp>Director John Wells, a TV veteran directing his second feature, is at his best when he’s invisible. When he steps back and lets this formidable cast act their hearts out, the movie is a deeply affecting — and disturbing — storm of complicated emotions.\u003c/p>\n\u003cp>Roberts is especially impressive — bitter, broken, relatively restrained until a rage and profanity-filled climax lets out a lifetime of resentment. Chris Cooper is absolutely essential as the audience surrogate, reaching the end of his rope after 38 years of involvement with the family; he delivers perhaps the best monologue in the movie, wondering why there’s such a dearth of respect, kindness or basic decency in this house. But everyone here is uniformly exceptional, even if Streep could stand to dial back her swinging-for-the-fences performance just a notch.\u003c/p>\n\u003cp>Letts’ drama is built to leave the viewer uneasy and dissatisfied; don’t expect all or even most of those wounds to heal, either during the movie or ever in these characters’ lifetimes. But despite the standout performances, the film itself leaves one wanting as well, in ways that Letts likely didn’t intend.\u003c/p>\n\u003cp>When Wells doesn’t remain invisible, he steps in mostly to blunt the impact of the nonstop trauma onscreen. Some might welcome a little salve, but it runs counter to the harsh, uncompromising honesty of Letts’ work. We don’t need intrusively sad music to clue us in about how sad these lives are. We don’t need blandly pretty landscape shots to act as contrast to the ugliness elsewhere onscreen. Letts arms his characters with words as weapons, and William Friedkin’s prior Letts adaptations let them retain their raw destructive power.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film, a little too often, feels calculated to dull those verbal blades for awards-season palatability; when things get bad, Wells comes in again with a directorial “There, there, it’ll be OK.” But in Osage County, Okla., things are very much not OK. \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=In+%27Osage+County%2C%27+A+Family+Consuming+Itself&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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