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"content": "\u003cp>An annual hometown highlight for Marinites with cultural taste and a social conscience, the Mill Valley Film Festival offers plenty of allure for people residing on the other side of the Golden Gate and Richmond-San Rafael bridges. October in Marin County has the warm, golden glow of Indian Summer that Midwestern and East Coast émigrés remember from childhood, but without the feeling that bleak winter lurks around the corner. Even better, for observers and fans of the indefatigable local documentary film community, the MVFF is the major venue for new nonfiction work with a Bay Area focus.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/02/mouse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>This Ain’t No Mouse Music\u003c/i>\u003c/p>\n\u003cp>Chris Simon and Maureen Gosling’s affectionately bracing \u003ci>This Ain’t No Mouse Music: The Story of Chris Strachwitz and Arhoolie Records\u003c/i> (October 8 and 11) is a pleasure-packed profile of the uncompromising East Bay producer and purveyor of American roots music. After emigrating from Germany in 1947, the teenage Strachwitz fell in love with soulful, rough-hewn, indigenous American music. He drove the backroads of Texas to record locally known musicians Mance Lipscomb and Lightnin’ Hopkins, and went on to record and release troves of Cajun, Appalachian, blues and Mexican music.\u003c/p>\n\u003cp>\u003ci>This Ain’t No Mouse Music\u003c/i> portrays Strachwitz as an unabashed fan, cultural archaeologist and hands-on entrepreneur in equal measure. He’s strong-willed but not egotistical; the music always came first. As a result, notwithstanding Strachwitz’s strong personality and testimonials from the likes of Ry Cooder and Richard Thompson, it’s the casual live performances by a steady stream of artists that buoys our spirits and sticks with us. This doc challenges us to evaluate our definition of vision and success, and serves as a soul-healing antidote to films about Steve Jobs and similar corporate “heroes.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/SweetBlues01CMYKFS1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sweet Blues\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bob Sarles’ \u003ci>Sweet Blues: A Film About Michael Bloomfield\u003c/i> (October 5 and 11) honors another soul seduced by the devil’s music. A nice Jewish boy from Chicago, Mike Broomfield lost — and found — himself in the blues of B.B. King, Elmore James and countless others. A guitar virtuoso at a young age, he found and rejected rock ‘n’ roll stardom in San Francisco. Sarles’ bittersweet one-hour film is a chronicle of well-deserved accomplishment and unsatisfied yearning, and is both a celebration of Bloomfield’s art and a depressing reminder of what we were deprived of by his death from an overdose at 37.\u003c/p>\n\u003cp>\u003ci>Sweet Blues\u003c/i> is filled with Bloomfield’s lyrical yet stinging guitar and fond remembrances from Elvin Bishop (Paul Butterfield Blues Band), Nick Gravenites (The Electric Flag), Bob Weir, Jorma Kaukonen and, of course, Al Kooper, who you may not not know was slated to play guitar on “Like a Rolling Stone” until Bloomfield walked into the studio and tuned up. Kooper is the producer of the Bloomfield box set coming out in January that will include this film among its bounty of extras.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/GhostTownHavanaCMYKFS1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Ghost Town to Havana\u003c/i>\u003c/p>\n\u003cp>“Bittersweet” barely begins to describe \u003ci>Ghost Town to Havana\u003c/i> (October 6 and 8), the wrenching, long-in-the-works doc about a West Oakland youth team that, miraculously, is given a one-time trip to Cuba for intramural baseball and life lessons. Directed by Eugene Corr (\u003ci>Desert Bloom\u003c/i>), whose dad was a legendary East Bay baseball coach, the film finds its narrative force and emotional center in the local team’s coach, a rock-solid source of commitment and inspiration until economic and domestic pressures crash his world. Like most of the local documentaries in the MVFF, \u003ci>Ghost Town to Havana\u003c/i> leaves the viewer persuaded that a better world is altogether possible, albeit neither a piece of cake nor a pipe dream.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/JohnBrownsBodyCMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>John Brown’s Body\u003c/i>\u003c/p>\n\u003cp>If you demand high stakes from artistic endeavors, \u003ci>“John Brown’s Body” at San Quentin Prison\u003c/i> (October 6 and 9) is as stratospheric, and gritty, as it gets. Theater director Joseph De Francesco took a huge chance enlisting eight hard cons in an ambitious staging of Steven Vincent Benet’s epic 1928 poem about the Civil War, racism, slavery and freedom. De Francesco’s doc alternates scenes from that 2002 production with contemporary interviews with the actors, providing a healthy helping of art alongside character revelations. In addition to expected (and gratifying) testimony that participating in a play made a difference to the inmates, \u003ci>“John Brown’s Body”\u003c/i> allows the viewer to see the humanity in murderers.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/AlHelmpress04CMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Al Helm\u003c/i>\u003c/p>\n\u003cp>Extending Bay Area doc makers’ traditional embrace of sociopolitical activism and global awareness, Connie Field (\u003ci>Have You Heard From Johannesburg?\u003c/i>) transports us to the West Bank with \u003ci>Al Helm: Martin Luther King in Palestine\u003c/i> (Oct. 12 and 13). A master of the historical doc, Field ventures for the first time into verité filmmaking, traveling with an American gospel choir collaborating with a Palestinian troupe on a production of Stanford professor and playwright Clayborne Carson’s \u003ci>Passages of Martin Luther King\u003c/i>. Culture shock, artistic differences and, of course, the conditions of Palestinians under Israeli occupation propel this alternately disturbing and hopeful mosaic of art, politics and everyday life.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/Illnessbrain02CMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Illness and the Odyssey\u003c/i>\u003c/p>\n\u003cp>Berry Minott’s deeply entertaining and informative \u003ci>The Illness and the Odyssey\u003c/i> (October 5 and 7) infuses a serious subject with a welcome dash of irreverence, notably through the onscreen appearance of the perpetually bemused Dr. Oliver Sacks. The film lucidly examines Guam’s 50-year attraction to humanitarian neurologists trying to crack the mystery of high rates of dementia, paralysis and tremors. The “winner” will presumably adapt the cure for Alzheimer’s and Parkinson’s patients, leading to a coronation of prizes, grants and \u003ci>Tonight Show\u003c/i> appearances. The moral of the story: Science is not as easy as it looks.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/ToxicHotSeatCMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Toxic Hot Seat\u003c/i>\u003c/p>\n\u003cp>Science, and the lobbyists and corporations who use it, um, selectively, is likewise at the center of James Redford and Kirby Walker’s \u003ci>Toxic Hot Seat\u003c/i> (October 5 and 12). Years ago, when Ronald Reagan was governor, the chemical industry succeeded in requiring furniture sold in California to contain flame retardants. Their effectiveness in the event of a fire is dubious, but there’s little doubt about the amount of carcinogens released in the house over time. 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"headline": "Reality Shows Up at Mill Valley Film Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An annual hometown highlight for Marinites with cultural taste and a social conscience, the Mill Valley Film Festival offers plenty of allure for people residing on the other side of the Golden Gate and Richmond-San Rafael bridges. October in Marin County has the warm, golden glow of Indian Summer that Midwestern and East Coast émigrés remember from childhood, but without the feeling that bleak winter lurks around the corner. Even better, for observers and fans of the indefatigable local documentary film community, the MVFF is the major venue for new nonfiction work with a Bay Area focus.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/02/mouse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>This Ain’t No Mouse Music\u003c/i>\u003c/p>\n\u003cp>Chris Simon and Maureen Gosling’s affectionately bracing \u003ci>This Ain’t No Mouse Music: The Story of Chris Strachwitz and Arhoolie Records\u003c/i> (October 8 and 11) is a pleasure-packed profile of the uncompromising East Bay producer and purveyor of American roots music. After emigrating from Germany in 1947, the teenage Strachwitz fell in love with soulful, rough-hewn, indigenous American music. He drove the backroads of Texas to record locally known musicians Mance Lipscomb and Lightnin’ Hopkins, and went on to record and release troves of Cajun, Appalachian, blues and Mexican music.\u003c/p>\n\u003cp>\u003ci>This Ain’t No Mouse Music\u003c/i> portrays Strachwitz as an unabashed fan, cultural archaeologist and hands-on entrepreneur in equal measure. He’s strong-willed but not egotistical; the music always came first. As a result, notwithstanding Strachwitz’s strong personality and testimonials from the likes of Ry Cooder and Richard Thompson, it’s the casual live performances by a steady stream of artists that buoys our spirits and sticks with us. This doc challenges us to evaluate our definition of vision and success, and serves as a soul-healing antidote to films about Steve Jobs and similar corporate “heroes.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/SweetBlues01CMYKFS1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sweet Blues\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bob Sarles’ \u003ci>Sweet Blues: A Film About Michael Bloomfield\u003c/i> (October 5 and 11) honors another soul seduced by the devil’s music. A nice Jewish boy from Chicago, Mike Broomfield lost — and found — himself in the blues of B.B. King, Elmore James and countless others. A guitar virtuoso at a young age, he found and rejected rock ‘n’ roll stardom in San Francisco. Sarles’ bittersweet one-hour film is a chronicle of well-deserved accomplishment and unsatisfied yearning, and is both a celebration of Bloomfield’s art and a depressing reminder of what we were deprived of by his death from an overdose at 37.\u003c/p>\n\u003cp>\u003ci>Sweet Blues\u003c/i> is filled with Bloomfield’s lyrical yet stinging guitar and fond remembrances from Elvin Bishop (Paul Butterfield Blues Band), Nick Gravenites (The Electric Flag), Bob Weir, Jorma Kaukonen and, of course, Al Kooper, who you may not not know was slated to play guitar on “Like a Rolling Stone” until Bloomfield walked into the studio and tuned up. Kooper is the producer of the Bloomfield box set coming out in January that will include this film among its bounty of extras.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/GhostTownHavanaCMYKFS1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Ghost Town to Havana\u003c/i>\u003c/p>\n\u003cp>“Bittersweet” barely begins to describe \u003ci>Ghost Town to Havana\u003c/i> (October 6 and 8), the wrenching, long-in-the-works doc about a West Oakland youth team that, miraculously, is given a one-time trip to Cuba for intramural baseball and life lessons. Directed by Eugene Corr (\u003ci>Desert Bloom\u003c/i>), whose dad was a legendary East Bay baseball coach, the film finds its narrative force and emotional center in the local team’s coach, a rock-solid source of commitment and inspiration until economic and domestic pressures crash his world. Like most of the local documentaries in the MVFF, \u003ci>Ghost Town to Havana\u003c/i> leaves the viewer persuaded that a better world is altogether possible, albeit neither a piece of cake nor a pipe dream.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/JohnBrownsBodyCMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>John Brown’s Body\u003c/i>\u003c/p>\n\u003cp>If you demand high stakes from artistic endeavors, \u003ci>“John Brown’s Body” at San Quentin Prison\u003c/i> (October 6 and 9) is as stratospheric, and gritty, as it gets. Theater director Joseph De Francesco took a huge chance enlisting eight hard cons in an ambitious staging of Steven Vincent Benet’s epic 1928 poem about the Civil War, racism, slavery and freedom. De Francesco’s doc alternates scenes from that 2002 production with contemporary interviews with the actors, providing a healthy helping of art alongside character revelations. In addition to expected (and gratifying) testimony that participating in a play made a difference to the inmates, \u003ci>“John Brown’s Body”\u003c/i> allows the viewer to see the humanity in murderers.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/AlHelmpress04CMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Al Helm\u003c/i>\u003c/p>\n\u003cp>Extending Bay Area doc makers’ traditional embrace of sociopolitical activism and global awareness, Connie Field (\u003ci>Have You Heard From Johannesburg?\u003c/i>) transports us to the West Bank with \u003ci>Al Helm: Martin Luther King in Palestine\u003c/i> (Oct. 12 and 13). A master of the historical doc, Field ventures for the first time into verité filmmaking, traveling with an American gospel choir collaborating with a Palestinian troupe on a production of Stanford professor and playwright Clayborne Carson’s \u003ci>Passages of Martin Luther King\u003c/i>. Culture shock, artistic differences and, of course, the conditions of Palestinians under Israeli occupation propel this alternately disturbing and hopeful mosaic of art, politics and everyday life.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/Illnessbrain02CMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Illness and the Odyssey\u003c/i>\u003c/p>\n\u003cp>Berry Minott’s deeply entertaining and informative \u003ci>The Illness and the Odyssey\u003c/i> (October 5 and 7) infuses a serious subject with a welcome dash of irreverence, notably through the onscreen appearance of the perpetually bemused Dr. Oliver Sacks. The film lucidly examines Guam’s 50-year attraction to humanitarian neurologists trying to crack the mystery of high rates of dementia, paralysis and tremors. The “winner” will presumably adapt the cure for Alzheimer’s and Parkinson’s patients, leading to a coronation of prizes, grants and \u003ci>Tonight Show\u003c/i> appearances. The moral of the story: Science is not as easy as it looks.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/01/ToxicHotSeatCMYKFS.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Toxic Hot Seat\u003c/i>\u003c/p>\n\u003cp>Science, and the lobbyists and corporations who use it, um, selectively, is likewise at the center of James Redford and Kirby Walker’s \u003ci>Toxic Hot Seat\u003c/i> (October 5 and 12). Years ago, when Ronald Reagan was governor, the chemical industry succeeded in requiring furniture sold in California to contain flame retardants. Their effectiveness in the event of a fire is dubious, but there’s little doubt about the amount of carcinogens released in the house over time. (Now think about the cloud of noxious gases firefighters breathe when they enter a burning residence.) The doc makes a persuasive intellectual argument, backed with interviews with charismatic San Francisco firefighters who developed cancer.\u003c/p>\n\u003cp>This is not the complete list of the local docs in Mill Valley, believe it or not, and there’s not a dud in the bunch. Most, if not all, will play elsewhere in the Bay Area and/or on television in the coming months. But, frankly, why wait if you don’t have to?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 36th Mill Valley Film Festival runs October 3-13, 2013 in Mill Valley, San Rafael and Corte Madera. For \u003ca href=\"http://www.mvff.com\">more information\u003c/a> visit mvff.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "TaBOO!: 5 to Watch",
"headTitle": "TaBOO!: 5 to Watch | KQED",
"content": "\u003cp>Salivate all you want over the remake of \u003ci>Carrie\u003c/i> coming this month from, of all people, \u003ci>Boys Don’t Cry\u003c/i> director Kimberly Peirce. After all, October and the fall gloaming is the traditional time to venture to the multiplex and face our suppressed fears of death, strangers, isolated cabins, sexy Europeans, heights, new neighbors, abandoned houses, hitchhikers, mice, spiders and showers. (Did I miss anything?) While it can be satisfyingly chilling to be spooked by sociopaths and serial killers in the cool communal darkness, I prefer filmmakers who push beyond our (and often their) comfort levels in pursuit of something more disturbing than cheap thrills. You really want to know what evil lurks in the hearts of men? Proceed at your own risk.\u003c/p>\n\u003cfigure id=\"attachment_128705\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cairo678.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128705 \" alt=\"cairo678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cairo678.jpg\" width=\"500\" height=\"283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cairo678.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cairo678-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cairo678-300x169.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cairo 678\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Saudi Arabia, educated in Egypt, and film-educated in New York, Mohamed Diab achieved heady success in his early 30s as the screenwriter of a handful of hugely popular Egyptian films. He parlayed his newfound leverage into directing \u003ci>Cairo 678\u003c/i> (2010), a non-commercial drama that exposed the ubiquitous public sexual harassment of women in the megalopolis and revealed the profound dissatisfaction with the status quo that soon thereafter pitched Egypt into political turmoil. As a San Francisco Film Society artist-in-residence, Diab is presently spending a packed two weeks in our town visiting high school and college classes, presenting \u003ci>Cairo 678\u003c/i> (Thursday, Oct. 10 at New People Cinema in Japantown) and participating in a casual interview and conversation (Monday, Oct. 14 at FilmHouse, 1426 Fillmore). If you are curious about the future of political cinema and social drama in Egypt — and the Arab world — catch Diab while he’s here. For \u003ca href=\"http://www.sffs.org/Education/Artist-in-Residence.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cfigure id=\"attachment_128706\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/godsoftheplague.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128706\" alt=\"godsoftheplague\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/godsoftheplague.jpg\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/godsoftheplague.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/godsoftheplague-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/godsoftheplague-300x225.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gods of the Plague\u003c/figcaption>\u003c/figure>\n\u003cp>Rainer Werner Fassbinder, the peripatetic and indefatigable enfant terrible of the German New Wave, produced an astounding number of films and plays in his 37 years on the planet. Nearly all of that work, from the savage satire of \u003ci>Fox and His Friends\u003c/i> (1975) to the luscious melodrama of \u003ci>The Marriage of Maria Braun\u003c/i> (1979), pulled back the curtain on the lies, secrets and hypocrisy that was the foundation of German middle-class complacency from the ’50s to the ’70s. Looking back, perhaps it wasn’t all that difficult for Fassbinder to pierce the wall of self-denial and shock German audiences. So why do his films continue to move and disturb us, so many decades and miles from the crimes and legacy of the Third Reich? \u003cb>Love Is Colder Than Death: The Cinema of Rainer Werner Fassbinder\u003c/b> unspools October 4-10 at the Roxie, October 4 through December 15 at the Pacific Film Archive in Berkeley and October 17 through December 21 at Yerba Buena Center For the Arts. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/fassbinder_2013\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_128709\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128709\" alt=\"Escape From Tomorrow \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Escape From Tomorrow\u003c/figcaption>\u003c/figure>\n\u003cp>The Disney empire, you may know from personal experience, exercises extraordinary control at its theme parks. Behave unpredictably, speak seditiously and break the rules at your own risk. Gutsy, audacious filmmaker Randy Moore did the unpredented and nearly unthinkable: He shot a narrative feature film at Disney World and Disneyland, without the knowledge or consent of the Mouse Housekeepers. (It’s amazing what you can do with small cameras these days.) \u003ci>Escape From Tomorrow\u003c/i> is a surreal, low-budget, black-and-white chiller about a dad cracking up on a family vacation. I, for one, am not surprised. I owe my phobia about mice to Uncle Walt. \u003ci>Escape From Tomorrow\u003c/i> screens October 11-17 at the Roxie in San Francisco. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=60200FF4-0A18-84C9-0EC141162BD064DE\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_128710\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/shining.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128710\" alt=\"shining\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/shining.jpg\" width=\"500\" height=\"332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/shining.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/shining-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/shining-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Room 237\u003c/figcaption>\u003c/figure>\n\u003cp>Other Cinema, filmmaker and curator Craig Baldwin’s long-running outpost of underground film in the Mission, begins October with a live-cinema hootenanny boasting double projections and image/improvised music pairings (October 5) and Josh Ackerman’s long-in-the-works \u003ci>Widely Unknown\u003c/i> (October 12), a record (shot largely by his late father, Ralph) of a pivotal 2001 exhibition of SF graffiti-inspired installations at NY’s Deitch Gallery. Those experimental programs give way to revivals of more conventional, and more Halloween-related, documentaries in the second half of the month. L.A.-based Rodney Ascher returns to his old haunts on October 19 to screen last year’s \u003ci>Room 237\u003c/i>, a fascinating compilation of deeply obsessed and possibly lunatic interpretations of Kubrick’s horror-ific \u003ci>The Shining\u003c/i>. As a bonus, Ascher unveils \u003ci>Mega-Mix\u003c/i>, a subverted clip reel of Hollywood leading ladies compiled especially for this show. The Other then ghouls it up with \u003ci>Spine Tingler! The William Castle Story\u003c/i> (October 26), a tongue-in-cheek documentary about the late huckster-producer of \u003ci>The Tingler\u003c/i> and other low-budget gimmick flicks. (Castle was the inspiration for the John Goodman character in \u003ci>Matinee\u003c/i>.) For \u003ca href=\"http://www.othercinema.com/index.html\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\u003cfigure id=\"attachment_128711\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/vertigo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128711\" alt=\"vertigo\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/vertigo.jpg\" width=\"500\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/vertigo.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/vertigo-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/vertigo-300x172.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vertigo\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">You expected Alfred Hitchcock to make an appearance, and here he is. There’s more to Hitch than meets the eye, or the nervous system, however: Did you know that \u003ci>Psycho\u003c/i> (1960) marked the first motion picture to show a toilet being flushed? Just one of countlesss taboos the master delighted in breaching in his long and wonderful career. The San Francisco Symphony celebrates his genius, and his collaboration with composer Bernard Herrmanm in particular, with four consecutive nights of unsettling film and brilliantly effective music. \u003cb>Hitchcock Week\u003c/b> at Davies Symphony Hall commences October 30 with \u003ci>Psycho\u003c/i>, followed by \u003ci>The Lodger\u003c/i> (1927) accompanied by organist Todd Wilson, \u003ci>Vertigo\u003c/i> (1958) and \u003ci>Hitchcock! Greatest Hits\u003c/i>. Don’t be lulled by the tony surroundings into a false sense of security. Be afraid. Be very, very afraid. For \u003ca href=\"http://www.sfsymphony.org/film\">more information\u003c/a>, visit sfsymphony.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Salivate all you want over the remake of \u003ci>Carrie\u003c/i> coming this month from, of all people, \u003ci>Boys Don’t Cry\u003c/i> director Kimberly Peirce. After all, October and the fall gloaming is the traditional time to venture to the multiplex and face our suppressed fears of death, strangers, isolated cabins, sexy Europeans, heights, new neighbors, abandoned houses, hitchhikers, mice, spiders and showers. (Did I miss anything?) While it can be satisfyingly chilling to be spooked by sociopaths and serial killers in the cool communal darkness, I prefer filmmakers who push beyond our (and often their) comfort levels in pursuit of something more disturbing than cheap thrills. You really want to know what evil lurks in the hearts of men? Proceed at your own risk.\u003c/p>\n\u003cfigure id=\"attachment_128705\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cairo678.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128705 \" alt=\"cairo678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cairo678.jpg\" width=\"500\" height=\"283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cairo678.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cairo678-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cairo678-300x169.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cairo 678\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Saudi Arabia, educated in Egypt, and film-educated in New York, Mohamed Diab achieved heady success in his early 30s as the screenwriter of a handful of hugely popular Egyptian films. He parlayed his newfound leverage into directing \u003ci>Cairo 678\u003c/i> (2010), a non-commercial drama that exposed the ubiquitous public sexual harassment of women in the megalopolis and revealed the profound dissatisfaction with the status quo that soon thereafter pitched Egypt into political turmoil. As a San Francisco Film Society artist-in-residence, Diab is presently spending a packed two weeks in our town visiting high school and college classes, presenting \u003ci>Cairo 678\u003c/i> (Thursday, Oct. 10 at New People Cinema in Japantown) and participating in a casual interview and conversation (Monday, Oct. 14 at FilmHouse, 1426 Fillmore). If you are curious about the future of political cinema and social drama in Egypt — and the Arab world — catch Diab while he’s here. For \u003ca href=\"http://www.sffs.org/Education/Artist-in-Residence.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cfigure id=\"attachment_128706\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/godsoftheplague.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128706\" alt=\"godsoftheplague\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/godsoftheplague.jpg\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/godsoftheplague.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/godsoftheplague-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/godsoftheplague-300x225.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gods of the Plague\u003c/figcaption>\u003c/figure>\n\u003cp>Rainer Werner Fassbinder, the peripatetic and indefatigable enfant terrible of the German New Wave, produced an astounding number of films and plays in his 37 years on the planet. Nearly all of that work, from the savage satire of \u003ci>Fox and His Friends\u003c/i> (1975) to the luscious melodrama of \u003ci>The Marriage of Maria Braun\u003c/i> (1979), pulled back the curtain on the lies, secrets and hypocrisy that was the foundation of German middle-class complacency from the ’50s to the ’70s. Looking back, perhaps it wasn’t all that difficult for Fassbinder to pierce the wall of self-denial and shock German audiences. So why do his films continue to move and disturb us, so many decades and miles from the crimes and legacy of the Third Reich? \u003cb>Love Is Colder Than Death: The Cinema of Rainer Werner Fassbinder\u003c/b> unspools October 4-10 at the Roxie, October 4 through December 15 at the Pacific Film Archive in Berkeley and October 17 through December 21 at Yerba Buena Center For the Arts. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/fassbinder_2013\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_128709\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128709\" alt=\"Escape From Tomorrow \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/escapefromtomorrow1-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Escape From Tomorrow\u003c/figcaption>\u003c/figure>\n\u003cp>The Disney empire, you may know from personal experience, exercises extraordinary control at its theme parks. Behave unpredictably, speak seditiously and break the rules at your own risk. Gutsy, audacious filmmaker Randy Moore did the unpredented and nearly unthinkable: He shot a narrative feature film at Disney World and Disneyland, without the knowledge or consent of the Mouse Housekeepers. (It’s amazing what you can do with small cameras these days.) \u003ci>Escape From Tomorrow\u003c/i> is a surreal, low-budget, black-and-white chiller about a dad cracking up on a family vacation. I, for one, am not surprised. I owe my phobia about mice to Uncle Walt. \u003ci>Escape From Tomorrow\u003c/i> screens October 11-17 at the Roxie in San Francisco. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=60200FF4-0A18-84C9-0EC141162BD064DE\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_128710\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/shining.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128710\" alt=\"shining\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/shining.jpg\" width=\"500\" height=\"332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/shining.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/shining-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/shining-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Room 237\u003c/figcaption>\u003c/figure>\n\u003cp>Other Cinema, filmmaker and curator Craig Baldwin’s long-running outpost of underground film in the Mission, begins October with a live-cinema hootenanny boasting double projections and image/improvised music pairings (October 5) and Josh Ackerman’s long-in-the-works \u003ci>Widely Unknown\u003c/i> (October 12), a record (shot largely by his late father, Ralph) of a pivotal 2001 exhibition of SF graffiti-inspired installations at NY’s Deitch Gallery. Those experimental programs give way to revivals of more conventional, and more Halloween-related, documentaries in the second half of the month. L.A.-based Rodney Ascher returns to his old haunts on October 19 to screen last year’s \u003ci>Room 237\u003c/i>, a fascinating compilation of deeply obsessed and possibly lunatic interpretations of Kubrick’s horror-ific \u003ci>The Shining\u003c/i>. As a bonus, Ascher unveils \u003ci>Mega-Mix\u003c/i>, a subverted clip reel of Hollywood leading ladies compiled especially for this show. The Other then ghouls it up with \u003ci>Spine Tingler! The William Castle Story\u003c/i> (October 26), a tongue-in-cheek documentary about the late huckster-producer of \u003ci>The Tingler\u003c/i> and other low-budget gimmick flicks. (Castle was the inspiration for the John Goodman character in \u003ci>Matinee\u003c/i>.) For \u003ca href=\"http://www.othercinema.com/index.html\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\u003cfigure id=\"attachment_128711\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/vertigo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128711\" alt=\"vertigo\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/vertigo.jpg\" width=\"500\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/vertigo.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/vertigo-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/10/vertigo-300x172.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vertigo\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">You expected Alfred Hitchcock to make an appearance, and here he is. There’s more to Hitch than meets the eye, or the nervous system, however: Did you know that \u003ci>Psycho\u003c/i> (1960) marked the first motion picture to show a toilet being flushed? Just one of countlesss taboos the master delighted in breaching in his long and wonderful career. The San Francisco Symphony celebrates his genius, and his collaboration with composer Bernard Herrmanm in particular, with four consecutive nights of unsettling film and brilliantly effective music. \u003cb>Hitchcock Week\u003c/b> at Davies Symphony Hall commences October 30 with \u003ci>Psycho\u003c/i>, followed by \u003ci>The Lodger\u003c/i> (1927) accompanied by organist Todd Wilson, \u003ci>Vertigo\u003c/i> (1958) and \u003ci>Hitchcock! Greatest Hits\u003c/i>. Don’t be lulled by the tony surroundings into a false sense of security. Be afraid. Be very, very afraid. For \u003ca href=\"http://www.sfsymphony.org/film\">more information\u003c/a>, visit sfsymphony.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the past few years, the most popular movies about Iran have come from outside the country — most notably the United States (\u003ci>Argo\u003c/i>) and France (\u003ci>Persepolis\u003c/i>). Whether made by Iranian expatriates or non-Iranians, the films play up Iran’s image as a nation of tumult and revolution. Even movies by Iranian filmmakers that have achieved a semblance of popularity in the West often emphasize Iran’s draconian government policies and the way average Iranians are exploited or find a way to circumvent cultural restrictions (\u003ci>No One Knows About Persian Cats\u003c/i>). How Iranians see themselves. How outsiders see Iranians. It’s a cinematic tug-and-pull that has been happening for more than 50 years, evident by \u003ci>The Poppy Is Also a Flower\u003c/i>, a 1966 film with a Who’s Who of ’60s movie stars (including Omar Sharif, Yul Brynner, Marcello Mastroianni, Angie Dickinson, and Eli Wallach) that is screening at this year’s Iranian Film Festival.\u003c/p>\n\u003cp>By showcasing a mix of rediscovered movies and new dramas and documentaries, the festival — held in San Francisco this Saturday and Sunday, September 28-29, 2013 — provides a unique window into Iran at a time when the country is constantly hovering in the news because of its (alleged) nuclear ambitions, its involvement in Syria’s war, and its tenuous relationship with the United States and U.S. allies. The headlines disappear at the festival, giving way to characters’ interior struggles with family relationships and personal demons that are the central focus of several inspired features. In \u003ci>For Shahrzad\u003c/i>, the central figure, a young, pregnant woman with an abusive father, navigates her way through his overbearing ways, and never hesitates to confront him (“why did you bring me into this world if you could not afford it?”) and the other people in her life. Much of the film is set in a hospital’s emergency-room lobby, where a cast of memorable characters (a cynical supervisor, the pregnant woman’s husband, the taxi driver who brought her to the hospital) meet and where flashbacks ensue that fill in the dramatic back story of the main character’s life.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/25/IranianFilmFest1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Everything Is Fine Here\u003c/i>\u003c/center>\n\u003cp>In \u003ci>Everything Is Fine Here\u003c/i>, a young writer who’s newly engaged and newly acclaimed, with an invitation to lead a prestigious writing workshop in Germany, is sexually attacked, setting off a series of events that put a severe strain on her marriage-to-be and her relationship with her parents.\u003c/p>\n\u003cp>Two short films at the Iranian Film Festival — \u003ci>Charisma\u003c/i> and \u003ci>Return\u003c/i> — give indelible glimpses into lives that reach a frail precipice. In \u003ci>Charisma\u003c/i>, an old man with a cane sits on a crowded bus across from a boy who recognizes the humanity in this elderly stranger. In \u003ci>Return\u003c/i>, a multi-generational family waits for the return of an important member who’s been fighting in the Iran-Iraq War. A flying kite, held up in the air by young children, becomes the symbol of transition in this short film that is cinematic poetry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/25/IranianFilmFest4.jpg\" style=\"margin-bottom: 10px;\">\u003ci>No Burqas Behind Bars\u003c/i>\u003c/center>\n\u003cp>Among festival documentaries, \u003ci>No Burqas Behind Bars\u003c/i> visits a women’s prison in Afghanistan, where the inmates can be free of the blue, balloon garments that they’re ordinarily required to wear in public. Many of the inmates are there for the “crime” of leaving an abusive relationship. In this Swedish/Afghani/Iranian co-production, director Nima Sarvestani paints a surreal picture of a prison system where inmates establish loving bonds with each other.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/25/IranianFilmFest3.jpg\" style=\"margin-bottom: 10px;\">\u003ci>The Poppy Is Also a Flower\u003c/i>\u003c/center>\n\u003cp>Even though it doesn’t date well, \u003ci>The Poppy Is Also a Flower\u003c/i>, which dramatizes a United Nations-Iranian campaign to stamp out heroin production from poppies, is worth spending time with. Filmed on location in Iran, it’s based on a story idea by James Bond author Ian Fleming and was directed by Terence Young, who made three highly successful Bond films (\u003ci>Dr. No\u003c/i>, \u003ci>From Russia With Love\u003c/i>, and \u003ci>Thunderball\u003c/i>). The dialogue often plummets to absurdly funny levels, just like in Bond films. “Follow that elevator,” one character says, while another offers, “Maybe she caught the midnight camel.” Yul Brenner portrays an Iranian military man named Colonel Salem, while Jack Hawkins, who was a key figure in the movie \u003ci>Lawrence of Arabia\u003c/i>, portrays an Iranian general. The film originally aired on ABC, and it was made at a time when the Shah of Iran was still Westernizing his country. As filmed by Young, Iran’s Eastern desert areas become panoramic postcards, while the country’s city of Esfahan — site of treasured mosques and other acclaimed architecture — is a marvel to behold. \u003c/p>\n\u003cp>“The film is very unusual because of its setting, its story, and its international cast,” says festival director Saeed Shafa, an Iranian-American who has lived in the United States for forty years.\u003c/p>\n\u003cp>Now in its sixth year, the Iranian Film Festival has 36 films this time around, and is featuring a series of director and actor Q&A sessions. As in years past, it’s being held at the San Francisco Art Institute.\u003c/p>\n\u003cp>“Every year,” says Shafa, “we’ve had strong programming, and this year is especially strong. We try to build a bridge between Iranian-American audiences and non-Iranian audiences. The films are all in English or have English subtitles.” So, one way or another, audiences have ways to get into the movies on screen, and to feel transported to a country that deserves to be considered beyond the daily cycle of news headlines that scream “war” and “sanctions” and “nuclear weapons.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Iranian Film Festival runs Saturday, September 28, and Sunday, September 29, 2013 at the San Francisco Art Institute. For \u003ca href=\"http://www.iranianfilmfestival.org/\">tickets and information\u003c/a>, visit iranianfilmfestival.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the past few years, the most popular movies about Iran have come from outside the country — most notably the United States (\u003ci>Argo\u003c/i>) and France (\u003ci>Persepolis\u003c/i>). Whether made by Iranian expatriates or non-Iranians, the films play up Iran’s image as a nation of tumult and revolution. Even movies by Iranian filmmakers that have achieved a semblance of popularity in the West often emphasize Iran’s draconian government policies and the way average Iranians are exploited or find a way to circumvent cultural restrictions (\u003ci>No One Knows About Persian Cats\u003c/i>). How Iranians see themselves. How outsiders see Iranians. It’s a cinematic tug-and-pull that has been happening for more than 50 years, evident by \u003ci>The Poppy Is Also a Flower\u003c/i>, a 1966 film with a Who’s Who of ’60s movie stars (including Omar Sharif, Yul Brynner, Marcello Mastroianni, Angie Dickinson, and Eli Wallach) that is screening at this year’s Iranian Film Festival.\u003c/p>\n\u003cp>By showcasing a mix of rediscovered movies and new dramas and documentaries, the festival — held in San Francisco this Saturday and Sunday, September 28-29, 2013 — provides a unique window into Iran at a time when the country is constantly hovering in the news because of its (alleged) nuclear ambitions, its involvement in Syria’s war, and its tenuous relationship with the United States and U.S. allies. The headlines disappear at the festival, giving way to characters’ interior struggles with family relationships and personal demons that are the central focus of several inspired features. In \u003ci>For Shahrzad\u003c/i>, the central figure, a young, pregnant woman with an abusive father, navigates her way through his overbearing ways, and never hesitates to confront him (“why did you bring me into this world if you could not afford it?”) and the other people in her life. Much of the film is set in a hospital’s emergency-room lobby, where a cast of memorable characters (a cynical supervisor, the pregnant woman’s husband, the taxi driver who brought her to the hospital) meet and where flashbacks ensue that fill in the dramatic back story of the main character’s life.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/25/IranianFilmFest1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Everything Is Fine Here\u003c/i>\u003c/center>\n\u003cp>In \u003ci>Everything Is Fine Here\u003c/i>, a young writer who’s newly engaged and newly acclaimed, with an invitation to lead a prestigious writing workshop in Germany, is sexually attacked, setting off a series of events that put a severe strain on her marriage-to-be and her relationship with her parents.\u003c/p>\n\u003cp>Two short films at the Iranian Film Festival — \u003ci>Charisma\u003c/i> and \u003ci>Return\u003c/i> — give indelible glimpses into lives that reach a frail precipice. In \u003ci>Charisma\u003c/i>, an old man with a cane sits on a crowded bus across from a boy who recognizes the humanity in this elderly stranger. In \u003ci>Return\u003c/i>, a multi-generational family waits for the return of an important member who’s been fighting in the Iran-Iraq War. A flying kite, held up in the air by young children, becomes the symbol of transition in this short film that is cinematic poetry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/25/IranianFilmFest4.jpg\" style=\"margin-bottom: 10px;\">\u003ci>No Burqas Behind Bars\u003c/i>\u003c/center>\n\u003cp>Among festival documentaries, \u003ci>No Burqas Behind Bars\u003c/i> visits a women’s prison in Afghanistan, where the inmates can be free of the blue, balloon garments that they’re ordinarily required to wear in public. Many of the inmates are there for the “crime” of leaving an abusive relationship. In this Swedish/Afghani/Iranian co-production, director Nima Sarvestani paints a surreal picture of a prison system where inmates establish loving bonds with each other.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/25/IranianFilmFest3.jpg\" style=\"margin-bottom: 10px;\">\u003ci>The Poppy Is Also a Flower\u003c/i>\u003c/center>\n\u003cp>Even though it doesn’t date well, \u003ci>The Poppy Is Also a Flower\u003c/i>, which dramatizes a United Nations-Iranian campaign to stamp out heroin production from poppies, is worth spending time with. Filmed on location in Iran, it’s based on a story idea by James Bond author Ian Fleming and was directed by Terence Young, who made three highly successful Bond films (\u003ci>Dr. No\u003c/i>, \u003ci>From Russia With Love\u003c/i>, and \u003ci>Thunderball\u003c/i>). The dialogue often plummets to absurdly funny levels, just like in Bond films. “Follow that elevator,” one character says, while another offers, “Maybe she caught the midnight camel.” Yul Brenner portrays an Iranian military man named Colonel Salem, while Jack Hawkins, who was a key figure in the movie \u003ci>Lawrence of Arabia\u003c/i>, portrays an Iranian general. The film originally aired on ABC, and it was made at a time when the Shah of Iran was still Westernizing his country. As filmed by Young, Iran’s Eastern desert areas become panoramic postcards, while the country’s city of Esfahan — site of treasured mosques and other acclaimed architecture — is a marvel to behold. \u003c/p>\n\u003cp>“The film is very unusual because of its setting, its story, and its international cast,” says festival director Saeed Shafa, an Iranian-American who has lived in the United States for forty years.\u003c/p>\n\u003cp>Now in its sixth year, the Iranian Film Festival has 36 films this time around, and is featuring a series of director and actor Q&A sessions. As in years past, it’s being held at the San Francisco Art Institute.\u003c/p>\n\u003cp>“Every year,” says Shafa, “we’ve had strong programming, and this year is especially strong. We try to build a bridge between Iranian-American audiences and non-Iranian audiences. The films are all in English or have English subtitles.” So, one way or another, audiences have ways to get into the movies on screen, and to feel transported to a country that deserves to be considered beyond the daily cycle of news headlines that scream “war” and “sanctions” and “nuclear weapons.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Iranian Film Festival runs Saturday, September 28, and Sunday, September 29, 2013 at the San Francisco Art Institute. For \u003ca href=\"http://www.iranianfilmfestival.org/\">tickets and information\u003c/a>, visit iranianfilmfestival.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve had any experience with the Jejune Institute, it’s probably similar to my own: I was introduced to it by a friend, who first took great pains to pronounce the name correctly — je-joon — and then refused to say another word on the subject. “I can’t tell you anything more about it,” he said, “but you should definitely go try it for yourself.”\u003c/p>\n\u003cp>Catching on largely through word-of-mouth, the now inoperative Institute was an alternate reality game and beloved not-so-secret secret created by Oakland artist Jeff Hull. Also named the Center for Socio-Reengineering, the Jejune Institute has long been the subject of misinformation and rumor, with many mistaking the game’s smattering of devotees and obscure operations for the trappings of a cult. In truth, it was a multi-level urban scavenger hunt, and an opportunity to better familiarize oneself with San Francisco and explore the landscape through appreciation of the small details: a graffito, or a plaque stuck at the base of a forgotten statue. It was, at best, a game both meticulously planned and unpredictably spontaneous, revealing a hidden, less-appreciated San Francisco.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Dz-jNEWlmUA&w=480&h=270]\u003c/p>\n\u003cp>Before closing in 2011, the Institute was located on the 16th floor of 580 California Street, in the heart of the city’s Financial District. Visitors were given a key with instructions directing them to an enclosed, automated room where an “induction” process began: an orientation film — the stuff of an ’80s instructional video — briefed viewers on the origins of the Institute and the phenomena of poli water, explaining the “vital orbit” and “the algorithm.” If you’ve been there, you likely watched the nonsensical video, laughed nonchalantly with your friends at the absurdity of it all, and secretly worried the door would lock behind you at any moment.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jejune2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spencer McCall documented this experience in his new film, \u003ci>The Institute\u003c/i>, which comes out next month and screens at Oakland’s \u003ca href=\"http://www.oakuff.org/\">Underground Film Festival\u003c/a> on Saturday, September 28, 2013. McCall follows the game through all its levels, conducting interviews with a handful of the most devoted ex-participants. His film reconstructs the Institute’s constructed reality — from its relatively tame first level, taking players on a tour of San Francisco’s Chinatown, then providing access to the increasingly bizarre narrative turns of the game’s higher echelons.\u003c/p>\n\u003cp>In its upper levels, the game becomes progressively more complex and ambitious, establishing overlapping narratives. There’s the one about the sensitive punk woman gone missing, and another chronicling the rivalry between the Jejune Institute and the fictitious Elsewhere Public Works Agency. As they follow their piecemeal instructions, gamers wade through underground water systems and find themselves party to impromptu dance sessions with a sasquatch in the Mission. Fittingly, all the adventure ends anticlimactically in the conference room of an Embarcadero hotel.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jejune1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The film is situated much in the same province as Hull’s fabricated reality, where real and fictional worlds blend, and gamers are asked repeatedly to reevaluate if all of the game is but a lucid dream. The film’s own take on the fuzzy borders of reality and construct take on their own life, too, and viewers are offered the burden of distinguishing between what is real documentary, and what is merely reenactment. Note two things when attempting to make these distinctions (though perhaps they need not be made at all): McCall was previously an employee of the Institute, shooting short videos on their behalf; “documentary,” here, is a loose word.\u003c/p>\n\u003cp>To critique the movie is also to, in part, critique the game, of which the film clearly plays a supporting role (it’s hard to imagine that a project organized like this one would allow for a documentary any less manufactured). And for those viewing \u003ci>The Institute\u003c/i>, it too has its own level of play: Viewers can find \u003ca href=\"http://www.theinstitutemovie.com/\">instructions for a film-scavenger hunt experience on the movie’s website\u003c/a>. But while \u003ci>The Institute\u003c/i> loses momentum in the unraveling of the original game’s too-ambitious narrative of the missing punk girl, the film is successful in that it mirrors both the mood and tone of the original art project. Like the game itself, the film inspires the same skepticism and intrigue, too.\u003c/p>\n\u003cp>\u003ci>The Institute\u003c/i> screens this Saturday at the Oakland Underground Film Festival, which runs September 25-29, 2013 at both the Grand Lake Theater and Humanist Hall in Oakland. It’s one of several independent films showing — all situated neatly outside the realm of classic narrative filmmaking — that take the festival’s commitment to “outsider” film to heart. Other works of note include opening night film \u003ci>Citizen Koch\u003c/i>, which examines the billionaire Koch brothers and their bitter fight against labor unions. \u003ci>The Punk Singer\u003c/i>, which tells the story of Kathleen Hanna, the prototypical riot grrrl of Bikini Kill and Le Tigre fame, has its Bay Area premiere on opening night as well. Short pieces get their share of the attention at the festival too — and certainly deserve yours. Saturday’s \u003ci>Locals in Shorts\u003c/i> program screens animation, narratives and short documentaries by Oakland filmmakers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Institute\u003c/i> plays the festival Saturday, September 28, 2013 and will open in Bay Area theaters later this fall. For \u003ca href=\"http://www.oakuff.org/pages/coming-2013.html\">more information\u003c/a> about the Oakland Underground Film Festival, visit oakuff.org. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve had any experience with the Jejune Institute, it’s probably similar to my own: I was introduced to it by a friend, who first took great pains to pronounce the name correctly — je-joon — and then refused to say another word on the subject. “I can’t tell you anything more about it,” he said, “but you should definitely go try it for yourself.”\u003c/p>\n\u003cp>Catching on largely through word-of-mouth, the now inoperative Institute was an alternate reality game and beloved not-so-secret secret created by Oakland artist Jeff Hull. Also named the Center for Socio-Reengineering, the Jejune Institute has long been the subject of misinformation and rumor, with many mistaking the game’s smattering of devotees and obscure operations for the trappings of a cult. In truth, it was a multi-level urban scavenger hunt, and an opportunity to better familiarize oneself with San Francisco and explore the landscape through appreciation of the small details: a graffito, or a plaque stuck at the base of a forgotten statue. It was, at best, a game both meticulously planned and unpredictably spontaneous, revealing a hidden, less-appreciated San Francisco.\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/Dz-jNEWlmUA'\n title='//www.youtube.com/embed/Dz-jNEWlmUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Before closing in 2011, the Institute was located on the 16th floor of 580 California Street, in the heart of the city’s Financial District. Visitors were given a key with instructions directing them to an enclosed, automated room where an “induction” process began: an orientation film — the stuff of an ’80s instructional video — briefed viewers on the origins of the Institute and the phenomena of poli water, explaining the “vital orbit” and “the algorithm.” If you’ve been there, you likely watched the nonsensical video, laughed nonchalantly with your friends at the absurdity of it all, and secretly worried the door would lock behind you at any moment.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jejune2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spencer McCall documented this experience in his new film, \u003ci>The Institute\u003c/i>, which comes out next month and screens at Oakland’s \u003ca href=\"http://www.oakuff.org/\">Underground Film Festival\u003c/a> on Saturday, September 28, 2013. McCall follows the game through all its levels, conducting interviews with a handful of the most devoted ex-participants. His film reconstructs the Institute’s constructed reality — from its relatively tame first level, taking players on a tour of San Francisco’s Chinatown, then providing access to the increasingly bizarre narrative turns of the game’s higher echelons.\u003c/p>\n\u003cp>In its upper levels, the game becomes progressively more complex and ambitious, establishing overlapping narratives. There’s the one about the sensitive punk woman gone missing, and another chronicling the rivalry between the Jejune Institute and the fictitious Elsewhere Public Works Agency. As they follow their piecemeal instructions, gamers wade through underground water systems and find themselves party to impromptu dance sessions with a sasquatch in the Mission. Fittingly, all the adventure ends anticlimactically in the conference room of an Embarcadero hotel.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jejune1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The film is situated much in the same province as Hull’s fabricated reality, where real and fictional worlds blend, and gamers are asked repeatedly to reevaluate if all of the game is but a lucid dream. The film’s own take on the fuzzy borders of reality and construct take on their own life, too, and viewers are offered the burden of distinguishing between what is real documentary, and what is merely reenactment. Note two things when attempting to make these distinctions (though perhaps they need not be made at all): McCall was previously an employee of the Institute, shooting short videos on their behalf; “documentary,” here, is a loose word.\u003c/p>\n\u003cp>To critique the movie is also to, in part, critique the game, of which the film clearly plays a supporting role (it’s hard to imagine that a project organized like this one would allow for a documentary any less manufactured). And for those viewing \u003ci>The Institute\u003c/i>, it too has its own level of play: Viewers can find \u003ca href=\"http://www.theinstitutemovie.com/\">instructions for a film-scavenger hunt experience on the movie’s website\u003c/a>. But while \u003ci>The Institute\u003c/i> loses momentum in the unraveling of the original game’s too-ambitious narrative of the missing punk girl, the film is successful in that it mirrors both the mood and tone of the original art project. Like the game itself, the film inspires the same skepticism and intrigue, too.\u003c/p>\n\u003cp>\u003ci>The Institute\u003c/i> screens this Saturday at the Oakland Underground Film Festival, which runs September 25-29, 2013 at both the Grand Lake Theater and Humanist Hall in Oakland. It’s one of several independent films showing — all situated neatly outside the realm of classic narrative filmmaking — that take the festival’s commitment to “outsider” film to heart. Other works of note include opening night film \u003ci>Citizen Koch\u003c/i>, which examines the billionaire Koch brothers and their bitter fight against labor unions. \u003ci>The Punk Singer\u003c/i>, which tells the story of Kathleen Hanna, the prototypical riot grrrl of Bikini Kill and Le Tigre fame, has its Bay Area premiere on opening night as well. Short pieces get their share of the attention at the festival too — and certainly deserve yours. Saturday’s \u003ci>Locals in Shorts\u003c/i> program screens animation, narratives and short documentaries by Oakland filmmakers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Institute\u003c/i> plays the festival Saturday, September 28, 2013 and will open in Bay Area theaters later this fall. For \u003ca href=\"http://www.oakuff.org/pages/coming-2013.html\">more information\u003c/a> about the Oakland Underground Film Festival, visit oakuff.org. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Don't Worry, Kids, These (Sex) Addicts Are All Right",
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"content": "\u003cp>Somewhere between Tim Robbins’ angry assumption about his wife’s pain pills and Pink’s ecstatic-dance excursion with the guy from \u003cem>Book of Mormon,\u003c/em> I realized that the dealing-with-addiction drama \u003cem>Thanks for Sharing\u003c/em> really, really wanted to tell me everything it knows about life in recovery. As a critic, I’ve gotta acknowledge the problems that kind of crowding creates for a storyteller. As a person, I’ve gotta admire the generosity it bespeaks.\u003c/p>\n\u003cp>The directorial debut from Stuart Blumberg, who co-wrote \u003cem>The Kids Are All Right\u003c/em> with Lisa Cholodenko, \u003cem>Thanks for Sharing\u003c/em> is a romantic comedy with a slight kink, a comedy of errors in which those mistakes come with consequences — but not too many to prevent a happy(ish) ending.\u003c/p>\n\u003cp>It’s been compared, unfavorably, to the Michael Fassbender vehicle \u003cem>Shame,\u003c/em> which treated essentially the same subject with a grand-operatic seriousness and heft — but to measure the two together is to misread Blumberg’s intentions. He’s not out to sell a voyeuristic saga about downward spirals and self-destructions; he’s looking instead to dramatize the strategies, practical and metaphysical, that help an addict keep the bad at bay, one day at a time.\u003c/p>\n\u003cp>http://youtu.be/CR_OkBBzdew\u003c/p>\n\u003cp>To that end he serves up three interlocking storylines about a serious-minded eco-entrepreneur (Mark Ruffalo), his avuncular sponsor (Robbins) in a 12-step program for sex addicts, and a hot mess of an ER trauma doc (Josh Gad) who’s been referred involuntarily to “the rooms” — both a victim and a judge having taken exception to the nonconsensual jollies he’s been getting on the subway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stories need catalytic disruptions to get properly started, so into each man’s life a change is shortly gonna come: Ruffalo will meet a seemingly perfect woman (Gwyneth Paltrow) whose own issues aren’t far from the surface; Robbins’ long-prodigal son will return, claiming to have shaken his drug habit; Gad will hit an even lower bottom, then stumble over one of the 12-step model’s core principles when he realizes that being useful to another struggling soul can make a person feel a lot better about his own worth.\u003c/p>\n\u003cp>It’s a lot to keep track of, and that’s without mentioning the under-the-surface observations Blumberg is keen on making — about the traps of cross-addiction, about compulsive behaviors we celebrate (relentless exercise, anyone?) rather than questioning, about the way a 12-stepper’s commitment to the program can calcify into a hostility toward other ways of getting right.\u003c/p>\n\u003cp>And yet: \u003cem>Thanks for Sharing\u003c/em> is such a relaxed, good-humored movie that it’s tough to complain about its tendency to … well, overshare. (Not in the explicit sense: Its approach to actual sex is by and large decorous, or at worst puckish.) Robbins, triangled off in domesticity with a serenely radiant Joely Richardson and a handsomely sullen Patrick Fugit, is all laconic, blue-eyed big-guy charisma. Ruffalo inflects his baseline shaggy-dog appeal with a whiff of the woebegone and just enough of a spine to encourage viewers to invest in his staying on the straight and narrow. Even Paltrow’s recreational haters will have to admit she’s playing gamely along here, as Blumberg subjects her character to some knowing sass about her diet and her training regimen.\u003c/p>\n\u003cp>And then there’s Pink, billed here under her birth name, Alecia Moore, and popping off the screen with a beguiling vulnerability behind the badass shell. She’s a vivid performer in her own right, and beyond that she makes a terrific foil for Gad, whose role calls for both focused intensity and the flop-sweat comedy that made him his name in Broadway’s \u003cem>Mormon.\u003c/em> Moore’s deadpan amplifies Gad’s exasperation over some of their shared insanity; his first-responder’s competence provides a solid frame to contain her panic in a crisis moment. Together they make their shared storyline a whole lot more engaging than it might have been.\u003c/p>\n\u003cp>That shared storyline, and the others that wind around it, are still a good deal for one movie to negotiate. No surprise, then, that some resolutions feel a little pat, and some of the conflicts that require them a little pro forma.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But at least the strands don’t snarl; Blumberg is an efficient, easygoing storyteller. And when you measure this basically charming chamber piece against the bloat and shove of, say, the ego-infested horror that was \u003cem>New Year’s Eve —\u003c/em> where the admirable goal of cleverly intersecting stories somehow metastasized into a choking spaghetti-tangle of star turns connected loosely by product placement and a calendar item — you might just decide that, like a day in recovery, a little capably handled mess is enough to get contentedly by on. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Worry%2C+Kids%2C+These+%28Sex%29+Addicts+Are+All+Right+&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/p>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Somewhere between Tim Robbins’ angry assumption about his wife’s pain pills and Pink’s ecstatic-dance excursion with the guy from \u003cem>Book of Mormon,\u003c/em> I realized that the dealing-with-addiction drama \u003cem>Thanks for Sharing\u003c/em> really, really wanted to tell me everything it knows about life in recovery. As a critic, I’ve gotta acknowledge the problems that kind of crowding creates for a storyteller. As a person, I’ve gotta admire the generosity it bespeaks.\u003c/p>\n\u003cp>The directorial debut from Stuart Blumberg, who co-wrote \u003cem>The Kids Are All Right\u003c/em> with Lisa Cholodenko, \u003cem>Thanks for Sharing\u003c/em> is a romantic comedy with a slight kink, a comedy of errors in which those mistakes come with consequences — but not too many to prevent a happy(ish) ending.\u003c/p>\n\u003cp>It’s been compared, unfavorably, to the Michael Fassbender vehicle \u003cem>Shame,\u003c/em> which treated essentially the same subject with a grand-operatic seriousness and heft — but to measure the two together is to misread Blumberg’s intentions. He’s not out to sell a voyeuristic saga about downward spirals and self-destructions; he’s looking instead to dramatize the strategies, practical and metaphysical, that help an addict keep the bad at bay, one day at a time.\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/CR_OkBBzdew'\n title='//www.youtube.com/embed/CR_OkBBzdew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To that end he serves up three interlocking storylines about a serious-minded eco-entrepreneur (Mark Ruffalo), his avuncular sponsor (Robbins) in a 12-step program for sex addicts, and a hot mess of an ER trauma doc (Josh Gad) who’s been referred involuntarily to “the rooms” — both a victim and a judge having taken exception to the nonconsensual jollies he’s been getting on the subway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stories need catalytic disruptions to get properly started, so into each man’s life a change is shortly gonna come: Ruffalo will meet a seemingly perfect woman (Gwyneth Paltrow) whose own issues aren’t far from the surface; Robbins’ long-prodigal son will return, claiming to have shaken his drug habit; Gad will hit an even lower bottom, then stumble over one of the 12-step model’s core principles when he realizes that being useful to another struggling soul can make a person feel a lot better about his own worth.\u003c/p>\n\u003cp>It’s a lot to keep track of, and that’s without mentioning the under-the-surface observations Blumberg is keen on making — about the traps of cross-addiction, about compulsive behaviors we celebrate (relentless exercise, anyone?) rather than questioning, about the way a 12-stepper’s commitment to the program can calcify into a hostility toward other ways of getting right.\u003c/p>\n\u003cp>And yet: \u003cem>Thanks for Sharing\u003c/em> is such a relaxed, good-humored movie that it’s tough to complain about its tendency to … well, overshare. (Not in the explicit sense: Its approach to actual sex is by and large decorous, or at worst puckish.) Robbins, triangled off in domesticity with a serenely radiant Joely Richardson and a handsomely sullen Patrick Fugit, is all laconic, blue-eyed big-guy charisma. Ruffalo inflects his baseline shaggy-dog appeal with a whiff of the woebegone and just enough of a spine to encourage viewers to invest in his staying on the straight and narrow. Even Paltrow’s recreational haters will have to admit she’s playing gamely along here, as Blumberg subjects her character to some knowing sass about her diet and her training regimen.\u003c/p>\n\u003cp>And then there’s Pink, billed here under her birth name, Alecia Moore, and popping off the screen with a beguiling vulnerability behind the badass shell. She’s a vivid performer in her own right, and beyond that she makes a terrific foil for Gad, whose role calls for both focused intensity and the flop-sweat comedy that made him his name in Broadway’s \u003cem>Mormon.\u003c/em> Moore’s deadpan amplifies Gad’s exasperation over some of their shared insanity; his first-responder’s competence provides a solid frame to contain her panic in a crisis moment. Together they make their shared storyline a whole lot more engaging than it might have been.\u003c/p>\n\u003cp>That shared storyline, and the others that wind around it, are still a good deal for one movie to negotiate. No surprise, then, that some resolutions feel a little pat, and some of the conflicts that require them a little pro forma.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But at least the strands don’t snarl; Blumberg is an efficient, easygoing storyteller. And when you measure this basically charming chamber piece against the bloat and shove of, say, the ego-infested horror that was \u003cem>New Year’s Eve —\u003c/em> where the admirable goal of cleverly intersecting stories somehow metastasized into a choking spaghetti-tangle of star turns connected loosely by product placement and a calendar item — you might just decide that, like a day in recovery, a little capably handled mess is enough to get contentedly by on. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Worry%2C+Kids%2C+These+%28Sex%29+Addicts+Are+All+Right+&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/p>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three YouTube stars are aiming for the silver screen, or at least releasing a feature length movie online. \u003ci>Camp Takota\u003c/i>, which has just finished shooting, is the brain child of \u003ca href=\"http://www.youtube.com/user/dailygrace\">Grace Helbig\u003c/a>, \u003ca href=\"http://www.youtube.com/myharto\">Hannah Hart\u003c/a>, and \u003ca href=\"http://www.youtube.com/user/YouDeserveADrink\">Mamrie Hart\u003c/a>, the female comedy trio that has taken YouTube by storm. Each of the collaborators started out making comedy videos on their own channels and began to collaborate on smaller projects and appear on each other’s channels, while slowly building audiences of their own. Eventually, the trio created #NoFilter, a live sketch comedy tour. Now they are on to the ultimate collaboration, branching out of the YouTube video monolith to develop a feature length film in which the three friends play counselors returning to their childhood summer camp, a concept based on Mamrie’s summers counseling at an all-girl camp.\u003c/p>\n\u003cp>Announced at this year’s \u003ca href=\"http://www.vidcon.com/\">VidCon\u003c/a>, an convention for fans and creators of online video, the feature is being made with and will be released on Chill.com, a video site aimed at expanding the online video ecosystem. YouTube is the major hub of video online today, with everything from educational videos, vlogs, and comedy, but all usually run less than 15 minutes. It is a great tool for building audiences from the ground up, but, like any creative tool, it has limitations. Yes, there’s Vimeo, of course, which has become the place for high res art films and beautiful animation. There’s Netflix, with its ever-growing trove of movies and TV from big name producers and even Hulu, made for TV shows and online video, but so far there has been no site that has become a leading platform geared to the creation and presentation of feature-length works by Internet-only and crowdfunded creators.\u003c/p>\n\n\u003cp>Chill.com wants to give the fans a full-service experience, with more access to the film’s three stars, though it’s hard to see how fans could get more connected than watching \u003ca href=\"http://www.youtube.com/user/dailygrace\">DailyGrace\u003c/a>. During shooting Grace replaced her normal daily YouTube show with a vlog from each day of shooting, giving fans a nearly live, behind-the-scenes look at the cast and crew as the feature was being shot. Who needs paparazzi anymore when the creators themselves happily feed their fans a deluge of day-in-the-life videos. Not only are the creators free from the sneak attacks and flashing bulbs of pushy photographers, but they get to choose what goes online and what gets edited out while still letting fans into the fold. So, Chill goes all out, throwing the idea of oversaturation to the wind, and packing the site full of even more behind-the-scenes videos, interviews, images, and fan art. \u003c/p>\n\u003cp>It is still uncertain if this experiment in online video delivery will pay off for the trio, but with nearly 70,000 fans already signed up, the prospects look good. Now let’s just hope that the jump from short to feature retains the funny, awkward, and touching style of their YouTube videos. But either way, online video is quickly changing, with more access to both money and eyeballs, and the success or failure of this project will contribute to the shape of things to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three YouTube stars are aiming for the silver screen, or at least releasing a feature length movie online. \u003ci>Camp Takota\u003c/i>, which has just finished shooting, is the brain child of \u003ca href=\"http://www.youtube.com/user/dailygrace\">Grace Helbig\u003c/a>, \u003ca href=\"http://www.youtube.com/myharto\">Hannah Hart\u003c/a>, and \u003ca href=\"http://www.youtube.com/user/YouDeserveADrink\">Mamrie Hart\u003c/a>, the female comedy trio that has taken YouTube by storm. Each of the collaborators started out making comedy videos on their own channels and began to collaborate on smaller projects and appear on each other’s channels, while slowly building audiences of their own. Eventually, the trio created #NoFilter, a live sketch comedy tour. Now they are on to the ultimate collaboration, branching out of the YouTube video monolith to develop a feature length film in which the three friends play counselors returning to their childhood summer camp, a concept based on Mamrie’s summers counseling at an all-girl camp.\u003c/p>\n\u003cp>Announced at this year’s \u003ca href=\"http://www.vidcon.com/\">VidCon\u003c/a>, an convention for fans and creators of online video, the feature is being made with and will be released on Chill.com, a video site aimed at expanding the online video ecosystem. YouTube is the major hub of video online today, with everything from educational videos, vlogs, and comedy, but all usually run less than 15 minutes. It is a great tool for building audiences from the ground up, but, like any creative tool, it has limitations. Yes, there’s Vimeo, of course, which has become the place for high res art films and beautiful animation. There’s Netflix, with its ever-growing trove of movies and TV from big name producers and even Hulu, made for TV shows and online video, but so far there has been no site that has become a leading platform geared to the creation and presentation of feature-length works by Internet-only and crowdfunded creators.\u003c/p>\n\n\u003cp>Chill.com wants to give the fans a full-service experience, with more access to the film’s three stars, though it’s hard to see how fans could get more connected than watching \u003ca href=\"http://www.youtube.com/user/dailygrace\">DailyGrace\u003c/a>. During shooting Grace replaced her normal daily YouTube show with a vlog from each day of shooting, giving fans a nearly live, behind-the-scenes look at the cast and crew as the feature was being shot. Who needs paparazzi anymore when the creators themselves happily feed their fans a deluge of day-in-the-life videos. Not only are the creators free from the sneak attacks and flashing bulbs of pushy photographers, but they get to choose what goes online and what gets edited out while still letting fans into the fold. So, Chill goes all out, throwing the idea of oversaturation to the wind, and packing the site full of even more behind-the-scenes videos, interviews, images, and fan art. \u003c/p>\n\u003cp>It is still uncertain if this experiment in online video delivery will pay off for the trio, but with nearly 70,000 fans already signed up, the prospects look good. Now let’s just hope that the jump from short to feature retains the funny, awkward, and touching style of their YouTube videos. But either way, online video is quickly changing, with more access to both money and eyeballs, and the success or failure of this project will contribute to the shape of things to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Filmmaker and visual anthropologist Briana Young needles into the huddle for a full-impact, jaw-dropping look at one of the final frontiers of gender equality: women’s tackle football. When most think of American Football, images spring to mind of raw, unbridled demonstrations of athletic might pushed to the max, but rarely do those images involve women.\u003c/p>\n\u003cp>\u003cstrong>Ladies of the Gridiron\u003c/strong> follows The Quake, a professional women’s tackle football team. These women embody all the same grit, sweat and dogged determination as their male counterparts, but without the money or fame. And beyond that, they must deal with a societal prejudice that keeps them very much on the periphery of professional sports, having to pay their own way even as other female athletes — such as those in the Lingerie League — draw a salary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Made by Humans, the Atheist Film Festival Celebrates Its Fifth Year",
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"content": "\u003cp>Showing a film at the Atheist Film Festival is kind of like preaching to the choir. Now in its 5th year, the festival (tagline: “A film festival you can believe in”) plays at the Roxie Theater in San Francisco this Saturday. Its limited line-up is an argument for the importance of the event itself: There aren’t enough atheists out there, organizers would surely argue, and neither are there enough movies on the subject, at least with the film festival’s particular bent.\u003c/p>\n\u003cp>Scott Thurman tackles church and state in the \u003ci>The Revisionaries\u003c/i>, a documentary covering the Texas Board of Education, the country’s most influential. Representing one of the most largely populated states in the U.S., it’s a board that holds unmatched sway over textbook publishers and what they print — and subsequently, what other states end up buying for their own schools, as well.\u003c/p>\n\u003cp>With mostly religious conservatives on the board, partisan politics brings faith into the agenda, with the majority harnessing its clout to change core axioms of the current curriculum: Under their guidance, science books are altered to question evolution, and history texts to promote American government as founded according to Christian principles. While the clash between religion versus science is expected, watching board members play scientists and historians — with selective memories suited to their spiritual beliefs — is revealing. That the chairman of the board claims the world is only 6,000 years old is proof of his academic singularity. That he chooses to strike “hip hop” out of the history textbooks and substitute it with “country and western music” is proof of his discriminatory eye.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/wAeKXdLZhOg\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Make no mistake: The film is the product of reactionary activists, and while it dives into the minutiae of board hearings, angling in on policy nitpicking and vote collecting, it’s more concerned with chronicling — and stopping — the modern-day crusade of religious evangelicals. There’s a certain dogmatism and hypocrisy apparent in key members of the board, who are willing to reject or cite scientific fact at their convenience, and have few misgivings with letting their personal faith dictate the study materials of millions of young people. At its core, the film is about how religion is a fundamental component to the way our country is run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/12/kumare.jpg\" style=\"margin-bottom: 10px;\" alt=\"kumare\">\u003c/center>\n\u003cp>Zealotry takes another turn in the festival, in a documentary orchestrated much in the same vein as \u003ci>Borat\u003c/i>. The award-winning \u003ci>Kumare: The True Story of a False Prophet\u003c/i> is a personal and thoughtful film, though with a premise drenched in novelty. Vikram Gandhi, a second-generation Indian American raised in accordance with Hinduism, finds himself losing faith just as the west is buying into Indian spirituality. His work on a documentary featuring gurus at home and in the motherland brings him to encounter his fair share of frauds, ultimately pointing him to pose the film’s main question: How much of the meaning behind spirituality is just an illusion that we choose to believe? Can a false religion affect its followers just as powerfully as a “real” one?\u003c/p>\n\u003cp>Cue the film’s novel twist: Gandhi will transform himself into an Indian guru named Kumare and appear on the Arizona yoga scene to build a following throughout the state. Should he achieve success, it will prove that spiritual authenticity is merely something we fabricate.\u003c/p>\n\u003cp>The film maneuvers between the heartfelt and farcical: Gandhi grows out his hair, creates unthinkable, laughable yoga postures, and puts on an Indian accent modeled after his grandmother’s. But while the lighter moments get their share of snickers, they’re sometimes uncomfortably mean-spirited — we’re laughing at the people he’s fooling, and often when they’re at their most vulnerable. At times when the movie delves deeper, things gets ethically messy: like when Gandhi is privy to heartfelt, intimate confessions from “disciples” who trust and confide in him as Kumare, the guru. Little do they know he’s actually from New Jersey.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/OXUzG6YKuvo\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As his teachings begin to gain traction, Gandhi pushes them to the edge for the mere sake of doing so, even leading an eager follower to meditate before an altar displaying three images: one of Kumare himself, and two more featuring framed pictures of Barack Obama and Osama bin Laden. The revelation of his true identity at the end pushes the film even further into mixed emotional territory, playing both genuine … and not unlike the final episode of yet another unethically-premised reality TV show.\u003c/p>\n\u003cp>What \u003ci>Kumare\u003c/i> reveals is that, skeptical as the director may be, the public — or the self-selected public within the film, at least — perceives a real need to believe. It’s an uncomfortable realization for a film showing at an atheist festival, but one that offers more complexity to a sometimes staunchly rational set list.\u003c/p>\n\u003cp>Relying largely on reason and science for coherence and for narrative thrust, the documentaries in the festival can come off as clinical. The dramatic films offer more of a personal take on the atheist perspective. \u003ci>Creation\u003c/i> offers its own interpretation of Charles Darwin’s struggle to produce the book he knew would offend the western world. \u003ci>The Magdalene Sisters\u003c/i> promotes its own political agenda, taking on the Irish legacy of “Magdalene Asylums,” where “shamed” women were sent to laundry houses to repent for their sins, with a critical and unforgiving eye. These films are an important addition to the festival for rendering, quite beautifully, the inner agony of those rejecting and rejected by religion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 5th Atheist Film Festival is September 14, 2013 at the Roxie Theatre in San Francisco. For \u003ca href=\"http://sfatheistfilmfestival.org/\">more information\u003c/a>, visit sfatheistfilmfestival.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Showing a film at the Atheist Film Festival is kind of like preaching to the choir. Now in its 5th year, the festival (tagline: “A film festival you can believe in”) plays at the Roxie Theater in San Francisco this Saturday. Its limited line-up is an argument for the importance of the event itself: There aren’t enough atheists out there, organizers would surely argue, and neither are there enough movies on the subject, at least with the film festival’s particular bent.\u003c/p>\n\u003cp>Scott Thurman tackles church and state in the \u003ci>The Revisionaries\u003c/i>, a documentary covering the Texas Board of Education, the country’s most influential. Representing one of the most largely populated states in the U.S., it’s a board that holds unmatched sway over textbook publishers and what they print — and subsequently, what other states end up buying for their own schools, as well.\u003c/p>\n\u003cp>With mostly religious conservatives on the board, partisan politics brings faith into the agenda, with the majority harnessing its clout to change core axioms of the current curriculum: Under their guidance, science books are altered to question evolution, and history texts to promote American government as founded according to Christian principles. While the clash between religion versus science is expected, watching board members play scientists and historians — with selective memories suited to their spiritual beliefs — is revealing. That the chairman of the board claims the world is only 6,000 years old is proof of his academic singularity. That he chooses to strike “hip hop” out of the history textbooks and substitute it with “country and western music” is proof of his discriminatory eye.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/wAeKXdLZhOg\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Make no mistake: The film is the product of reactionary activists, and while it dives into the minutiae of board hearings, angling in on policy nitpicking and vote collecting, it’s more concerned with chronicling — and stopping — the modern-day crusade of religious evangelicals. There’s a certain dogmatism and hypocrisy apparent in key members of the board, who are willing to reject or cite scientific fact at their convenience, and have few misgivings with letting their personal faith dictate the study materials of millions of young people. At its core, the film is about how religion is a fundamental component to the way our country is run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/12/kumare.jpg\" style=\"margin-bottom: 10px;\" alt=\"kumare\">\u003c/center>\n\u003cp>Zealotry takes another turn in the festival, in a documentary orchestrated much in the same vein as \u003ci>Borat\u003c/i>. The award-winning \u003ci>Kumare: The True Story of a False Prophet\u003c/i> is a personal and thoughtful film, though with a premise drenched in novelty. Vikram Gandhi, a second-generation Indian American raised in accordance with Hinduism, finds himself losing faith just as the west is buying into Indian spirituality. His work on a documentary featuring gurus at home and in the motherland brings him to encounter his fair share of frauds, ultimately pointing him to pose the film’s main question: How much of the meaning behind spirituality is just an illusion that we choose to believe? Can a false religion affect its followers just as powerfully as a “real” one?\u003c/p>\n\u003cp>Cue the film’s novel twist: Gandhi will transform himself into an Indian guru named Kumare and appear on the Arizona yoga scene to build a following throughout the state. Should he achieve success, it will prove that spiritual authenticity is merely something we fabricate.\u003c/p>\n\u003cp>The film maneuvers between the heartfelt and farcical: Gandhi grows out his hair, creates unthinkable, laughable yoga postures, and puts on an Indian accent modeled after his grandmother’s. But while the lighter moments get their share of snickers, they’re sometimes uncomfortably mean-spirited — we’re laughing at the people he’s fooling, and often when they’re at their most vulnerable. At times when the movie delves deeper, things gets ethically messy: like when Gandhi is privy to heartfelt, intimate confessions from “disciples” who trust and confide in him as Kumare, the guru. Little do they know he’s actually from New Jersey.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/OXUzG6YKuvo\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As his teachings begin to gain traction, Gandhi pushes them to the edge for the mere sake of doing so, even leading an eager follower to meditate before an altar displaying three images: one of Kumare himself, and two more featuring framed pictures of Barack Obama and Osama bin Laden. The revelation of his true identity at the end pushes the film even further into mixed emotional territory, playing both genuine … and not unlike the final episode of yet another unethically-premised reality TV show.\u003c/p>\n\u003cp>What \u003ci>Kumare\u003c/i> reveals is that, skeptical as the director may be, the public — or the self-selected public within the film, at least — perceives a real need to believe. It’s an uncomfortable realization for a film showing at an atheist festival, but one that offers more complexity to a sometimes staunchly rational set list.\u003c/p>\n\u003cp>Relying largely on reason and science for coherence and for narrative thrust, the documentaries in the festival can come off as clinical. The dramatic films offer more of a personal take on the atheist perspective. \u003ci>Creation\u003c/i> offers its own interpretation of Charles Darwin’s struggle to produce the book he knew would offend the western world. \u003ci>The Magdalene Sisters\u003c/i> promotes its own political agenda, taking on the Irish legacy of “Magdalene Asylums,” where “shamed” women were sent to laundry houses to repent for their sins, with a critical and unforgiving eye. These films are an important addition to the festival for rendering, quite beautifully, the inner agony of those rejecting and rejected by religion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 5th Atheist Film Festival is September 14, 2013 at the Roxie Theatre in San Francisco. For \u003ca href=\"http://sfatheistfilmfestival.org/\">more information\u003c/a>, visit sfatheistfilmfestival.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wise to the reality that it’s easier to draw attention to a series than to a bunch of one-off screenings, especially when it’s christened with the wink-and-a-nod title \u003cb>Local Boy Makes Good\u003c/b>, Yerba Buena Center For the Arts unveils a curious quartet of Bay Area-centric features and documentaries beginning tonight with Doug Wolens’ \u003ci>The Singularity\u003c/i>. The subjects range from artificial intelligence to street photography, sexual intimacy to faith in the face of an apocalypse, yet a tenuous thread connects the filmmakers: the effects of new technology on image-making.\u003c/p>\n\u003cp>\u003ci>The Singularity\u003c/i> (Sept. 12, with Wolens in person) is a no-frills, talking-heads doc in which front-line players and deep thinkers in computer intelligence riff on its implications for human civilization in the not-too-distant future. That’s catnip for some of you, I realize, and anathema to others. Especially since we can’t reasonably expect the interviews to capture the frisson of discovery or revelation, for the simple reason that the subjects have already expressed their philosophies and predictions countless times in numerous settings.\u003c/p>\n\u003cp>Wolens smartly eliminates the bad taste of pre-digested oratory — although Ray Kurzweil’s self-satisfaction still seeps through — by editing the interviews against each other to create a debate. The remarkable thing, though, is how the personalities of the interviewees come through; I was never bored staring at a face and listening to him or her expound at far greater length than the sound bites I’m accustomed to. I think it has something to do with the hi-def digital camera Wolens used, which elicits a response in the viewer more akin to film than video. \u003ci>The Singularity\u003c/i> also screens September 16 at the Castro as part of an all-day retrospective of Wolens’ docs.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/gibbschapman.jpg\">\u003cbr>\nGibbs Chapman’s \u003ci>mother mortar, father pestle\u003c/i>\u003c/p>\n\u003cp>Gibbs Chapman’s S.F.-set narrative \u003ci>mother mortar, father pestle\u003c/i> (Sept. 19, with the director in attendance) is a beautifully achieved and deeply pleasurable exemplar of banana-peel noir. A disturbance has taken place in the upper atmosphere, portending a day when the world won’t end with a bang but with a splat. I couldn’t tell, frankly, if the characters are thrown off-kilter by the gradient change in the environment or become more concentrated versions of themselves, but their interactions run the gamut from absurd to surreal to hilariously recognizable. Chapman envelops his droll worldview in a lush, enveloping mise en scene built on a rock-solid base of black-and-white celluloid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If I tell you that Chapman acknowledged his many collaborators at a recent cast and crew screening as “a Who’s Who of Bay Area nobodies” — to laughter and applause, by the way — you’ll get a sense of how seriously he takes himself. That said, his work is closer to Jean-Paul Sartre than Henny Youngman. Chapman’s commitment can be measured by the lengths he had to go to shoot (and mix) a feature on film at this point in time. \u003ci>mother mortar, father pestle\u003c/i> is an altogether rare and precious accomplishment, and moviegoers in love with the texture, grain and look of black-and-white film should not miss it (nor, for that matter, should ad agency creatives and directors of TV commercials, always looking for an aesthetic to rip off).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/way.jpg\">\u003cbr>\nKonrad Steiner’s \u003ci>way\u003c/i>\u003c/p>\n\u003cp>Like Chapman, the talented experimental filmmaker Konrad Steiner derives more pleasure from collaborating with other artists than from playing the auteur. His new work, a six-part film called \u003ci>way\u003c/i> (Sept. 26, with Steiner on hand), is inspired by the 1988 book-length poem of the same name by the East Bay wordsmith Leslie Scalapino. Indeed, a 2000 recording of the poet reading her award-winning work (she died in 2010) provides the film’s soundtrack.\u003c/p>\n\u003cp>Alas, Scalapino’s intentionally mechanical performance dwarfs Steiner’s delicate images, based on the two segments of \u003ci>way\u003c/i> I saw. In “Hoofer,” Steiner plays with the special effect of decomposing celluloid, and Fred Astaire, while Scalapino dissects an intimate relationship. “The floating series” finds the filmmaker giving flesh to the poet’s compendium of sexual power dynamics with neon glimpses of young professionals on the make in bars and cafes (shot a decade ago during the first dot-com wave), darkened with frames from \u003ci>Onibaba\u003c/i> (1964), Kineto Shindo’s haunted black-and-white rendering of a medieval Japanese parable of animalistic passion and control.\u003c/p>\n\u003cp>I expect this will be heresy to Scalapino’s many admirers, but her reading strips the words of emotion, and pleasure. The elliptical nature of this poem, which presumably worked beautifully on the page, takes on the air of an intellectual exercise. It doesn’t conjure visual associations, and interferes with our ability to savor Steiner’s images. At some point I chose to stop hearing Scalapino’s words, and let her voice serve as a backing track. Heresy, I know.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/lyon.jpg\">\u003cbr>\nMichael House’s \u003ci>Fred Lyon: Living Through the Lens\u003c/i>\u003c/p>\n\u003cp>We are introduced to the spry, upbeat subject of the jaunty 52-minute profile \u003ci>Fred Lyon: Living Through the Lens\u003c/i> (receiving its world premiere Sept. 29, with Lyon and filmmaker Michael House in person) packing up his camera and heading out onto the streets of San Francisco. For a good, long while we are under the impression that he’s been shooting local landscapes and street life practically every day since the end of World War II, and that it’s his primary mode of photography.\u003c/p>\n\u003cp>That first bit is largely true, but only gradually does it seep out that the likable Lyon made his bread shooting interiors and fashion for \u003ci>House & Garden\u003c/i> and \u003ci>Vogue\u003c/i>, journalistic images for \u003ci>Life\u003c/i> and \u003ci>Look\u003c/i>, and print ads for vodka and the like. If anything, this enhances our appreciation for his talent, but it also underscores House’s affectionate and uncritical tone: Except for one or two fleeting references, the film leaves unexplored the tension between art and commerce. Indeed, \u003ci>Fred Lyon: Living Through the Lens\u003c/i> misses a fascinating opportunity to delve deeper into the artistic qualities and ramifications of this talented man’s exemplary commercial work.\u003c/p>\n\u003cp>The Paris-based House has made a fast-paced film full of small pleasures, including a wealth of evocative images of mid-century San Francisco and egregiously garish apartments of our town’s one-time elites. We’re encouraged to experience and enjoy Lyon’s shots of public and private spaces, rather than to interpret them. Backed by an intermittent soundtrack of buoyant piano-driven jazz, we are happy to oblige.\u003c/p>\n\u003cp>Lest you think the octogenarian photographer is an old fogey, early on in \u003ci>Fred Lyon: Living Through the Lens\u003c/i> we see a collaborator scanning, cleaning up and digitizing Lyon’s early images for sale through his gallery rep. There’s a wonderful sequence, as well, of him composing a picture entirely on a scanner. To Lyons, creativity is the one constant in every picture he makes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Local Boy Makes Good\u003c/b> screens September 12-29, 2013 at Yerba Buena Center For the Arts Screening Room in San Francisco. For \u003ca href=\"http://www.ybca.org/local-boy-makes-good/\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wise to the reality that it’s easier to draw attention to a series than to a bunch of one-off screenings, especially when it’s christened with the wink-and-a-nod title \u003cb>Local Boy Makes Good\u003c/b>, Yerba Buena Center For the Arts unveils a curious quartet of Bay Area-centric features and documentaries beginning tonight with Doug Wolens’ \u003ci>The Singularity\u003c/i>. The subjects range from artificial intelligence to street photography, sexual intimacy to faith in the face of an apocalypse, yet a tenuous thread connects the filmmakers: the effects of new technology on image-making.\u003c/p>\n\u003cp>\u003ci>The Singularity\u003c/i> (Sept. 12, with Wolens in person) is a no-frills, talking-heads doc in which front-line players and deep thinkers in computer intelligence riff on its implications for human civilization in the not-too-distant future. That’s catnip for some of you, I realize, and anathema to others. Especially since we can’t reasonably expect the interviews to capture the frisson of discovery or revelation, for the simple reason that the subjects have already expressed their philosophies and predictions countless times in numerous settings.\u003c/p>\n\u003cp>Wolens smartly eliminates the bad taste of pre-digested oratory — although Ray Kurzweil’s self-satisfaction still seeps through — by editing the interviews against each other to create a debate. The remarkable thing, though, is how the personalities of the interviewees come through; I was never bored staring at a face and listening to him or her expound at far greater length than the sound bites I’m accustomed to. I think it has something to do with the hi-def digital camera Wolens used, which elicits a response in the viewer more akin to film than video. \u003ci>The Singularity\u003c/i> also screens September 16 at the Castro as part of an all-day retrospective of Wolens’ docs.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/gibbschapman.jpg\">\u003cbr>\nGibbs Chapman’s \u003ci>mother mortar, father pestle\u003c/i>\u003c/p>\n\u003cp>Gibbs Chapman’s S.F.-set narrative \u003ci>mother mortar, father pestle\u003c/i> (Sept. 19, with the director in attendance) is a beautifully achieved and deeply pleasurable exemplar of banana-peel noir. A disturbance has taken place in the upper atmosphere, portending a day when the world won’t end with a bang but with a splat. I couldn’t tell, frankly, if the characters are thrown off-kilter by the gradient change in the environment or become more concentrated versions of themselves, but their interactions run the gamut from absurd to surreal to hilariously recognizable. Chapman envelops his droll worldview in a lush, enveloping mise en scene built on a rock-solid base of black-and-white celluloid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If I tell you that Chapman acknowledged his many collaborators at a recent cast and crew screening as “a Who’s Who of Bay Area nobodies” — to laughter and applause, by the way — you’ll get a sense of how seriously he takes himself. That said, his work is closer to Jean-Paul Sartre than Henny Youngman. Chapman’s commitment can be measured by the lengths he had to go to shoot (and mix) a feature on film at this point in time. \u003ci>mother mortar, father pestle\u003c/i> is an altogether rare and precious accomplishment, and moviegoers in love with the texture, grain and look of black-and-white film should not miss it (nor, for that matter, should ad agency creatives and directors of TV commercials, always looking for an aesthetic to rip off).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/way.jpg\">\u003cbr>\nKonrad Steiner’s \u003ci>way\u003c/i>\u003c/p>\n\u003cp>Like Chapman, the talented experimental filmmaker Konrad Steiner derives more pleasure from collaborating with other artists than from playing the auteur. His new work, a six-part film called \u003ci>way\u003c/i> (Sept. 26, with Steiner on hand), is inspired by the 1988 book-length poem of the same name by the East Bay wordsmith Leslie Scalapino. Indeed, a 2000 recording of the poet reading her award-winning work (she died in 2010) provides the film’s soundtrack.\u003c/p>\n\u003cp>Alas, Scalapino’s intentionally mechanical performance dwarfs Steiner’s delicate images, based on the two segments of \u003ci>way\u003c/i> I saw. In “Hoofer,” Steiner plays with the special effect of decomposing celluloid, and Fred Astaire, while Scalapino dissects an intimate relationship. “The floating series” finds the filmmaker giving flesh to the poet’s compendium of sexual power dynamics with neon glimpses of young professionals on the make in bars and cafes (shot a decade ago during the first dot-com wave), darkened with frames from \u003ci>Onibaba\u003c/i> (1964), Kineto Shindo’s haunted black-and-white rendering of a medieval Japanese parable of animalistic passion and control.\u003c/p>\n\u003cp>I expect this will be heresy to Scalapino’s many admirers, but her reading strips the words of emotion, and pleasure. The elliptical nature of this poem, which presumably worked beautifully on the page, takes on the air of an intellectual exercise. It doesn’t conjure visual associations, and interferes with our ability to savor Steiner’s images. At some point I chose to stop hearing Scalapino’s words, and let her voice serve as a backing track. Heresy, I know.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/lyon.jpg\">\u003cbr>\nMichael House’s \u003ci>Fred Lyon: Living Through the Lens\u003c/i>\u003c/p>\n\u003cp>We are introduced to the spry, upbeat subject of the jaunty 52-minute profile \u003ci>Fred Lyon: Living Through the Lens\u003c/i> (receiving its world premiere Sept. 29, with Lyon and filmmaker Michael House in person) packing up his camera and heading out onto the streets of San Francisco. For a good, long while we are under the impression that he’s been shooting local landscapes and street life practically every day since the end of World War II, and that it’s his primary mode of photography.\u003c/p>\n\u003cp>That first bit is largely true, but only gradually does it seep out that the likable Lyon made his bread shooting interiors and fashion for \u003ci>House & Garden\u003c/i> and \u003ci>Vogue\u003c/i>, journalistic images for \u003ci>Life\u003c/i> and \u003ci>Look\u003c/i>, and print ads for vodka and the like. If anything, this enhances our appreciation for his talent, but it also underscores House’s affectionate and uncritical tone: Except for one or two fleeting references, the film leaves unexplored the tension between art and commerce. Indeed, \u003ci>Fred Lyon: Living Through the Lens\u003c/i> misses a fascinating opportunity to delve deeper into the artistic qualities and ramifications of this talented man’s exemplary commercial work.\u003c/p>\n\u003cp>The Paris-based House has made a fast-paced film full of small pleasures, including a wealth of evocative images of mid-century San Francisco and egregiously garish apartments of our town’s one-time elites. We’re encouraged to experience and enjoy Lyon’s shots of public and private spaces, rather than to interpret them. Backed by an intermittent soundtrack of buoyant piano-driven jazz, we are happy to oblige.\u003c/p>\n\u003cp>Lest you think the octogenarian photographer is an old fogey, early on in \u003ci>Fred Lyon: Living Through the Lens\u003c/i> we see a collaborator scanning, cleaning up and digitizing Lyon’s early images for sale through his gallery rep. There’s a wonderful sequence, as well, of him composing a picture entirely on a scanner. To Lyons, creativity is the one constant in every picture he makes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You may notice there are six William Friedkin films showing at the Pacific Film Archive this month, with the director in person for some, and \u003ci>The Exorcist\u003c/i> is not among them. “That devilishly good chiller from 1973 is the exception to his rule, the rule being that darkness comes from within, not some satanic squatter,” writes PFA video curator Steve Seid. “From the late sixties to the present, Friedkin has delved into the dark matter that dwells in the human soul.”\u003c/p>\n\u003cp>Verily, this visceral survey supplies us with a lot of troubled men running agitatedly around and roughing themselves and each other up. (Sometimes they even go so far as to get shot in the face.) Friedkin has spent his career spilling blood, mud, sweat, grease, fire, or, in the special case of \u003ci>The Boys in the Band\u003c/i>, barbed bon mots. (Sample dialogue: “What’s more boring than a queen doing a Judy Garland imitation?” “A queen doing a Bette Davis imitation.”) That one, from 1970 and from Matt Crowley’s off-Broadway play — reportedly the first with an ensemble of openly gay characters — dared to dramatize culturally imposed self-loathing. It’s the earliest Friedkin film in this particular batch and arguably the most internally coherent. The latest is the recent \u003ci>Killer Joe\u003c/i>, a grim, game effort to expunge Matthew McConaughey’s track record of useless romantic comedies.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/boysinband-500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Boys in the Band\u003c/i>\u003c/p>\n\u003cp>Otherwise, the director sure has a knack for the wordless men-at-work montage, whether it’s Roy Scheider and company in 1977’s \u003ci>Sorcerer\u003c/i>, an update of \u003ci>The Wages of Fear\u003c/i>, in which four fugitives haul two big trucks full of nitroglycerin hundreds of miles through the punishing jungle; or 1985’s \u003ci>To Live and Die in L.A.\u003c/i>, in which Willem Dafoe undertakes as cool a counterfeit-money-making operation as can possibly be supported by the music of Wang Chung.\u003c/p>\n\u003cp>And of course there is \u003ci>The French Connection\u003c/i>, with Scheider again and Gene Hackman, and of which David Thomson has shrewdly observed, “It seems clearer now that what the film is really saying is, ‘Look, how else are monstrous infants going to avoid growing up but by being cops?'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A new memoir, \u003ci>The Friedkin Connection\u003c/i>, vividly registers the vicissitudes of his career. (There is a chapter called “Hubris.”) The book has many good tidbits, like the one about how before Friedkin got involved with 1980’s \u003ci>Cruising\u003c/i>, in which Al Pacino plays an undercover cop investigating a spree of murders in New York’s gay S&M scene, Steven Spielberg was attached to direct it. See it again if only to imagine how different it might have been.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cruising-500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Cruising\u003c/i>\u003c/p>\n\u003cp>Friedkin, the tortured-soul specialist, once made a documentary that got a man off of death row, but later decided the man was guilty. He also made a comedy about the arms race starring Chevy Chase. And a movie about a teenage girl possessed by the devil. And many other dark matters. Friedkin ends his book by evoking Samuel Beckett: “I haven’t made my \u003ci>Citizen Kane\u003c/i>,” he writes, “but there’s more work to do. I don’t know how much but I’m loving it. Perhaps I’ll fail again. Maybe next time I’ll fail better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dark Matters: The Films of William Friedkin\u003c/b> runs September 12 through 21, 2013, with Friedkin in person September 19 and 21, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/friedkin\">tickets and information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may notice there are six William Friedkin films showing at the Pacific Film Archive this month, with the director in person for some, and \u003ci>The Exorcist\u003c/i> is not among them. “That devilishly good chiller from 1973 is the exception to his rule, the rule being that darkness comes from within, not some satanic squatter,” writes PFA video curator Steve Seid. “From the late sixties to the present, Friedkin has delved into the dark matter that dwells in the human soul.”\u003c/p>\n\u003cp>Verily, this visceral survey supplies us with a lot of troubled men running agitatedly around and roughing themselves and each other up. (Sometimes they even go so far as to get shot in the face.) Friedkin has spent his career spilling blood, mud, sweat, grease, fire, or, in the special case of \u003ci>The Boys in the Band\u003c/i>, barbed bon mots. (Sample dialogue: “What’s more boring than a queen doing a Judy Garland imitation?” “A queen doing a Bette Davis imitation.”) That one, from 1970 and from Matt Crowley’s off-Broadway play — reportedly the first with an ensemble of openly gay characters — dared to dramatize culturally imposed self-loathing. It’s the earliest Friedkin film in this particular batch and arguably the most internally coherent. The latest is the recent \u003ci>Killer Joe\u003c/i>, a grim, game effort to expunge Matthew McConaughey’s track record of useless romantic comedies.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/boysinband-500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Boys in the Band\u003c/i>\u003c/p>\n\u003cp>Otherwise, the director sure has a knack for the wordless men-at-work montage, whether it’s Roy Scheider and company in 1977’s \u003ci>Sorcerer\u003c/i>, an update of \u003ci>The Wages of Fear\u003c/i>, in which four fugitives haul two big trucks full of nitroglycerin hundreds of miles through the punishing jungle; or 1985’s \u003ci>To Live and Die in L.A.\u003c/i>, in which Willem Dafoe undertakes as cool a counterfeit-money-making operation as can possibly be supported by the music of Wang Chung.\u003c/p>\n\u003cp>And of course there is \u003ci>The French Connection\u003c/i>, with Scheider again and Gene Hackman, and of which David Thomson has shrewdly observed, “It seems clearer now that what the film is really saying is, ‘Look, how else are monstrous infants going to avoid growing up but by being cops?'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A new memoir, \u003ci>The Friedkin Connection\u003c/i>, vividly registers the vicissitudes of his career. (There is a chapter called “Hubris.”) The book has many good tidbits, like the one about how before Friedkin got involved with 1980’s \u003ci>Cruising\u003c/i>, in which Al Pacino plays an undercover cop investigating a spree of murders in New York’s gay S&M scene, Steven Spielberg was attached to direct it. See it again if only to imagine how different it might have been.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cruising-500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Cruising\u003c/i>\u003c/p>\n\u003cp>Friedkin, the tortured-soul specialist, once made a documentary that got a man off of death row, but later decided the man was guilty. He also made a comedy about the arms race starring Chevy Chase. And a movie about a teenage girl possessed by the devil. And many other dark matters. Friedkin ends his book by evoking Samuel Beckett: “I haven’t made my \u003ci>Citizen Kane\u003c/i>,” he writes, “but there’s more work to do. I don’t know how much but I’m loving it. Perhaps I’ll fail again. Maybe next time I’ll fail better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dark Matters: The Films of William Friedkin\u003c/b> runs September 12 through 21, 2013, with Friedkin in person September 19 and 21, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/friedkin\">tickets and information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Think of polarizing figures on the left from the past 50 years — say Bill Clinton or Martin Luther King, Jr. or a young, medal-throwing John Kerry — and every one has inspired an almost barbaric hatred. It’s not surprising, then, that a leftist figure who’s a convicted murderer, and who speaks like Noam Chomsky but is black with dreadlocks, is on the right’s all-time enemies list. Despite his 30-year incarceration, Mumia Abu-Jamal has continued to infuriate people by airing his views in public through media interviews, numerous books and radio essays, and now through a documentary that considers him a heroic figure who’s been wronged by a flawed justice system.\u003c/p>\n\u003cp>\u003ci>Mumia: Long Distance Revolutionary\u003c/i>, which opens this Friday, August 23 at San Francisco’s Roxie Theater, is a paean to Abu-Jamal’s doggedness and uncompromising political views. Abu-Jamal didn’t orchestrate the movie, which was produced by documentarian Stephen Vittoria, but he’s the flat-out star of the film, which quotes from his works, features him in on-camera interviews, and spotlights prominent supporters who say Abu-Jamal represents some of America’s highest ideals.\u003c/p>\n\u003cp>Vittoria bypasses details of the murder that Abu-Jamal was convicted of, instead focusing on the racism and brutality that permeated Philadelphia’s political and justice systems in the years before, during, and after Abu-Jamal’s conviction. Vittoria’s film will surprise audiences that only know Abu-Jamal’s reputation and not the depth of his ideas or the political awakening and journalistic triumphs that prefaced the 1981 killing of a white Philadelphia police officer. Previous documentaries on Abu-Jamal — like John Edginton’s \u003ci>Mumia: A Case for Reasonable Doubt\u003c/i>, from 1997, or Colin Firth’s \u003ci>In Prison My Whole Life\u003c/i>, from 2008 — have focused almost completely on Abu-Jamal’s criminal case.\u003c/p>\n\u003cp>“Everything that’s produced about Mumia — films, books, articles, live events — has always covered and been about the case, and I didn’t want to get into a he said/she said kind of narrative,” Vittoria says in a phone interview. “It’s been two groups of people throwing stones at each other from both sides of the street. And as a filmmaker, I learned early on that if you’re going to do a documentary, do one that becomes the quintessential documentary on that subject. And I knew that the scope of his life — as a revolutionary, as a writer, as a journalist, as an activist — had not been mined.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=BtypRbFwBVk&w=480&h=270]\u003c/p>\n\u003cp>So in Vittoria’s film, we get an arc that explains Abu-Jamal’s early involvement with the Black Panther Party, and his reputation as a radio journalist with a distinct voice whose strong views informed his work. Before the 1981 killing, Abu-Jamal was president of the \u003ca href=\"http://www.pabj.org/2013/\">Philadelphia Association of Black Journalists\u003c/a> and a staff member at NPR affiliate WUHY, and turned down a national radio position because he would have been forced to cut his hair. The murder and legal aftermath turned Abu-Jamal into an international figure; Glenn Beck ridiculed him as a “Communist cop killer,” while others labeled him a “political prisoner.” In \u003ci>Mumia: Long Distance Revolutionary\u003c/i>, Vittoria interviews a Who’s Who of academic, political, and literary figures who explain why they think Mumia is a leading voice of his times. Princeton professor \u003ca href=\"http://www.cornelwest.com/\">Cornel West\u003c/a> leads the brigade of admirers. It’s West who says Abu-Jamal has taken a lifelong approach to his activism, which makes Abu-Jamal a “long distance revolutionary,” in contrast to someone like former Black Panther \u003ca href=\"http://en.wikipedia.org/wiki/Eldridge_Cleaver\">Eldridge Cleaver\u003c/a>, who joined the Republican Party in his later years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Abu-Jamal, who was originally sentenced to death (his best-known book is 1995’s \u003ci>Live From Death Row\u003c/i>), is now among regular inmates at a Pennsylvania prison after legal rulings changed his sentence to life imprisonment in 2012.\u003c/p>\n\u003cp>Abu-Jamal has not seen Vittoria’s documentary, “and I don’t know if he ever will,” Vittoria says. “I made a case to his lawyers — and they didn’t laugh — when I said the film is a character witness for Mumia, and as a lawyer, you ought to get him to see it because as you attempt to reopen his case, this should be something he needs to see. I sent him a transcript of the film, so he was able to read it.”\u003c/p>\n\n\u003cp>Like Abu-Jamal himself, Vittoria’s film has divided people, with some reviewers trumpeting the work and others calling it cinematic hagiography. “I was talking to Mumia about the reviews, and he said, ‘You know what? All that does is tell me that you did your job. If there are people who love it and people who hate it and there’s no middle ground, you’re probably a straight shooter on this film.’ And I think he’s right.”\u003c/p>\n\u003cp>Before its Roxie screening, \u003ci>Mumia: Long Distance Revolutionary\u003c/i> has played theatrically in other major U.S. cities, where it’s drawn high numbers of movie-goers. “We’ve done tremendously well for a small documentary,” Vittoria says. “We’ve played in over 20 cities. When we played in New York, we were the No. 3 documentary in the country (for box office receipts). We played in L.A. and we were the No. 1 documentary (in the area). Those are two big markets. The film has been held over. Whenever a documentary has been held over for a second week, it’s clear-cut that the film is doing well financially.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Mumia: Long Distance Revolutionary\u003c/i> screens Friday, August 23 through Thursday, August 29, at the Roxie Theater in San Francisco. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=586082AF-E811-7B41-111F07A0E85A5EF4\">tickets and information\u003c/a>, visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of polarizing figures on the left from the past 50 years — say Bill Clinton or Martin Luther King, Jr. or a young, medal-throwing John Kerry — and every one has inspired an almost barbaric hatred. It’s not surprising, then, that a leftist figure who’s a convicted murderer, and who speaks like Noam Chomsky but is black with dreadlocks, is on the right’s all-time enemies list. Despite his 30-year incarceration, Mumia Abu-Jamal has continued to infuriate people by airing his views in public through media interviews, numerous books and radio essays, and now through a documentary that considers him a heroic figure who’s been wronged by a flawed justice system.\u003c/p>\n\u003cp>\u003ci>Mumia: Long Distance Revolutionary\u003c/i>, which opens this Friday, August 23 at San Francisco’s Roxie Theater, is a paean to Abu-Jamal’s doggedness and uncompromising political views. Abu-Jamal didn’t orchestrate the movie, which was produced by documentarian Stephen Vittoria, but he’s the flat-out star of the film, which quotes from his works, features him in on-camera interviews, and spotlights prominent supporters who say Abu-Jamal represents some of America’s highest ideals.\u003c/p>\n\u003cp>Vittoria bypasses details of the murder that Abu-Jamal was convicted of, instead focusing on the racism and brutality that permeated Philadelphia’s political and justice systems in the years before, during, and after Abu-Jamal’s conviction. Vittoria’s film will surprise audiences that only know Abu-Jamal’s reputation and not the depth of his ideas or the political awakening and journalistic triumphs that prefaced the 1981 killing of a white Philadelphia police officer. Previous documentaries on Abu-Jamal — like John Edginton’s \u003ci>Mumia: A Case for Reasonable Doubt\u003c/i>, from 1997, or Colin Firth’s \u003ci>In Prison My Whole Life\u003c/i>, from 2008 — have focused almost completely on Abu-Jamal’s criminal case.\u003c/p>\n\u003cp>“Everything that’s produced about Mumia — films, books, articles, live events — has always covered and been about the case, and I didn’t want to get into a he said/she said kind of narrative,” Vittoria says in a phone interview. “It’s been two groups of people throwing stones at each other from both sides of the street. And as a filmmaker, I learned early on that if you’re going to do a documentary, do one that becomes the quintessential documentary on that subject. And I knew that the scope of his life — as a revolutionary, as a writer, as a journalist, as an activist — had not been mined.”\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/BtypRbFwBVk'\n title='//www.youtube.com/embed/BtypRbFwBVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So in Vittoria’s film, we get an arc that explains Abu-Jamal’s early involvement with the Black Panther Party, and his reputation as a radio journalist with a distinct voice whose strong views informed his work. Before the 1981 killing, Abu-Jamal was president of the \u003ca href=\"http://www.pabj.org/2013/\">Philadelphia Association of Black Journalists\u003c/a> and a staff member at NPR affiliate WUHY, and turned down a national radio position because he would have been forced to cut his hair. The murder and legal aftermath turned Abu-Jamal into an international figure; Glenn Beck ridiculed him as a “Communist cop killer,” while others labeled him a “political prisoner.” In \u003ci>Mumia: Long Distance Revolutionary\u003c/i>, Vittoria interviews a Who’s Who of academic, political, and literary figures who explain why they think Mumia is a leading voice of his times. Princeton professor \u003ca href=\"http://www.cornelwest.com/\">Cornel West\u003c/a> leads the brigade of admirers. It’s West who says Abu-Jamal has taken a lifelong approach to his activism, which makes Abu-Jamal a “long distance revolutionary,” in contrast to someone like former Black Panther \u003ca href=\"http://en.wikipedia.org/wiki/Eldridge_Cleaver\">Eldridge Cleaver\u003c/a>, who joined the Republican Party in his later years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Abu-Jamal, who was originally sentenced to death (his best-known book is 1995’s \u003ci>Live From Death Row\u003c/i>), is now among regular inmates at a Pennsylvania prison after legal rulings changed his sentence to life imprisonment in 2012.\u003c/p>\n\u003cp>Abu-Jamal has not seen Vittoria’s documentary, “and I don’t know if he ever will,” Vittoria says. “I made a case to his lawyers — and they didn’t laugh — when I said the film is a character witness for Mumia, and as a lawyer, you ought to get him to see it because as you attempt to reopen his case, this should be something he needs to see. I sent him a transcript of the film, so he was able to read it.”\u003c/p>\n\n\u003cp>Like Abu-Jamal himself, Vittoria’s film has divided people, with some reviewers trumpeting the work and others calling it cinematic hagiography. “I was talking to Mumia about the reviews, and he said, ‘You know what? All that does is tell me that you did your job. If there are people who love it and people who hate it and there’s no middle ground, you’re probably a straight shooter on this film.’ And I think he’s right.”\u003c/p>\n\u003cp>Before its Roxie screening, \u003ci>Mumia: Long Distance Revolutionary\u003c/i> has played theatrically in other major U.S. cities, where it’s drawn high numbers of movie-goers. “We’ve done tremendously well for a small documentary,” Vittoria says. “We’ve played in over 20 cities. When we played in New York, we were the No. 3 documentary in the country (for box office receipts). We played in L.A. and we were the No. 1 documentary (in the area). Those are two big markets. The film has been held over. Whenever a documentary has been held over for a second week, it’s clear-cut that the film is doing well financially.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Mumia: Long Distance Revolutionary\u003c/i> screens Friday, August 23 through Thursday, August 29, at the Roxie Theater in San Francisco. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=586082AF-E811-7B41-111F07A0E85A5EF4\">tickets and information\u003c/a>, visit roxie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Genuine Characters: 5 to Watch in August",
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"content": "\u003cp>We are initially attracted to a movie by its story, unless your first question isn’t “What’s it about?” but “Who’s in it?” or, alternatively, “Who directed it?” More often than not, though, the films that stick with us are memorable for their characters rather than their plots. Human nature and human behavior, in all forms and permutations, fascinates us more than anything else. Love ’em or hate ’em, the array of characters chewing the scenery on local screens this month is beyond entertaining.\u003c/p>\n\u003cp>In 1967, the great African-American director Shirley Clarke and a gay, African-American hustler named Jason Holliday collaborated on a one-of-a-kind movie. \u003ci>Portrait of Jason\u003c/i> is an extended interview-slash-performance in which Jason — a substance-using prostitute — manages to be revealing, evasive, shocking, confrontational, vulnerable, discomfiting and endlessly fascinating. Let go of everything you learned about sociology and psychology, as well as the rules and conventions of documentary, and submit to a mind-bending trip with a real character. \u003ci>Portrait of Jason\u003c/i> screens at the Roxie in a new 35mm print August 16-22. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=584C463A%2DDB02%2D624D%2D9994C65792115AA7\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/singininrain.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The first time I saw \u003ci>Singin’ in the Rain\u003c/i> was on the big screen, all but dragged by the lapel by a downstairs neighbor appalled that I’d reached the ripe age of 27 in a state of such ignorance. Perhaps you had a better upbringing than I, and discovered Gene Kelly’s enormous talent, Debbie Reynolds’ pink-cheeked charm and Donald O’Connor’s delightful footwork as a child. Regardless, you hardly need encouragement to tap-dance your way to Union Square Saturday night, August 17 for Film Night in the Park’s screening of Kelly and Stanley Donen’s 1952 masterpiece, from Adolph Green and Betty Comden’s sublimely witty screenplay. Plan to arrive by 8pm, blanket in tow; the opening credits roll at dusk. For \u003ca href=\"http://www.filmnight.org/singin-in-the-rain/\">more information\u003c/a> visit filmnight.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/troublemaker.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Pacific Film Archive parleys Berkeley’s milder summer evenings and political enthusiasm into a quirky night out(doors) at the movies with a 1964 curiosity called \u003ci>The Troublemaker\u003c/i>. Written by Buck Henry shortly before he and Mel Brooks created \u003ci>Get Smart\u003c/i>, this semi-improvised romp centers on a naive and idealistic out-of-towner who opens a coffeehouse in Greenwich Village. Disdaining the obligatory payouts and payoffs to mobsters and city folks (including an Irish fire chief, played by the hilarious African-American actor Godfrey Cambridge), our hero upsets the (un)natural order of things. Adam Sussman begins the show at 8:30pm on Wednesday, August 28 with a poetry reading. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/outdoor_2013\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/strangelove.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003ci>The Troublemaker\u003c/i> was slightly overshadowed in 1964 by another satire armed with sharper teeth, a blacker worldview and the chutzpah to joke about Mutually Assured Destruction: \u003ci>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/i>. The inarguable genius of Stanley Kubrick and Peter Sellers has not dimmed an iota in the ensuing half century, and veritably shimmers thanks to a new digital restoration on view Wednesday, August 28 at the Castro on a double bill with \u003ci>The Bed-Sitting Room\u003c/i> (1969), a savage post-apocalyptic comedy directed by Richard Lester and starring Dudley Moore and Rita Tushingham. For \u003ca href=\"http://www.castrotheatre.com/coming-soon.html\">more information\u003c/a>, visit castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ournixon.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was long believed that Sellers’ scathing portrayal of an arrogant German megalomaniac in \u003ci>Dr. Strangelove\u003c/i> was based on Henry Kissinger, to the point where Kubrick felt compelled to deny it. Kissinger turns up in \u003ci>Our Nixon\u003c/i>, the curious new documentary about his BFF, Richard Milhous Nixon. Constructed from Super 8 film footage shot by the President’s trusted accomplices, er, aides, H.R. Haldeman, John Ehrlichman and Dwight Chapin that was shelved for decades in FBI vaults, the documentary succeeds in humanizing the ambitious animal that was Nixon, but not in making him likable. It’s hard to conceive of a film that could manage that feat. \u003ci>Our Nixon\u003c/i> opens Friday, August 30 at the Roxie. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=587705BB%2DC05F%2D7C9C%2DA02A370E79A689CC\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Pacific Film Archive parleys Berkeley’s milder summer evenings and political enthusiasm into a quirky night out(doors) at the movies with a 1964 curiosity called \u003ci>The Troublemaker\u003c/i>. Written by Buck Henry shortly before he and Mel Brooks created \u003ci>Get Smart\u003c/i>, this semi-improvised romp centers on a naive and idealistic out-of-towner who opens a coffeehouse in Greenwich Village. Disdaining the obligatory payouts and payoffs to mobsters and city folks (including an Irish fire chief, played by the hilarious African-American actor Godfrey Cambridge), our hero upsets the (un)natural order of things. Adam Sussman begins the show at 8:30pm on Wednesday, August 28 with a poetry reading. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/outdoor_2013\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/strangelove.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003ci>The Troublemaker\u003c/i> was slightly overshadowed in 1964 by another satire armed with sharper teeth, a blacker worldview and the chutzpah to joke about Mutually Assured Destruction: \u003ci>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/i>. The inarguable genius of Stanley Kubrick and Peter Sellers has not dimmed an iota in the ensuing half century, and veritably shimmers thanks to a new digital restoration on view Wednesday, August 28 at the Castro on a double bill with \u003ci>The Bed-Sitting Room\u003c/i> (1969), a savage post-apocalyptic comedy directed by Richard Lester and starring Dudley Moore and Rita Tushingham. For \u003ca href=\"http://www.castrotheatre.com/coming-soon.html\">more information\u003c/a>, visit castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ournixon.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was long believed that Sellers’ scathing portrayal of an arrogant German megalomaniac in \u003ci>Dr. Strangelove\u003c/i> was based on Henry Kissinger, to the point where Kubrick felt compelled to deny it. Kissinger turns up in \u003ci>Our Nixon\u003c/i>, the curious new documentary about his BFF, Richard Milhous Nixon. Constructed from Super 8 film footage shot by the President’s trusted accomplices, er, aides, H.R. Haldeman, John Ehrlichman and Dwight Chapin that was shelved for decades in FBI vaults, the documentary succeeds in humanizing the ambitious animal that was Nixon, but not in making him likable. It’s hard to conceive of a film that could manage that feat. \u003ci>Our Nixon\u003c/i> opens Friday, August 30 at the Roxie. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=587705BB%2DC05F%2D7C9C%2DA02A370E79A689CC\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"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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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"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",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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