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"content": "\u003cp>The San Francisco Jewish Film Festival has long prided itself on taking on big issues. That’s not to say that it leaned toward dogmatic movies, but rather toward films in which the subject matter and the story were more memorable than the main characters. It’s the other way around this year, with a host of unbending (and usually unbowed) protagonists taking us on their relentless journeys.\u003c/p>\n\u003cp>For most of its 33 years, the San Francisco Jewish Film Festival gathered the lion’s share of its program from Israel, the United States and, for obvious reasons, Germany. As contemporary anti-Semitism has become more worrisome and more relevant than 20th-century genocide, France has displaced its neighbor as a festival source. In another unexpected development, French filmmakers have claimed the arena of interdenominational romantic comedies from their fully assimilated American peers. Meanwhile, the depth, breadth, quality and consistency of Israeli cinema has risen appreciably, although American Jews are as uncomfortable as ever with Israeli directors’ political outspokenness and societal criticism.\u003c/p>\n\u003cp>To my eyes, at least, this year’s lineup focuses a bit more heavily than usual on the American Jewish experience. Perhaps foreign-language films don’t have the appeal (commercial or sex) they once did — a worrisome trend that extends beyond this festival and this city — or maybe younger audiences (every film festival’s Holy Grail) only want to see reflections of themselves. Whatever forces are at work, the SFJFF remains a community event with a tent large enough to include everyone.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-firstcousin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>First Cousin Once Removed\u003c/i>\u003c/p>\n\u003cp>\u003cb>The Art of the Documentary:\u003c/b> \u003ci>First Cousin Once Removed\u003c/i>\u003cbr>(Monday, July 29, 6:25pm, Castro Theatre)\u003cbr>New York filmmaker Alan Berliner has as unique a voice as Errol Morris or Werner Herzog, and arguably as large an audience thanks to PBS and HBO. The recipient of this year’s Freedom of Expression Award masterfully excavates and diligently crafts his family’s sagas in a way that invites each viewer to ponder his or her roots, ambitions, failures and relationships. \u003ci>First Cousin Once Removed\u003c/i>, a study of the prolific poet Edwin Honig in his last, Alzheimer’s-affected years, challenges and confronts audiences more intensely than Berliner’s \u003ci>Intimate Stranger\u003c/i> and \u003ci>Nobody’s Business\u003c/i>, and offers more ephemeral—and yes, poetic—redemption.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-attack.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Attack\u003c/i>\u003c/p>\n\u003cp>\u003cb>Internal Affairs — Israel:\u003c/b> \u003ci>The Attack\u003c/i>\u003cbr>(Tuesday, July 30, 6:15pm, Castro Theatre and Sunday, August 4, 6:40pm at the California in Berkeley)\u003cbr>This crackling thriller, which follows an Israeli Arab doctor from self-satisfaction to utter alienation, deserves its prestige slot as the fest’s Centerpiece film. Lebanese-born, Paris-based director Ziad Doueiri brilliantly adapts Algerian novelist’s Yasmina Khadra’s novel about a successful, assimilated professional who is implicated by association in a suicide bombing. Embarking on a one-man mission to unravel the act that destroyed his world and his complacency, he comes to realize that he is no longer welcome among Arabs \u003ci>or\u003c/i> Israelis. If you miss it at the SFJFF, \u003ci>The Attack\u003c/i> opens August 9 around the Bay Area.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-aftermath.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Aftermath\u003c/i>\u003c/p>\n\u003cp>\u003cb>Internal Affairs — Poland:\u003c/b> \u003ci>Aftermath\u003c/i>\u003cbr>(Tuesday, July 30, 8:55pm, Castro Theatre; Sunday, August 4, 8:35pm, CineArts in Palo Alto and Thursday, August 8, 6:30pm, California Theatre)\u003cbr>After working for 20 years in construction in Chicago, an anti-Semitic émigré makes a return visit to the Polish village where he grew up, and where his farmer brother is infuriating the townspeople by (literally) digging up the past. Every line of dialogue and every camera move has a purpose in writer-director Wladyslaw Pasikowski’s mesmerizing exploration of the lingering legacy of the Nazi occupation on the generation born after the war. A chunk of artful, unflinching reality flavored with a drop of the supernatural, \u003ci>Aftermath\u003c/i> offers all the pleasures of deeply intelligent filmmaking.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-zigzag.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Zigzag Kid\u003c/i>\u003c/p>\n\u003cp>\u003cb>Family Entertainment:\u003c/b> \u003ci>The Zigzag Kid\u003c/i>\u003cbr>(Thursday, July 25, 6:30pm, Castro Theatre; Sunday, August 4, 1:50pm, CineArts in Palo Alto; Tuesday, August 6, California in Berkeley and Monday, August 12 at the Rafael in San Rafael)\u003cbr>The crowd-pleasing Opening Night film, an irreverent-yet-ultimately-poignant coming-of-age escapade from Belgian director Vincent Bal, screens at three other family-friendly times during the festival. Adapted from Israeli author David Grossman’s novel and relocated from the Middle East to the Continent, \u003ci>The Zigzag Kid\u003c/i> follows a boy on the cusp of his bar mitzvah whose not-so-chance meeting with a master thief turns into a search for the truth about the mother he never knew. The movie’s energetic and messy setup, with its wink to ’60s spy movies, is more fun than the resolution, in which every loose end is neatly bound up.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-commune.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>American Commune\u003c/i>\u003c/p>\n\u003cp>\u003cb>Hippie Homecoming:\u003c/b> \u003ci>American Commune\u003c/i>\u003cbr>(Friday, July 26, 8:55pm, Castro Theatre; Saturday, August 10, 2pm, Rafael in San Rafael and Sunday, August 11, 6:40pm at the Grand Lake Theater in Oakland)\u003cbr>Rena Mundo Croshere and Nadine Mundo’s ill-conceived and poorly structured first-person documentary aspires to blend the sisters’ mixed emotions about growing up on The Farm in the ’70s and early ’80s with a history of the large (and largely successful) Tennessee commune that sprouted in the Haight-Asbury during the Summer of Love. The archival footage is not only a treat but the sole saving grace of a film utterly lacking in insights or compelling characters. It would have behooved the filmmakers to recognize that their real subject wasn’t having a childhood different from everyone else they’d meet in the course of their lives, but rather the trauma of their parents’ divorce.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-hannah.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Hannah Arendt\u003c/i>\u003c/p>\n\u003cp>\u003cb>A Life of the Mind:\u003c/b> \u003ci>Hannah Arendt\u003c/i>\u003cbr>(Sunday, July 28, 2:05pm, Castro Theatre)\u003cbr>The festival screens German filmmaker Margarethe von Trotta’s latest earnest collaboration with actress Barbara Sukowa prior to its Bay Area theatrical opening on August 2. The film dramatizes (though the word isn’t fully deserved) the icy intellectual’s life-altering decision to cover Adolf Eichmann’s 1961 war crimes trial in Jerusalem for \u003ci>The New Yorker\u003c/i>, and the controversy ignited by her description of “the banality of evil.” Arendt unwittingly burns all sorts of bridges, igniting veritable cartons of cigarettes that she happily smokes. I shouldn’t be snarky, for von Trotta and Sukowa are to be admired for depicting a brutally uncompromising character capable of alienating whole swaths of the audience.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-reich.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Strange Case of Wilhelm Reich\u003c/i>\u003c/p>\n\u003cp>\u003cb>What the ??:\u003c/b> \u003ci>The Strange Case of Wilhelm Reich\u003c/i>\u003cbr> (Tuesday, July 30, 4pm, Castro Theatre; Monday, August 5, 8:35pm, California; Thursday, August 8, 8:45pm, CineArts in Palo Alto and Sunday, August 11, 6pm, Rafael in San Rafael)\u003cbr>Antonin Svoboda, who made a documentary about Wilhelm Reich a couple years ago for Austrian TV, is not the first Eastern European filmmaker inspired by the radical psychoanalyst and scientist. Back in 1971, Yugoslavian director Dusan Makavejev made \u003ci>WR: Mysteries of the Organism\u003c/i>, a wildly subversive sex/political collage-satire inspired by Reich’s theories. Svoboda adopts a far more traditional and coherent approach in \u003ci>The Strange Case of Wilhelm Reich\u003c/i>, focusing on the U.S. government’s prosecution and persecution of Reich during the McCarthyism of the ’50s. Klaus-Maria Brandauer’s central performance epitomizes the movie: Both are seemingly accessible but ultimately impenetrable. The aptly titled film reclaims Reich as a visionary, uncompromising martyr, yet leaves us confused and dismayed by his inability to relate to anyone on any terms other than his.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-wherever.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Wherever You Go\u003c/i>\u003c/p>\n\u003cp>\u003cb>On the Road:\u003c/b> \u003ci>Wherever You Go\u003c/i> and \u003ci>Aya\u003c/i>\u003cbr>(Monday, July 29, 11:20am, Castro Theatre)\u003c/p>\n\u003cp>This pairing of 40-minute narratives by young Israeli filmmakers featuring women in cars is a mixed bag. The near-perfect \u003ci>Wherever You Go\u003c/i> imagines a breathless, fraught road trip through Israel’s unpopulated south by a desperate young Bedouin fleeing an arranged marriage to her cousin and the fragile looking yet unexpectedly tough Israeli gal en route to a sibling’s wedding who gives her a lift. Writer-director Rony Sasson Angel’s effortlessly riveting study of female independence \u003ci>and\u003c/i> female support establishes her as a talent to watch. \u003ci>Aya\u003c/i>, on the other hand, plays like a short story stretched to double its proper length. The waifish title character (Sara Adler), waiting for her beau at the airport, impulsively drives a visiting musicologist (Danish actor Ulrich Thomsen) to his Jerusalem hotel instead. Co-writers and co-directors Mihal Brezis and Oded Binnum create a succinct, intriguing beginning and an open, ambiguous ending, but the moody middle of their film — two strangers tentatively forging a temporary bond on the way into town — goes nowhere.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-papp.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Joe Papp in Five Acts\u003c/i>\u003c/p>\n\u003cp>\u003cb>Stage Struck:\u003c/b>\u003ci>Joe Papp in Five Acts\u003c/i>\u003cbr> (Saturday, July 27, 2:35pm, Castro Theatre; Saturday, August 3, 1:55pm, California and Wednesday, August 7, 6pm, CineArts in Palo Alto)\u003cbr>Karen Thorsen and Tracie Holder’s vibrant portrait of the late Brooklyn-born impresario who founded the Public Theater and presented first-rate productions of Shakespeare in New York’s parks for free — what a concept: public art in public spaces for the multicultural masses — is as inspiring as any film in the SFJFF lineup. Made for PBS’ \u003ci>American Masters\u003c/i>, which airs it in 2014, the documentary rejects the usual polite, disembodied celebrity narrator in favor of its subject’s voice. A stream of Pappisms, culled from interviews and public appearances, palpably convey the spirit, ambition, philosophy and conscience of a man who, like Hannah Arendt and Wilhelm Reich, stuck to his course regardless what it cost him.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-sentence.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Last Sentence\u003c/i>\u003c/p>\n\u003cp>\u003cb>Date Night, Bergman Style:\u003c/b> \u003ci>The Last Sentence\u003c/i>\u003cbr>(Monday, July 29, 3:25pm, Castro Theatre and Tuesday, August 6, 8pm, CineArts in Palo Alto)\u003cbr>In the mid-1930s, all of Europe quivered and genuflected before Hitler’s unambiguous and unpredictable might. From the beginning of Nazism, veteran Swedish journalist Torgny Segerstedt challenged German fascism as well as the inclinations of his countrymen toward neutrality (which he castigated as a combination of cowardice and apathy). A fascinating subject, pounded by much-loved writer-director Jan Troell (\u003ci>The Emigrants\u003c/i>) into ponderous porridge through an unending parade of people talking in immaculately furnished rooms. The first hour, focusing on the unsmiling Segerstedt’s cruel treatment of his spouse and his affair with his publisher’s wife, evokes Ingmar Bergman’s domestic dramas. If you’re in the mood for that, great, but it’s difficult to comprehend why Troell finds the journalist’s private life more resonant than his public stands. From the SFJFF’s standpoint, however, Segerstedt’s fearless refusal to respond to outside pressure, or to second-guess himself, makes him a perfect fit for this year’s program.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The 33rd San Francisco Jewish Film Festival runs July 25 through August 12, 2013 at various Bay Area locations. For \u003ca href=\"http://www.sfjff.org/\">tickets and information\u003c/a>, visit sfjff.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Jewish Film Festival has long prided itself on taking on big issues. That’s not to say that it leaned toward dogmatic movies, but rather toward films in which the subject matter and the story were more memorable than the main characters. It’s the other way around this year, with a host of unbending (and usually unbowed) protagonists taking us on their relentless journeys.\u003c/p>\n\u003cp>For most of its 33 years, the San Francisco Jewish Film Festival gathered the lion’s share of its program from Israel, the United States and, for obvious reasons, Germany. As contemporary anti-Semitism has become more worrisome and more relevant than 20th-century genocide, France has displaced its neighbor as a festival source. In another unexpected development, French filmmakers have claimed the arena of interdenominational romantic comedies from their fully assimilated American peers. Meanwhile, the depth, breadth, quality and consistency of Israeli cinema has risen appreciably, although American Jews are as uncomfortable as ever with Israeli directors’ political outspokenness and societal criticism.\u003c/p>\n\u003cp>To my eyes, at least, this year’s lineup focuses a bit more heavily than usual on the American Jewish experience. Perhaps foreign-language films don’t have the appeal (commercial or sex) they once did — a worrisome trend that extends beyond this festival and this city — or maybe younger audiences (every film festival’s Holy Grail) only want to see reflections of themselves. Whatever forces are at work, the SFJFF remains a community event with a tent large enough to include everyone.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-firstcousin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>First Cousin Once Removed\u003c/i>\u003c/p>\n\u003cp>\u003cb>The Art of the Documentary:\u003c/b> \u003ci>First Cousin Once Removed\u003c/i>\u003cbr>(Monday, July 29, 6:25pm, Castro Theatre)\u003cbr>New York filmmaker Alan Berliner has as unique a voice as Errol Morris or Werner Herzog, and arguably as large an audience thanks to PBS and HBO. The recipient of this year’s Freedom of Expression Award masterfully excavates and diligently crafts his family’s sagas in a way that invites each viewer to ponder his or her roots, ambitions, failures and relationships. \u003ci>First Cousin Once Removed\u003c/i>, a study of the prolific poet Edwin Honig in his last, Alzheimer’s-affected years, challenges and confronts audiences more intensely than Berliner’s \u003ci>Intimate Stranger\u003c/i> and \u003ci>Nobody’s Business\u003c/i>, and offers more ephemeral—and yes, poetic—redemption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-attack.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Attack\u003c/i>\u003c/p>\n\u003cp>\u003cb>Internal Affairs — Israel:\u003c/b> \u003ci>The Attack\u003c/i>\u003cbr>(Tuesday, July 30, 6:15pm, Castro Theatre and Sunday, August 4, 6:40pm at the California in Berkeley)\u003cbr>This crackling thriller, which follows an Israeli Arab doctor from self-satisfaction to utter alienation, deserves its prestige slot as the fest’s Centerpiece film. Lebanese-born, Paris-based director Ziad Doueiri brilliantly adapts Algerian novelist’s Yasmina Khadra’s novel about a successful, assimilated professional who is implicated by association in a suicide bombing. Embarking on a one-man mission to unravel the act that destroyed his world and his complacency, he comes to realize that he is no longer welcome among Arabs \u003ci>or\u003c/i> Israelis. If you miss it at the SFJFF, \u003ci>The Attack\u003c/i> opens August 9 around the Bay Area.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-aftermath.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Aftermath\u003c/i>\u003c/p>\n\u003cp>\u003cb>Internal Affairs — Poland:\u003c/b> \u003ci>Aftermath\u003c/i>\u003cbr>(Tuesday, July 30, 8:55pm, Castro Theatre; Sunday, August 4, 8:35pm, CineArts in Palo Alto and Thursday, August 8, 6:30pm, California Theatre)\u003cbr>After working for 20 years in construction in Chicago, an anti-Semitic émigré makes a return visit to the Polish village where he grew up, and where his farmer brother is infuriating the townspeople by (literally) digging up the past. Every line of dialogue and every camera move has a purpose in writer-director Wladyslaw Pasikowski’s mesmerizing exploration of the lingering legacy of the Nazi occupation on the generation born after the war. A chunk of artful, unflinching reality flavored with a drop of the supernatural, \u003ci>Aftermath\u003c/i> offers all the pleasures of deeply intelligent filmmaking.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-zigzag.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Zigzag Kid\u003c/i>\u003c/p>\n\u003cp>\u003cb>Family Entertainment:\u003c/b> \u003ci>The Zigzag Kid\u003c/i>\u003cbr>(Thursday, July 25, 6:30pm, Castro Theatre; Sunday, August 4, 1:50pm, CineArts in Palo Alto; Tuesday, August 6, California in Berkeley and Monday, August 12 at the Rafael in San Rafael)\u003cbr>The crowd-pleasing Opening Night film, an irreverent-yet-ultimately-poignant coming-of-age escapade from Belgian director Vincent Bal, screens at three other family-friendly times during the festival. Adapted from Israeli author David Grossman’s novel and relocated from the Middle East to the Continent, \u003ci>The Zigzag Kid\u003c/i> follows a boy on the cusp of his bar mitzvah whose not-so-chance meeting with a master thief turns into a search for the truth about the mother he never knew. The movie’s energetic and messy setup, with its wink to ’60s spy movies, is more fun than the resolution, in which every loose end is neatly bound up.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-commune.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>American Commune\u003c/i>\u003c/p>\n\u003cp>\u003cb>Hippie Homecoming:\u003c/b> \u003ci>American Commune\u003c/i>\u003cbr>(Friday, July 26, 8:55pm, Castro Theatre; Saturday, August 10, 2pm, Rafael in San Rafael and Sunday, August 11, 6:40pm at the Grand Lake Theater in Oakland)\u003cbr>Rena Mundo Croshere and Nadine Mundo’s ill-conceived and poorly structured first-person documentary aspires to blend the sisters’ mixed emotions about growing up on The Farm in the ’70s and early ’80s with a history of the large (and largely successful) Tennessee commune that sprouted in the Haight-Asbury during the Summer of Love. The archival footage is not only a treat but the sole saving grace of a film utterly lacking in insights or compelling characters. It would have behooved the filmmakers to recognize that their real subject wasn’t having a childhood different from everyone else they’d meet in the course of their lives, but rather the trauma of their parents’ divorce.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-hannah.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Hannah Arendt\u003c/i>\u003c/p>\n\u003cp>\u003cb>A Life of the Mind:\u003c/b> \u003ci>Hannah Arendt\u003c/i>\u003cbr>(Sunday, July 28, 2:05pm, Castro Theatre)\u003cbr>The festival screens German filmmaker Margarethe von Trotta’s latest earnest collaboration with actress Barbara Sukowa prior to its Bay Area theatrical opening on August 2. The film dramatizes (though the word isn’t fully deserved) the icy intellectual’s life-altering decision to cover Adolf Eichmann’s 1961 war crimes trial in Jerusalem for \u003ci>The New Yorker\u003c/i>, and the controversy ignited by her description of “the banality of evil.” Arendt unwittingly burns all sorts of bridges, igniting veritable cartons of cigarettes that she happily smokes. I shouldn’t be snarky, for von Trotta and Sukowa are to be admired for depicting a brutally uncompromising character capable of alienating whole swaths of the audience.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-reich.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Strange Case of Wilhelm Reich\u003c/i>\u003c/p>\n\u003cp>\u003cb>What the ??:\u003c/b> \u003ci>The Strange Case of Wilhelm Reich\u003c/i>\u003cbr> (Tuesday, July 30, 4pm, Castro Theatre; Monday, August 5, 8:35pm, California; Thursday, August 8, 8:45pm, CineArts in Palo Alto and Sunday, August 11, 6pm, Rafael in San Rafael)\u003cbr>Antonin Svoboda, who made a documentary about Wilhelm Reich a couple years ago for Austrian TV, is not the first Eastern European filmmaker inspired by the radical psychoanalyst and scientist. Back in 1971, Yugoslavian director Dusan Makavejev made \u003ci>WR: Mysteries of the Organism\u003c/i>, a wildly subversive sex/political collage-satire inspired by Reich’s theories. Svoboda adopts a far more traditional and coherent approach in \u003ci>The Strange Case of Wilhelm Reich\u003c/i>, focusing on the U.S. government’s prosecution and persecution of Reich during the McCarthyism of the ’50s. Klaus-Maria Brandauer’s central performance epitomizes the movie: Both are seemingly accessible but ultimately impenetrable. The aptly titled film reclaims Reich as a visionary, uncompromising martyr, yet leaves us confused and dismayed by his inability to relate to anyone on any terms other than his.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-wherever.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Wherever You Go\u003c/i>\u003c/p>\n\u003cp>\u003cb>On the Road:\u003c/b> \u003ci>Wherever You Go\u003c/i> and \u003ci>Aya\u003c/i>\u003cbr>(Monday, July 29, 11:20am, Castro Theatre)\u003c/p>\n\u003cp>This pairing of 40-minute narratives by young Israeli filmmakers featuring women in cars is a mixed bag. The near-perfect \u003ci>Wherever You Go\u003c/i> imagines a breathless, fraught road trip through Israel’s unpopulated south by a desperate young Bedouin fleeing an arranged marriage to her cousin and the fragile looking yet unexpectedly tough Israeli gal en route to a sibling’s wedding who gives her a lift. Writer-director Rony Sasson Angel’s effortlessly riveting study of female independence \u003ci>and\u003c/i> female support establishes her as a talent to watch. \u003ci>Aya\u003c/i>, on the other hand, plays like a short story stretched to double its proper length. The waifish title character (Sara Adler), waiting for her beau at the airport, impulsively drives a visiting musicologist (Danish actor Ulrich Thomsen) to his Jerusalem hotel instead. Co-writers and co-directors Mihal Brezis and Oded Binnum create a succinct, intriguing beginning and an open, ambiguous ending, but the moody middle of their film — two strangers tentatively forging a temporary bond on the way into town — goes nowhere.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-papp.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Joe Papp in Five Acts\u003c/i>\u003c/p>\n\u003cp>\u003cb>Stage Struck:\u003c/b>\u003ci>Joe Papp in Five Acts\u003c/i>\u003cbr> (Saturday, July 27, 2:35pm, Castro Theatre; Saturday, August 3, 1:55pm, California and Wednesday, August 7, 6pm, CineArts in Palo Alto)\u003cbr>Karen Thorsen and Tracie Holder’s vibrant portrait of the late Brooklyn-born impresario who founded the Public Theater and presented first-rate productions of Shakespeare in New York’s parks for free — what a concept: public art in public spaces for the multicultural masses — is as inspiring as any film in the SFJFF lineup. Made for PBS’ \u003ci>American Masters\u003c/i>, which airs it in 2014, the documentary rejects the usual polite, disembodied celebrity narrator in favor of its subject’s voice. A stream of Pappisms, culled from interviews and public appearances, palpably convey the spirit, ambition, philosophy and conscience of a man who, like Hannah Arendt and Wilhelm Reich, stuck to his course regardless what it cost him.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jff-sentence.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Last Sentence\u003c/i>\u003c/p>\n\u003cp>\u003cb>Date Night, Bergman Style:\u003c/b> \u003ci>The Last Sentence\u003c/i>\u003cbr>(Monday, July 29, 3:25pm, Castro Theatre and Tuesday, August 6, 8pm, CineArts in Palo Alto)\u003cbr>In the mid-1930s, all of Europe quivered and genuflected before Hitler’s unambiguous and unpredictable might. From the beginning of Nazism, veteran Swedish journalist Torgny Segerstedt challenged German fascism as well as the inclinations of his countrymen toward neutrality (which he castigated as a combination of cowardice and apathy). A fascinating subject, pounded by much-loved writer-director Jan Troell (\u003ci>The Emigrants\u003c/i>) into ponderous porridge through an unending parade of people talking in immaculately furnished rooms. The first hour, focusing on the unsmiling Segerstedt’s cruel treatment of his spouse and his affair with his publisher’s wife, evokes Ingmar Bergman’s domestic dramas. If you’re in the mood for that, great, but it’s difficult to comprehend why Troell finds the journalist’s private life more resonant than his public stands. From the SFJFF’s standpoint, however, Segerstedt’s fearless refusal to respond to outside pressure, or to second-guess himself, makes him a perfect fit for this year’s program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 33rd San Francisco Jewish Film Festival runs July 25 through August 12, 2013 at various Bay Area locations. For \u003ca href=\"http://www.sfjff.org/\">tickets and information\u003c/a>, visit sfjff.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Midsummer Night's Dreams: 5 to Watch",
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"content": "\u003cp>The heat is on in the Bay Area this month — everywhere but San Francisco, where the natural air conditioning commands that everyone embrace the layered look. You needed no reminder but, as a public service, I’ve nonetheless included dressing tips with my roundup of this month’s most intriguing film events. One always wants to look good and fit in, even in the dark.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/06/28/frozenfest.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Vinit Parmar’s \u003ci>Quest for Energy\u003c/i> at the SF Frozen Film Fest\u003c/p>\n\u003cp>To tell the truth, I’ve never managed to match the \u003cb>San Francisco Frozen Film Festival\u003c/b>‘s moniker with its mission. I get that the foggy chill that defines summer in this city inspired the fest’s handle; how it relates to providing a venue for independent filmmakers with minimal budgets and encouragement for young directors with minimal experience is beyond me. Shorts dominate the lineup of below-the-radar films chosen for the July 12-13, 2013 weekend shindig at the Roxie, which should serve as a siren call for aficionados of new talent and personal visions. Recommended attire: fleece vest. For \u003ca href=\"http://www.frozenfilmfestival.com/pages/lineup13.php/\">more information\u003c/a> visit frozenfilmfestival.com.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Sg1v5HkpdEA&w=480&h=360]\u003c/p>\n\u003cp>Ray Harryhausen, the beloved wizard of witty special effects, had the good fortune to live long enough to see his work transcend the curse of camp. His wonderful stop-motion sequences transfixed kids and adults in the 1950s and ’60s, but came to be viewed as low-tech and even primitive after pyrotechnical computer-generated effects arrived in the ’80s. Moviegoers now recognize that soulless professionalism and empty bombast is no match for the heart and human touch that distinguishes Harryhausen’s work. The Castro commemorates his passing earlier this year with a double bill of \u003ci>The 7th Voyage of Sinbad\u003c/i> and \u003ci>Jason and the Argonauts\u003c/i> Sunday, July 14, 2013. Take the little ones, by all means, and your handmade swords and shields. For \u003ca href=\"http://www.castrotheatre.com/p-list.html\">more information\u003c/a>, visit castrotheatre.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/06/28/brooks.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Louise Brooks in \u003ci>Prix de Beauté\u003c/i> at the SF Silent Film Festival\u003c/p>\n\u003cp>The San Francisco Silent Film Festival’s great contribution was and is to blast away the dust, nostalgia and condescension which vintage movies were buried under for decades. Pairing archive-quality prints with first-rate musical accompaniment, the festival turns every screening into an event. The dangerously alluring Louise Brooks raises the curtain Thursday, July 18 with her last star vehicle, \u003ci>Prix de Beauté\u003c/i>, and the bespectacled comedian Harold Lloyd rings it down Sunday, July 21 with the immortal \u003ci>Safety Last\u003c/i>. It doesn’t matter which show you attend; this is the only festival in town in which every film is a winner. Period attire is encouraged, and admired. For \u003ca href=\"http://www.silentfilm.org/festival/festival-2013-programs\">more information\u003c/a>, visit silentfilm.org.\u003c/p>\n\u003cp>[vimeo 64756778 w=480 h=270]\u003c/p>\n\u003cp>The lone nonfiction recommendation among my picks this month is a portrait of an altogether remarkable man who, in retrospect, seems like a character from a novel. George Plimpton was a blueblood, a preppie, an intellectual, a raconteur and, above all, a participant whose approach to journalism (and life) was to leave the sidelines and throw himself into the play. Among his daring pursuits, he took snaps in a Detroit Lions preseason game and played the triangle during a New York Philharmonic concert. Tom Bean and Luke Poling’s perfectly titled documentary, \u003ci>Plimpton! Starring George Plimpton as Himself\u003c/i>, plays the Roxie July 26-31. This is a rare opportunity to wear an Oxford shirt to the Mission. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=57F5254F%2DE08E%2D9F58%2DC54B7C73103CBFF3\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/06/28/evillessons.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Vinit Parmar’s \u003ci>Quest for Energy\u003c/i> at the SF Frozen Film Fest\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The annual J-POP Summit Festival, a high-energy, pastel-hued shindig of Japanese fashion, music and pop culture, expands this year with the introduction of the Japan Film Festival of San Francisco. The 15-film lineup, running July 27-August 4 at New People Cinema, encompasses the prolific Takashi Miike’s \u003ci>Lesson of the Evil\u003c/i> (2012), a violent and blackly comic tale set in a high school, and Mika Ninagawa’s \u003ci>Helter Skelter \u003c/i>, a study of a model with a secret (featuring model-actress-singer Erika Sawajiri in a comeback performance). Don your hippest summer garb, but don’t sweat it. There’s bound to be someone in an eye-popping outfit that’ll put you in the shade. For \u003ca href=\"http://jffsf.org/2013/\">more information\u003c/a>, visit jffsf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The heat is on in the Bay Area this month — everywhere but San Francisco, where the natural air conditioning commands that everyone embrace the layered look. You needed no reminder but, as a public service, I’ve nonetheless included dressing tips with my roundup of this month’s most intriguing film events. One always wants to look good and fit in, even in the dark.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/06/28/frozenfest.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Vinit Parmar’s \u003ci>Quest for Energy\u003c/i> at the SF Frozen Film Fest\u003c/p>\n\u003cp>To tell the truth, I’ve never managed to match the \u003cb>San Francisco Frozen Film Festival\u003c/b>‘s moniker with its mission. I get that the foggy chill that defines summer in this city inspired the fest’s handle; how it relates to providing a venue for independent filmmakers with minimal budgets and encouragement for young directors with minimal experience is beyond me. Shorts dominate the lineup of below-the-radar films chosen for the July 12-13, 2013 weekend shindig at the Roxie, which should serve as a siren call for aficionados of new talent and personal visions. Recommended attire: fleece vest. For \u003ca href=\"http://www.frozenfilmfestival.com/pages/lineup13.php/\">more information\u003c/a> visit frozenfilmfestival.com.\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/Sg1v5HkpdEA'\n title='//www.youtube.com/embed/Sg1v5HkpdEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ray Harryhausen, the beloved wizard of witty special effects, had the good fortune to live long enough to see his work transcend the curse of camp. His wonderful stop-motion sequences transfixed kids and adults in the 1950s and ’60s, but came to be viewed as low-tech and even primitive after pyrotechnical computer-generated effects arrived in the ’80s. Moviegoers now recognize that soulless professionalism and empty bombast is no match for the heart and human touch that distinguishes Harryhausen’s work. The Castro commemorates his passing earlier this year with a double bill of \u003ci>The 7th Voyage of Sinbad\u003c/i> and \u003ci>Jason and the Argonauts\u003c/i> Sunday, July 14, 2013. Take the little ones, by all means, and your handmade swords and shields. For \u003ca href=\"http://www.castrotheatre.com/p-list.html\">more information\u003c/a>, visit castrotheatre.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/06/28/brooks.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Louise Brooks in \u003ci>Prix de Beauté\u003c/i> at the SF Silent Film Festival\u003c/p>\n\u003cp>The San Francisco Silent Film Festival’s great contribution was and is to blast away the dust, nostalgia and condescension which vintage movies were buried under for decades. Pairing archive-quality prints with first-rate musical accompaniment, the festival turns every screening into an event. The dangerously alluring Louise Brooks raises the curtain Thursday, July 18 with her last star vehicle, \u003ci>Prix de Beauté\u003c/i>, and the bespectacled comedian Harold Lloyd rings it down Sunday, July 21 with the immortal \u003ci>Safety Last\u003c/i>. It doesn’t matter which show you attend; this is the only festival in town in which every film is a winner. Period attire is encouraged, and admired. For \u003ca href=\"http://www.silentfilm.org/festival/festival-2013-programs\">more information\u003c/a>, visit silentfilm.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lone nonfiction recommendation among my picks this month is a portrait of an altogether remarkable man who, in retrospect, seems like a character from a novel. George Plimpton was a blueblood, a preppie, an intellectual, a raconteur and, above all, a participant whose approach to journalism (and life) was to leave the sidelines and throw himself into the play. Among his daring pursuits, he took snaps in a Detroit Lions preseason game and played the triangle during a New York Philharmonic concert. Tom Bean and Luke Poling’s perfectly titled documentary, \u003ci>Plimpton! Starring George Plimpton as Himself\u003c/i>, plays the Roxie July 26-31. This is a rare opportunity to wear an Oxford shirt to the Mission. For \u003ca href=\"http://roxie.com/events/details.cfm?eventid=57F5254F%2DE08E%2D9F58%2DC54B7C73103CBFF3\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/06/28/evillessons.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Vinit Parmar’s \u003ci>Quest for Energy\u003c/i> at the SF Frozen Film Fest\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The annual J-POP Summit Festival, a high-energy, pastel-hued shindig of Japanese fashion, music and pop culture, expands this year with the introduction of the Japan Film Festival of San Francisco. The 15-film lineup, running July 27-August 4 at New People Cinema, encompasses the prolific Takashi Miike’s \u003ci>Lesson of the Evil\u003c/i> (2012), a violent and blackly comic tale set in a high school, and Mika Ninagawa’s \u003ci>Helter Skelter \u003c/i>, a study of a model with a secret (featuring model-actress-singer Erika Sawajiri in a comeback performance). Don your hippest summer garb, but don’t sweat it. There’s bound to be someone in an eye-popping outfit that’ll put you in the shade. For \u003ca href=\"http://jffsf.org/2013/\">more information\u003c/a>, visit jffsf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“What I like is the first take,” the cinematographer Agnès Godard declares, reveling in the memories and sensations summoned by her admission. “I don’t know what I’m going to do, which is sometimes very difficult for my focus puller. But what I like is to look for the first time, because when you look for the first time you discover, and you don’t look the same way when you look for the 10th time. This is really important. If I discover, the spectator will discover, also.”\u003c/p>\n\u003cp>In an era when filmmakers and directors of photography all over the world are grappling with how to depict the rhythm, pace and pressure of contemporary life — reinventing neo-realism for the 21st century, in other words — Godard is a master at capturing the electric current of immediacy and unpredictability. She has an innate ability for depicting characters as creatures of their habitats and environments, and conveying the pulse that propels them.\u003c/p>\n\u003cp>The goal of most narrative filmmaking is to evoke reality without copying the grammar and look of documentaries. Godard’s way of signaling to the audience is more subtle than most.\u003c/p>\n\u003cp>“I like when there is one little thing that would say, ‘It’s not realistic, it’s a movie, it’s fiction,'” she explains. “I like \u003ci>when\u003c/i> it’s a detail. Because maybe you don’t notice it right away.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/godard-rum.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>35 Shots of Rum\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A wiry, athletic Frenchwoman in her early 60s, the soft-spoken Godard began her career as a camera assistant working with the likes of Wim Wenders on \u003ci>Paris, Texas\u003c/i> and \u003ci>Wings of Desire\u003c/i>. Since 1991, she has been the cinematographer most closely associated with Claire Denis, the fearless French director of \u003ci>Beau Travail\u003c/i>, \u003ci>Trouble Every Day\u003c/i>, and numerous other sensuous, startling and enigmatic films.\u003c/p>\n\u003cp>Godard was in the Bay Area last weekend to introduce several films from \u003cb>Dancing With Light: The Cinematography of Agnès Godard\u003c/b>, a Pacific Film Archive retrospective that inevitably includes several Denis titles. (The series wraps with screenings on June 26 and 28, although Godard’s visit has concluded and she won’t be on hand.)\u003c/p>\n\u003cp>Denis and Godard’s films together are distinguished by, among other things, sequences of uncomfortable sexual tension. Sometimes the relationships are inappropriate, which triggers our moral protectiveness and defensiveness. But the tension is enhanced by Godard’s intimate, probing handheld camerawork, which insinuates us so deeply into the scene that it’s impossible for us to remain distant, passive observers.\u003c/p>\n\u003cp>“I never thought about that,” Godard says, to my surprise. “Claire always chooses actors that are beautiful. This beauty is already part of the sexual [dynamic]. Then, in almost all her films there’s a dance sequence. I like to dance myself, that’s for sure. I like to shoot dance sequences because it’s done handheld. It’s like \u003ci>you\u003c/i> are dancing, also. That means there is also music when we shoot, so this is just fantastic because you forget everything, the weight of the camera, technical difficulties and everything.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/godard-nenette.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Nenette and Boni\u003c/i>\u003c/p>\n\u003cp>As our time winds down, I ask Godard which dead or retired director — which artist whose career predates her — she would most like to have worked with. I thought this would be a fun exercise, but Godard silently submerges herself in a century of cinema history.\u003c/p>\n\u003cp>Her initial reply is Alfred Hitchcock, an unexpected choice because Hitch storyboarded his films before going into production and isn’t thought of as a director who collaborated with his cinematographers. Godard surprises me again by citing Yasujiro Ozu and Kenji Mizoguchi, the brilliant Japanese directors whose meticulously and precisely composed films are vastly different visually from Godard and Denis’ work. (The common thread is Godard’s absolute love for character-driven stories.)\u003c/p>\n\u003cp>Only then does Godard turn to France’s legion of great directors, naming Jean Renoir and \u003ci>Partie de Compagne\u003c/i> (\u003ci>A Day in the Country\u003c/i>) and Robert Bresson (\u003ci>Pickpocket\u003c/i>). Unpredictable to the last, Godard then calls forth John Huston, singling out his least-known and most underrated film, \u003ci>Fat City\u003c/i>, adapted from Leonard Gardner’s Stockton-set novel about people on the fringes of the boxing world and society.\u003c/p>\n\u003cp>“And the very first, first film,” she adds with a smile, “the train arriving in the station.” To be there at the beginning with the Lumiere brothers, figuring out how to make images, would have been incredible for Godard. No matter, though, every new project brings the challenge and undiluted joy of creating images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dancing With Light: The Cinematography of Agnès Godard\u003c/b> concludes Wednesday, June 26 at 7pm with \u003ci>Nenette and Boni\u003c/i> and Friday, June 28 at 7pm with \u003ci>35 Shots of Rum\u003c/i> at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/agnesgodard\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“What I like is the first take,” the cinematographer Agnès Godard declares, reveling in the memories and sensations summoned by her admission. “I don’t know what I’m going to do, which is sometimes very difficult for my focus puller. But what I like is to look for the first time, because when you look for the first time you discover, and you don’t look the same way when you look for the 10th time. This is really important. If I discover, the spectator will discover, also.”\u003c/p>\n\u003cp>In an era when filmmakers and directors of photography all over the world are grappling with how to depict the rhythm, pace and pressure of contemporary life — reinventing neo-realism for the 21st century, in other words — Godard is a master at capturing the electric current of immediacy and unpredictability. She has an innate ability for depicting characters as creatures of their habitats and environments, and conveying the pulse that propels them.\u003c/p>\n\u003cp>The goal of most narrative filmmaking is to evoke reality without copying the grammar and look of documentaries. Godard’s way of signaling to the audience is more subtle than most.\u003c/p>\n\u003cp>“I like when there is one little thing that would say, ‘It’s not realistic, it’s a movie, it’s fiction,'” she explains. “I like \u003ci>when\u003c/i> it’s a detail. Because maybe you don’t notice it right away.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/godard-rum.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>35 Shots of Rum\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A wiry, athletic Frenchwoman in her early 60s, the soft-spoken Godard began her career as a camera assistant working with the likes of Wim Wenders on \u003ci>Paris, Texas\u003c/i> and \u003ci>Wings of Desire\u003c/i>. Since 1991, she has been the cinematographer most closely associated with Claire Denis, the fearless French director of \u003ci>Beau Travail\u003c/i>, \u003ci>Trouble Every Day\u003c/i>, and numerous other sensuous, startling and enigmatic films.\u003c/p>\n\u003cp>Godard was in the Bay Area last weekend to introduce several films from \u003cb>Dancing With Light: The Cinematography of Agnès Godard\u003c/b>, a Pacific Film Archive retrospective that inevitably includes several Denis titles. (The series wraps with screenings on June 26 and 28, although Godard’s visit has concluded and she won’t be on hand.)\u003c/p>\n\u003cp>Denis and Godard’s films together are distinguished by, among other things, sequences of uncomfortable sexual tension. Sometimes the relationships are inappropriate, which triggers our moral protectiveness and defensiveness. But the tension is enhanced by Godard’s intimate, probing handheld camerawork, which insinuates us so deeply into the scene that it’s impossible for us to remain distant, passive observers.\u003c/p>\n\u003cp>“I never thought about that,” Godard says, to my surprise. “Claire always chooses actors that are beautiful. This beauty is already part of the sexual [dynamic]. Then, in almost all her films there’s a dance sequence. I like to dance myself, that’s for sure. I like to shoot dance sequences because it’s done handheld. It’s like \u003ci>you\u003c/i> are dancing, also. That means there is also music when we shoot, so this is just fantastic because you forget everything, the weight of the camera, technical difficulties and everything.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/godard-nenette.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Nenette and Boni\u003c/i>\u003c/p>\n\u003cp>As our time winds down, I ask Godard which dead or retired director — which artist whose career predates her — she would most like to have worked with. I thought this would be a fun exercise, but Godard silently submerges herself in a century of cinema history.\u003c/p>\n\u003cp>Her initial reply is Alfred Hitchcock, an unexpected choice because Hitch storyboarded his films before going into production and isn’t thought of as a director who collaborated with his cinematographers. Godard surprises me again by citing Yasujiro Ozu and Kenji Mizoguchi, the brilliant Japanese directors whose meticulously and precisely composed films are vastly different visually from Godard and Denis’ work. (The common thread is Godard’s absolute love for character-driven stories.)\u003c/p>\n\u003cp>Only then does Godard turn to France’s legion of great directors, naming Jean Renoir and \u003ci>Partie de Compagne\u003c/i> (\u003ci>A Day in the Country\u003c/i>) and Robert Bresson (\u003ci>Pickpocket\u003c/i>). Unpredictable to the last, Godard then calls forth John Huston, singling out his least-known and most underrated film, \u003ci>Fat City\u003c/i>, adapted from Leonard Gardner’s Stockton-set novel about people on the fringes of the boxing world and society.\u003c/p>\n\u003cp>“And the very first, first film,” she adds with a smile, “the train arriving in the station.” To be there at the beginning with the Lumiere brothers, figuring out how to make images, would have been incredible for Godard. No matter, though, every new project brings the challenge and undiluted joy of creating images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Dancing With Light: The Cinematography of Agnès Godard\u003c/b> concludes Wednesday, June 26 at 7pm with \u003ci>Nenette and Boni\u003c/i> and Friday, June 28 at 7pm with \u003ci>35 Shots of Rum\u003c/i> at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/agnesgodard\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Of course we don’t want our kids to go out and get bitten by wild animals, but there’s something about that early domestication scene in 1984’s \u003ci>Nausicaa of the Valley of the Wind\u003c/i>, where the eponymous heroine stays calm as a critter sinks its teeth into her finger, that seems like pure positive-role-model stuff. Not just because she’s tough, but because she fully understands what she’s dealing with.\u003c/p>\n\u003cp>It’s a scene from which many momentous later scenes and later films would flow: beautifully imagined variations on the theme of youthful feminine intelligence prevailing over pettily vindictive, planet-ruining violence. As a new retrospective at the Pacific Film Archive reminds us, such variations are a particular, seasonally welcome specialty of the Japanese animation powerhouse Studio Ghibli.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nausicaa.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Nausicaa of the Valley of the Wind\u003c/i>\u003c/p>\n\u003cp>Full of but not limited by kid-friendly delights, Ghibli films are more nuanced than a first glimpse of their familiar wide-eyed, westernized anime faces might suggest. Built from distinctly topographical exhilarations, these 2-D handiworks stand gently but resolutely in opposition to the blaring, solicitous CGI of American animated films, not to mention the over-controlled amazements and environmental or romantic platitudes of certain pricey James Cameron movies.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/totoro.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>My Neighbor Totoro\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of Ghibli’s mythic metamorphoses and human comings-of-age occur within a wondrous matrix of enveloping vegetation. Like feminism, environmentalism seems innate: Here, the natural world is a source for every fantasy world — be it castle in the sky or garden sun room in a gorgeous country house. By extension, the films don’t feel manufactured as mere vessels for their own mechandising rights. Which isn’t to say we have any shortage of \u003ci>My Neighbor Totoro\u003c/i> plush toys, just that the figurative Ghibli iconography importantly includes primitivist tree-spirits and moss-covered robots too.\u003c/p>\n\u003cp>Admittedly a campus screening room might not seem very inviting during a season of long days, but the PFA’s chosen dozen Ghibli films are anything but airless. They’re instructive for kids and parents alike, proving that a summer gone to the movies isn’t necessarily gone to waste.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Castles in the Sky: Masterful Anime from Studio Ghibli\u003c/b> runs June 16 through August 25, 2013, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/castlesinsky\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of course we don’t want our kids to go out and get bitten by wild animals, but there’s something about that early domestication scene in 1984’s \u003ci>Nausicaa of the Valley of the Wind\u003c/i>, where the eponymous heroine stays calm as a critter sinks its teeth into her finger, that seems like pure positive-role-model stuff. Not just because she’s tough, but because she fully understands what she’s dealing with.\u003c/p>\n\u003cp>It’s a scene from which many momentous later scenes and later films would flow: beautifully imagined variations on the theme of youthful feminine intelligence prevailing over pettily vindictive, planet-ruining violence. As a new retrospective at the Pacific Film Archive reminds us, such variations are a particular, seasonally welcome specialty of the Japanese animation powerhouse Studio Ghibli.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nausicaa.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Nausicaa of the Valley of the Wind\u003c/i>\u003c/p>\n\u003cp>Full of but not limited by kid-friendly delights, Ghibli films are more nuanced than a first glimpse of their familiar wide-eyed, westernized anime faces might suggest. Built from distinctly topographical exhilarations, these 2-D handiworks stand gently but resolutely in opposition to the blaring, solicitous CGI of American animated films, not to mention the over-controlled amazements and environmental or romantic platitudes of certain pricey James Cameron movies.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/totoro.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>My Neighbor Totoro\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fathers Rule the Roost: 5 to Watch",
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"content": "\u003cp>It doesn’t take much to make men happy in the summer, according to conventional wisdom: barbecuing, ballgames, beer, and big-screen blockbusters. (There’s one other activity, but it doesn’t start with a B. Also, this is a family blog.) Conventional wisdom isn’t always accurate, you might have noticed, and every man is different. So in honor of Father’s Day, here’s a five-pack of round-the-horn motion-picture marvels to treat your papa to in June.\u003c/p>\n\u003cp>If it seems early in the year for the 12th annual \u003cb>SF DocFest\u003c/b>, you’re right. The festival brain trust has swapped the frenetic fall movie season for June, which is both marginally less busy and assuredly foggier. For bittersweet romance, there’s local filmmaker Kate Schermerhorn’s quest for the secrets to a successful marriage, \u003ci>After Happily Ever After\u003c/i> (June 7, 8, and 11). If Dad appreciates astonishing imagery and profound philosophy, you can’t miss with veteran Canadian filmmaker Peter Mettler’s \u003ci>The End of Time\u003c/i> (June 11, 16, and 19). And for a scintillating character study of a dedicated family man, \u003ci>William and the Windmill\u003c/i> (June 10, 14, and 20) follows an inventive Malawi man whose perseverance saves his family. \u003cb>SF DocFest\u003c/b> runs June 6-20, 2013 at the Roxie, June 7-9 at the Balboa, June 9-11 at the Aquarius in Palo Alto, June 14-16 at the New Parkway in Oakland and June 21-23 at the Rio in Santa Cruz. For \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\">more information\u003c/a> visit sfindie.com.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=jXsLZcU40QA?rel=0&w=480&h=270]\u003c/p>\n\u003cp>The Italian director Roberto Rossellini is remembered as the master of neo-realism (\u003ci>Rome, Open City\u003c/i>). The Swedish actress Ingrid Bergman is immortalized by \u003ci>Casablanca\u003c/i> and her films with Hitchcock (especially \u003ci>Notorious\u003c/i>), among others. In 1950, though, their beyond-scandalous love affair overshadowed their art. Bergman fell in love with Rossellini on the set of \u003ci>Stromboli\u003c/i>, leaving her husband and daughter in America. Celebrate their passionate love, shed a tear for Bergman’s spouse, and ponder the fragility of romantic relationships with a double bill of \u003ci> Stromboli\u003c/i> and the marvelous, newly restored \u003ci>Voyage to Italy\u003c/i> (1954) Sunday, June 9 at the Castro. For \u003ca href=\"www.castrotheatre.com/p-list.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=7wCfzmj9CSY?rel=0&w=480&h=270]\u003c/p>\n\u003cp>Unspooling June 13-16 over Father’s Day weekend, the 15th annual \u003cb>San Francisco Black Film Festival\u003c/b> is a dyed-in-the-wool community — and family — event. The “My Dad is My Hero” video and essay contest offers a clue, with confirmation provided by the films that Kali O’Ray and Katera Crossley select. A pair of wrenching documentaries, Michaela Kirst’s \u003ci>Brown Babies: Germany’s Lost Children\u003c/i>, and Aileen LeBlanc’s saga of Ethiopian Jews grappling with relocating and acclimating to Israel, \u003ci>Take Me Home\u003c/i>, compel our attention with the reminder that the innocent and defenseless often suffer the most, but they are also the most resilient. For \u003ca href=\"http://sfbff.org/\">more information\u003c/a> visit sfbff.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/31/lodger1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>\u003ci>The Lodger\u003c/i>\u003c/p>\n\u003cp>We name-checked Alfred Hitchcock earlier, which may have had the side effect of whetting your appetite for tongue-in-cheek suspense. Well, lucky you and lucky Dad. The late silent era, when visual storytelling was reaching its zenith, was a great time for a director to hone his chops. The British Film Institute has diligently restored the nine surviving films, including \u003ci>The Lodger\u003c/i> and \u003ci>Blackmail\u003c/i>, that the future master made between 1925 and 1929. The \u003cb>San Francisco Silent Film Festival\u003c/b> presents The Hitchcock 9 with world-class musical accompaniment Friday-Sunday, June 14-16 at the Castro. If you can’t catch it this month, the series unspools August 16-31 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://silentfilm.org/special-events/the-hitchcock-9\">more information\u003c/a> visit silentfilm.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/31/codebreaker.jpg\" style=\"margin-bottom: 10px\">\u003cbr>\u003ci>Codebreaker\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The typically sprawling lineup of \u003cb>Frameline37\u003c/b>, aka the \u003cb>San Francisco International LGBT Film Festival\u003c/b>, playing at the Castro, Roxie and Victoria Theatres June 20-30, offers choices for every taste, mood and orientation. For Dad, may we suggest \u003ci>It’s All So Quiet\u003c/i>, an introspective Dutch drama about a late-middle-aged dairy farmer, and the British film \u003ci>Codebreaker\u003c/i> (June 25), which meshes documentary and drama to restore the reputation and legacy of pioneering computer scientist Alan Turing, who cracked the Enigma code during World War II and whose writings laid the foundation for today’s technology. It’s BYOB, no matter what that last B stands for. For \u003ca href=\"http://www.frameline.org\">more information\u003c/a> visit frameline.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It doesn’t take much to make men happy in the summer, according to conventional wisdom: barbecuing, ballgames, beer, and big-screen blockbusters. (There’s one other activity, but it doesn’t start with a B. Also, this is a family blog.) Conventional wisdom isn’t always accurate, you might have noticed, and every man is different. So in honor of Father’s Day, here’s a five-pack of round-the-horn motion-picture marvels to treat your papa to in June.\u003c/p>\n\u003cp>If it seems early in the year for the 12th annual \u003cb>SF DocFest\u003c/b>, you’re right. The festival brain trust has swapped the frenetic fall movie season for June, which is both marginally less busy and assuredly foggier. For bittersweet romance, there’s local filmmaker Kate Schermerhorn’s quest for the secrets to a successful marriage, \u003ci>After Happily Ever After\u003c/i> (June 7, 8, and 11). If Dad appreciates astonishing imagery and profound philosophy, you can’t miss with veteran Canadian filmmaker Peter Mettler’s \u003ci>The End of Time\u003c/i> (June 11, 16, and 19). And for a scintillating character study of a dedicated family man, \u003ci>William and the Windmill\u003c/i> (June 10, 14, and 20) follows an inventive Malawi man whose perseverance saves his family. \u003cb>SF DocFest\u003c/b> runs June 6-20, 2013 at the Roxie, June 7-9 at the Balboa, June 9-11 at the Aquarius in Palo Alto, June 14-16 at the New Parkway in Oakland and June 21-23 at the Rio in Santa Cruz. For \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\">more information\u003c/a> visit sfindie.com.\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/jXsLZcU40QA?rel=0'\n title='//www.youtube.com/embed/jXsLZcU40QA?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Italian director Roberto Rossellini is remembered as the master of neo-realism (\u003ci>Rome, Open City\u003c/i>). The Swedish actress Ingrid Bergman is immortalized by \u003ci>Casablanca\u003c/i> and her films with Hitchcock (especially \u003ci>Notorious\u003c/i>), among others. In 1950, though, their beyond-scandalous love affair overshadowed their art. Bergman fell in love with Rossellini on the set of \u003ci>Stromboli\u003c/i>, leaving her husband and daughter in America. Celebrate their passionate love, shed a tear for Bergman’s spouse, and ponder the fragility of romantic relationships with a double bill of \u003ci> Stromboli\u003c/i> and the marvelous, newly restored \u003ci>Voyage to Italy\u003c/i> (1954) Sunday, June 9 at the Castro. For \u003ca href=\"www.castrotheatre.com/p-list.html\">more information\u003c/a> visit castrotheatre.com.\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/7wCfzmj9CSY?rel=0'\n title='//www.youtube.com/embed/7wCfzmj9CSY?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Unspooling June 13-16 over Father’s Day weekend, the 15th annual \u003cb>San Francisco Black Film Festival\u003c/b> is a dyed-in-the-wool community — and family — event. The “My Dad is My Hero” video and essay contest offers a clue, with confirmation provided by the films that Kali O’Ray and Katera Crossley select. A pair of wrenching documentaries, Michaela Kirst’s \u003ci>Brown Babies: Germany’s Lost Children\u003c/i>, and Aileen LeBlanc’s saga of Ethiopian Jews grappling with relocating and acclimating to Israel, \u003ci>Take Me Home\u003c/i>, compel our attention with the reminder that the innocent and defenseless often suffer the most, but they are also the most resilient. For \u003ca href=\"http://sfbff.org/\">more information\u003c/a> visit sfbff.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/31/lodger1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>\u003ci>The Lodger\u003c/i>\u003c/p>\n\u003cp>We name-checked Alfred Hitchcock earlier, which may have had the side effect of whetting your appetite for tongue-in-cheek suspense. Well, lucky you and lucky Dad. The late silent era, when visual storytelling was reaching its zenith, was a great time for a director to hone his chops. The British Film Institute has diligently restored the nine surviving films, including \u003ci>The Lodger\u003c/i> and \u003ci>Blackmail\u003c/i>, that the future master made between 1925 and 1929. The \u003cb>San Francisco Silent Film Festival\u003c/b> presents The Hitchcock 9 with world-class musical accompaniment Friday-Sunday, June 14-16 at the Castro. If you can’t catch it this month, the series unspools August 16-31 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://silentfilm.org/special-events/the-hitchcock-9\">more information\u003c/a> visit silentfilm.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/31/codebreaker.jpg\" style=\"margin-bottom: 10px\">\u003cbr>\u003ci>Codebreaker\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The typically sprawling lineup of \u003cb>Frameline37\u003c/b>, aka the \u003cb>San Francisco International LGBT Film Festival\u003c/b>, playing at the Castro, Roxie and Victoria Theatres June 20-30, offers choices for every taste, mood and orientation. For Dad, may we suggest \u003ci>It’s All So Quiet\u003c/i>, an introspective Dutch drama about a late-middle-aged dairy farmer, and the British film \u003ci>Codebreaker\u003c/i> (June 25), which meshes documentary and drama to restore the reputation and legacy of pioneering computer scientist Alan Turing, who cracked the Enigma code during World War II and whose writings laid the foundation for today’s technology. It’s BYOB, no matter what that last B stands for. For \u003ca href=\"http://www.frameline.org\">more information\u003c/a> visit frameline.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To call \u003ci>3 Women\u003c/i> merely haunting is to do it an injustice, because it’s really one of the most brilliantly creepy films ever made. Director Robert Altman always claimed the picture originated in a dream, and you have to take him at his word — the film has the mark of nightmare upon it, weaving all the metaphorical potentialities of the Palm Springs, California desert into a miasma of menace and death. Though nothing wholly unrealistic occurs, the movie resonates as something supernatural; in this, Altman’s film is the precursor to Todd Haynes’s \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=116990\">\u003ci>Safe\u003c/i>\u003c/a>, another horror movie fashioned out of everyday living.\u003c/p>\n\u003cp>The plot involves the relationship between Pinky Rose (Sissy Spacek), newly arrived in Palm Springs, and Millie Lammoureux (Shelley Duvall), who has been assigned to train her at the geriatric health spa they work at. Pinky, for mysterious reasons, takes an obsessive shine to Millie, whose chirpy mundanity and feckless attempts at sophistication make her a pariah to all other humans. The two become roommates, and Pinky takes her fascination to a new level, reading Millie’s diary, transcribing her social security number, and engaging in other behavior right out of \u003ci>The Stalker’s Handbook\u003c/i>.\u003c/p>\n\u003cp>One night Millie brings home Edgar, the husband of the film’s Third Woman, Willie (Janice Rule), a pregnant and all-but-silent artist who paints half-simian, half-human creatures as pool murals. When Pinky objects to Millie’s tryst, Millie lashes out, spurring Pinky to take a high dive from the apartment complex landing into the pool. She then goes into a coma, and in a nod to Ingmar Bergman’s \u003ca href=\"http://www.rottentomatoes.com/m/persona/\">\u003ci>Persona\u003c/i>\u003c/a>, awakens to the thought that she’s actually Millie, assuming herformer idol’s identity.\u003c/p>\n\u003cp>But where Millie only aspired to a kind of winning loucheness, Pinky emerges from her slumber as a natural, stealing the attentions of Edgar and the clique of disdainful neighbors who have so overtly shunned Millie. But when Edgar seeks Pinky’s company the night Willie is giving birth, Millie sends Pinky for help as she attempts to midwife the baby. Pinky never goes for the doctor, however, and the infant is stillborn. The three women then appear to have some sort of psychotic break; when next we see them, they have coalesced into a quasi three-generational family, playing the roles of mother, daughter, and grandmother. Absent from the arrangement is Edgar, who, we are told,has been killed in a shooting “accident.” \u003c/p>\n\u003cp>That’s a heavy enough plot, but what makes \u003ci>3 Women\u003c/i> so truly disturbing Is its primal, elemental aesthetic. In the rawness of the characters’ psyches, in the dreamlike atmosphere created by shooting through mirrors, fish tanks, and water; in the arresting motif of posturing, bellicose animal-human hybrids that almost functions like a visual Greek chorus; in the flute solos that seem to emanate from another time and place, the film burrows under your skin, implanting an unshakable sense of isolation. Adding to the feeling of vulnerability are various depictions of human physicality as degradative, from the opening spa shots of decrepit limbs bathed in the hazy desert light to the portrayal of a sexual embrace as not carnal but animalistic, almost instinctual. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the film’s most consistently negative focus is on another basic human need: food. Shelley Duvall, said Altman, was allowed to write much of her character’s dialogue, and she chose to give Millie a penchant for mass-produced foodlike substances, as Michael Pollan might call them. “I’m famous for my dinner parties,” Millie brags, before unpacking a smorgasbord of processed edibles. From canned tamales to Pringles to “bananas dipped in chocolate rolled in Rice Krispies,” Millie is a great promoter of the corporate-cookbook lifestyle. Extolling the virtues of tuna melts, she says “They’re easy, they only take about 15 minutes to make.” And when Pinky stains her dress with one of Millie’s supermarket-bought shrimp cocktails, there’s an unappetizing conflation of blood and food, and a suggestion that all organic processes have been transformed into something harmful.\u003c/p>\n\u003cp>Millie’s lack of nutrition awareness is just the tip of the iceberg lettuce. In her, we see a wellspring of diminished American aspirations, a life lived out of mass-circulation magazines, and the treatment of their prescriptions as inside information rather than lowest-common-denominator fodder. “Oh good, the Neiman Marcus catalogue,” Millie says when opening her mailbox. For someone who is consistently ignored, it must be a comfort to be taken notice of, if only as a consumer. “You know the Breck girl?” she says to yet another unreceptive audience. “Well they’re having a contest to find a new one and I’m going to send my picture in.”\u003c/p>\n\u003cp>If one can see past the satire of Millie’s clinging to whatever’s on offer by the mass culture, her extreme isolation becomes the stuff of nightmares, Shelley Duvall, with her gawky physiology and plain looks, was one of the more exotic female presences in 1970s cinema. Duvall was not a trained actress, and it shows in her performance, which won the best actress award at Cannes. One might ask: are her spacey expressions and flat intonation indications of complete confusion in interpreting the text? Or, has she captured some precise quality of lonely eccentricity? An ordinariness so paradoxically extreme as to seem garish? When, like the grand-finale Norma Desmond, she descends the stairs at her apartment complex, regaled in a hooded bright yellow bathrobe, one understands the poignancy of bad taste — the desperate longing for notice, and a looking for love in all the wrong places saying all the wrong things wearing all the wrong clothes.\u003c/p>\n\u003cp>Years later, Millie might be diagnosed with Asperger’s syndrome. But here Altman sees in her not so much a mental disorder as a sociological barrenness, a human expression of the arid desert locale. Despite the various strands of advice for practical contemporary living she has picked up, she is unable to knit them into a coherent life, and her lack of originality has left her easy prey for both marketers and strutting, vacuous vultures like Edgar.\u003c/p>\n\u003cp>But if Millie is a hapless navigator of life, Pinky is as yet too raw and unformed to be viewed as completely hopeless. She first appears in the film sporting the sensibility of a child, blowing bubbles in her Coke, adding salt to her beer, burping. She’s a blank slate, which is perhaps why she views Millie with unjaded eyes. “She just seems like she does everything right,” Pinky gushes. Like the twins who work with them at the spa, the two are connected, sharing the same real first name and place of origin (Texas). The film is full of such doublings — reflections, simulacra, a general theme of inadequate substitution. In this environment, the West itself no longer seems vital. Where the concept of Dodge City may have once connoted a certain amount of romance, here it’s been relegated to the name of a dive bar owned by Edgar, with a defunct miniature golf course and a fake rattlesnake. Edgar himself was once a stunt double for Hugh O’Brian in the old Wyatt Earp TV show, his claim to whatever authentic virtues that particular history once held now twice removed.\u003c/p>\n\u003cp>In fact, in the person of Edgar, \u003ci>3 Women\u003c/i> is Altman’s strongest indictment against the male sex. Altman is not known as a director with a feminist sensibility, but look closely at his work and it’s not hard to find a critique, from a distance, of male balefulness and puerility. Think of the juvenile antics of the two leads in \u003ci>California Split\u003c/i>, unconsciously homoerotic and exclusive of the need for feminine relationships, their emptiness masked by engagement in games and competition. The critic Richard Corliss, in his obituary of Altman, addresses \u003ci>MASH\u003c/i>, the director’s most commercial success, and one which has often been criticized as sexist:\u003c/p>\n\u003cp>“For some viewers, \u003ci>MASH\u003c/i> was an exercise less in Olympian misanthropy than in leering misogyny, especially in its twitting of the prim Hot Lips Houlihan as a secret sexpot worthy of being exposed before the entire company as she took a shower. The curtain falls, Hot Lips is revealed naked, the medics applaud at their practical joke and feminism takes a nasty hit. (I could name one young bride who, after storming out of a screening room at the end of that shower scene, literally went home to her mother, telling her husband, “I don’t want to live with someone who thinks \u003ci>that\u003c/i> is funny.”)”\u003c/p>\n\u003cp>Yet, what I have always found most memorable about the scene is its direct aftermath, when Sally Kellerman as a humiliated Hot Lips heads straight to the camp commander’s tent. “This isn’t a hospital, it’s an insane asylum!” she sobs, threatening to resign. But the colonel, who is in bed with a nurse, couldn’t care less, and tells her to go ahead and quit. One might ask: With whom does Altman’s heart really lie in that particular moment? And in the football-game finale, when Kellerman’s character has been reduced to that of an inane cheerleader, an intentional statement seems to be on the table about the effect on a woman who wielded authority, no matter how priggish, by the film’s leering, sniggering wolf pack. \u003c/p>\n\u003cp>\u003ci>3 Women\u003c/i> is much more overt in its disdain for masculine values. Here, Altman sees men as brutes, sexual opportunists, or both. The cops who hang out at Edgar’s bar, faceless behind their helmets, are shown several times riding dirt bikes, full of sound and fury in the manner of swarming insects, expending their male energy in purposeless circles. The other male group activity we see is target shooting, and again it reads like an expression of sheer aggression and little else. Edgar himself is a drunken, boorish caricature of machismo, hiding behind dark sunglasses and a cowboy hat; he is the analogue of the ranting creature with the huge phallus on display in his wife?s mural. Edgar and Willie, for their part, exchange one accusatory look but nary a word in the entire film, and perhaps the movie?s most surrealistic element is the fact that they actually once chose to wed.\u003c/p>\n\u003cp>Arid landscape, severe personal isolation, a sterile culture, enervating male aggression… in such a milieu, the stillbirth that comes at the film?s climax seems the logical conclusion. The real horror of that moment, though, comes in Willie?s cooing and clinging to the dead baby, and her complete blindness to its lack of life.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If there?s anything optimistic for viewers to hang their hat on in this grim event, perhaps it?s the perfectly reasonable reaction of Millie, which is sheer hysteria. While she is portrayed as a ridiculous figure in the film?s first half, as things begin to unravel and she is beset by escalating strangeness, she seems to awaken from her own metaphorical coma, finding her voice and a previously suppressed humanity. The psychic rupture of the three women in the final scene represents a rebellion against an array of devitalizing forces, and through its oddness one can choose to interpret it as a lone sign of hope in this otherwise devastating masterwork. \u003c/p>\n\n",
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"excerpt": "Robert Altman's 1977 film \u003ci>3 Women\u003c/i> is a darkly menacing tale of friendship, identity, and emotional dependence starring Sissy Spacek, Shelley Duvall, and Janice Rule.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To call \u003ci>3 Women\u003c/i> merely haunting is to do it an injustice, because it’s really one of the most brilliantly creepy films ever made. Director Robert Altman always claimed the picture originated in a dream, and you have to take him at his word — the film has the mark of nightmare upon it, weaving all the metaphorical potentialities of the Palm Springs, California desert into a miasma of menace and death. Though nothing wholly unrealistic occurs, the movie resonates as something supernatural; in this, Altman’s film is the precursor to Todd Haynes’s \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=116990\">\u003ci>Safe\u003c/i>\u003c/a>, another horror movie fashioned out of everyday living.\u003c/p>\n\u003cp>The plot involves the relationship between Pinky Rose (Sissy Spacek), newly arrived in Palm Springs, and Millie Lammoureux (Shelley Duvall), who has been assigned to train her at the geriatric health spa they work at. Pinky, for mysterious reasons, takes an obsessive shine to Millie, whose chirpy mundanity and feckless attempts at sophistication make her a pariah to all other humans. The two become roommates, and Pinky takes her fascination to a new level, reading Millie’s diary, transcribing her social security number, and engaging in other behavior right out of \u003ci>The Stalker’s Handbook\u003c/i>.\u003c/p>\n\u003cp>One night Millie brings home Edgar, the husband of the film’s Third Woman, Willie (Janice Rule), a pregnant and all-but-silent artist who paints half-simian, half-human creatures as pool murals. When Pinky objects to Millie’s tryst, Millie lashes out, spurring Pinky to take a high dive from the apartment complex landing into the pool. She then goes into a coma, and in a nod to Ingmar Bergman’s \u003ca href=\"http://www.rottentomatoes.com/m/persona/\">\u003ci>Persona\u003c/i>\u003c/a>, awakens to the thought that she’s actually Millie, assuming herformer idol’s identity.\u003c/p>\n\u003cp>But where Millie only aspired to a kind of winning loucheness, Pinky emerges from her slumber as a natural, stealing the attentions of Edgar and the clique of disdainful neighbors who have so overtly shunned Millie. But when Edgar seeks Pinky’s company the night Willie is giving birth, Millie sends Pinky for help as she attempts to midwife the baby. Pinky never goes for the doctor, however, and the infant is stillborn. The three women then appear to have some sort of psychotic break; when next we see them, they have coalesced into a quasi three-generational family, playing the roles of mother, daughter, and grandmother. Absent from the arrangement is Edgar, who, we are told,has been killed in a shooting “accident.” \u003c/p>\n\u003cp>That’s a heavy enough plot, but what makes \u003ci>3 Women\u003c/i> so truly disturbing Is its primal, elemental aesthetic. In the rawness of the characters’ psyches, in the dreamlike atmosphere created by shooting through mirrors, fish tanks, and water; in the arresting motif of posturing, bellicose animal-human hybrids that almost functions like a visual Greek chorus; in the flute solos that seem to emanate from another time and place, the film burrows under your skin, implanting an unshakable sense of isolation. Adding to the feeling of vulnerability are various depictions of human physicality as degradative, from the opening spa shots of decrepit limbs bathed in the hazy desert light to the portrayal of a sexual embrace as not carnal but animalistic, almost instinctual. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the film’s most consistently negative focus is on another basic human need: food. Shelley Duvall, said Altman, was allowed to write much of her character’s dialogue, and she chose to give Millie a penchant for mass-produced foodlike substances, as Michael Pollan might call them. “I’m famous for my dinner parties,” Millie brags, before unpacking a smorgasbord of processed edibles. From canned tamales to Pringles to “bananas dipped in chocolate rolled in Rice Krispies,” Millie is a great promoter of the corporate-cookbook lifestyle. Extolling the virtues of tuna melts, she says “They’re easy, they only take about 15 minutes to make.” And when Pinky stains her dress with one of Millie’s supermarket-bought shrimp cocktails, there’s an unappetizing conflation of blood and food, and a suggestion that all organic processes have been transformed into something harmful.\u003c/p>\n\u003cp>Millie’s lack of nutrition awareness is just the tip of the iceberg lettuce. In her, we see a wellspring of diminished American aspirations, a life lived out of mass-circulation magazines, and the treatment of their prescriptions as inside information rather than lowest-common-denominator fodder. “Oh good, the Neiman Marcus catalogue,” Millie says when opening her mailbox. For someone who is consistently ignored, it must be a comfort to be taken notice of, if only as a consumer. “You know the Breck girl?” she says to yet another unreceptive audience. “Well they’re having a contest to find a new one and I’m going to send my picture in.”\u003c/p>\n\u003cp>If one can see past the satire of Millie’s clinging to whatever’s on offer by the mass culture, her extreme isolation becomes the stuff of nightmares, Shelley Duvall, with her gawky physiology and plain looks, was one of the more exotic female presences in 1970s cinema. Duvall was not a trained actress, and it shows in her performance, which won the best actress award at Cannes. One might ask: are her spacey expressions and flat intonation indications of complete confusion in interpreting the text? Or, has she captured some precise quality of lonely eccentricity? An ordinariness so paradoxically extreme as to seem garish? When, like the grand-finale Norma Desmond, she descends the stairs at her apartment complex, regaled in a hooded bright yellow bathrobe, one understands the poignancy of bad taste — the desperate longing for notice, and a looking for love in all the wrong places saying all the wrong things wearing all the wrong clothes.\u003c/p>\n\u003cp>Years later, Millie might be diagnosed with Asperger’s syndrome. But here Altman sees in her not so much a mental disorder as a sociological barrenness, a human expression of the arid desert locale. Despite the various strands of advice for practical contemporary living she has picked up, she is unable to knit them into a coherent life, and her lack of originality has left her easy prey for both marketers and strutting, vacuous vultures like Edgar.\u003c/p>\n\u003cp>But if Millie is a hapless navigator of life, Pinky is as yet too raw and unformed to be viewed as completely hopeless. She first appears in the film sporting the sensibility of a child, blowing bubbles in her Coke, adding salt to her beer, burping. She’s a blank slate, which is perhaps why she views Millie with unjaded eyes. “She just seems like she does everything right,” Pinky gushes. Like the twins who work with them at the spa, the two are connected, sharing the same real first name and place of origin (Texas). The film is full of such doublings — reflections, simulacra, a general theme of inadequate substitution. In this environment, the West itself no longer seems vital. Where the concept of Dodge City may have once connoted a certain amount of romance, here it’s been relegated to the name of a dive bar owned by Edgar, with a defunct miniature golf course and a fake rattlesnake. Edgar himself was once a stunt double for Hugh O’Brian in the old Wyatt Earp TV show, his claim to whatever authentic virtues that particular history once held now twice removed.\u003c/p>\n\u003cp>In fact, in the person of Edgar, \u003ci>3 Women\u003c/i> is Altman’s strongest indictment against the male sex. Altman is not known as a director with a feminist sensibility, but look closely at his work and it’s not hard to find a critique, from a distance, of male balefulness and puerility. Think of the juvenile antics of the two leads in \u003ci>California Split\u003c/i>, unconsciously homoerotic and exclusive of the need for feminine relationships, their emptiness masked by engagement in games and competition. The critic Richard Corliss, in his obituary of Altman, addresses \u003ci>MASH\u003c/i>, the director’s most commercial success, and one which has often been criticized as sexist:\u003c/p>\n\u003cp>“For some viewers, \u003ci>MASH\u003c/i> was an exercise less in Olympian misanthropy than in leering misogyny, especially in its twitting of the prim Hot Lips Houlihan as a secret sexpot worthy of being exposed before the entire company as she took a shower. The curtain falls, Hot Lips is revealed naked, the medics applaud at their practical joke and feminism takes a nasty hit. (I could name one young bride who, after storming out of a screening room at the end of that shower scene, literally went home to her mother, telling her husband, “I don’t want to live with someone who thinks \u003ci>that\u003c/i> is funny.”)”\u003c/p>\n\u003cp>Yet, what I have always found most memorable about the scene is its direct aftermath, when Sally Kellerman as a humiliated Hot Lips heads straight to the camp commander’s tent. “This isn’t a hospital, it’s an insane asylum!” she sobs, threatening to resign. But the colonel, who is in bed with a nurse, couldn’t care less, and tells her to go ahead and quit. One might ask: With whom does Altman’s heart really lie in that particular moment? And in the football-game finale, when Kellerman’s character has been reduced to that of an inane cheerleader, an intentional statement seems to be on the table about the effect on a woman who wielded authority, no matter how priggish, by the film’s leering, sniggering wolf pack. \u003c/p>\n\u003cp>\u003ci>3 Women\u003c/i> is much more overt in its disdain for masculine values. Here, Altman sees men as brutes, sexual opportunists, or both. The cops who hang out at Edgar’s bar, faceless behind their helmets, are shown several times riding dirt bikes, full of sound and fury in the manner of swarming insects, expending their male energy in purposeless circles. The other male group activity we see is target shooting, and again it reads like an expression of sheer aggression and little else. Edgar himself is a drunken, boorish caricature of machismo, hiding behind dark sunglasses and a cowboy hat; he is the analogue of the ranting creature with the huge phallus on display in his wife?s mural. Edgar and Willie, for their part, exchange one accusatory look but nary a word in the entire film, and perhaps the movie?s most surrealistic element is the fact that they actually once chose to wed.\u003c/p>\n\u003cp>Arid landscape, severe personal isolation, a sterile culture, enervating male aggression… in such a milieu, the stillbirth that comes at the film?s climax seems the logical conclusion. The real horror of that moment, though, comes in Willie?s cooing and clinging to the dead baby, and her complete blindness to its lack of life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If there?s anything optimistic for viewers to hang their hat on in this grim event, perhaps it?s the perfectly reasonable reaction of Millie, which is sheer hysteria. While she is portrayed as a ridiculous figure in the film?s first half, as things begin to unravel and she is beset by escalating strangeness, she seems to awaken from her own metaphorical coma, finding her voice and a previously suppressed humanity. The psychic rupture of the three women in the final scene represents a rebellion against an array of devitalizing forces, and through its oddness one can choose to interpret it as a lone sign of hope in this otherwise devastating masterwork. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "OakCatVidFest is in Fact an Oakland Festival of Cat Videos",
"headTitle": "OakCatVidFest is in Fact an Oakland Festival of Cat Videos | KQED",
"content": "\u003cp>Obviously there is a correlation between cat veneration and world-altering technologies: the ancient Egyptians built the pyramids; we built the internet. History must be telling us something important here: that feline charisma is timeless and unfakeable, and therefore conducive to YouTube celebrity.\u003c/p>\n\u003cp>Its art-film bona fides established as long ago as 1947, with Maya Deren and Alexander Hammid’s \u003ca href=\"http://www.theatlantic.com/video/index/275231/the-private-life-of-a-cat/\">experimental documentary\u003c/a> \u003ci>The Private Life of a Cat\u003c/i>, which chronicles the having of kittens, our modern cat video has proliferated wildly, by now prompting at least one bombastically cheeky longform \u003ca href=\"http://www.wired.com/underwire/2012/08/ff_cats/\">magazine article\u003c/a> purporting “to say something definitive about the relationship between cats and the internet,” and, more enjoyably, touring festival celebrations thereof, like the one making its Bay Area premiere Saturday and benefitting the East Bay SPCA.\u003c/p>\n\u003cp>Begun last year by the Walker Art Center in Minneapolis, where it drew some 10,000 enthusiasts, the \u003cb>Internet Cat Video Festival\u003c/b> is simply a curated collection of viral cat videos. It is hard to say what makes a viral cat video particularly festival-appropriate, but the answer probably is being a viral cat video. The festival itself has since gone viral, in its way, and so on Saturday, May 11, after cat adoptions and live performances all afternoon, and a costume contest at 7:30pm, the \u003cb>OakCatVidFest\u003c/b> will project adorably and hilariously familiar videos onto the Great Wall of Oakland.\u003c/p>\n\u003cp>With its shark-suited Roomba riders, its vocal sour cream appreciators, its chatty players of patty cake, the cat-video continuum is vast, or at least vast enough to make cultural space for the gaffe-affirming vaudevillian Keyboard Cat, the pixilated space-faring rainbow-trailing Pop-Tart-bodied Nyan Cat, the existentially despairing Henri, le Chat Noir, and of course Maru, who really loves boxes. These venerable performers play devoutly to their audience, over and over again.\u003c/p>\n\u003cp>One key difference between sharing cat videos on the internet and going outside and seeing them projected with a like-minded audience is security in the knowledge that the you’re not a half-feral recluse after all. Or maybe you are, but then aren’t we all?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Oakland Internet Cat Video Festival\u003c/b> takes place from 3 to 10pm Saturday, May 11, 2013, in Oakland. For \u003ca href=\"http://www.oaklandcatvidfest.com\">more information\u003c/a>, visit oaklandcatvidfest.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Obviously there is a correlation between cat veneration and world-altering technologies: the ancient Egyptians built the pyramids; we built the internet. History must be telling us something important here: that feline charisma is timeless and unfakeable, and therefore conducive to YouTube celebrity.\u003c/p>\n\u003cp>Its art-film bona fides established as long ago as 1947, with Maya Deren and Alexander Hammid’s \u003ca href=\"http://www.theatlantic.com/video/index/275231/the-private-life-of-a-cat/\">experimental documentary\u003c/a> \u003ci>The Private Life of a Cat\u003c/i>, which chronicles the having of kittens, our modern cat video has proliferated wildly, by now prompting at least one bombastically cheeky longform \u003ca href=\"http://www.wired.com/underwire/2012/08/ff_cats/\">magazine article\u003c/a> purporting “to say something definitive about the relationship between cats and the internet,” and, more enjoyably, touring festival celebrations thereof, like the one making its Bay Area premiere Saturday and benefitting the East Bay SPCA.\u003c/p>\n\u003cp>Begun last year by the Walker Art Center in Minneapolis, where it drew some 10,000 enthusiasts, the \u003cb>Internet Cat Video Festival\u003c/b> is simply a curated collection of viral cat videos. It is hard to say what makes a viral cat video particularly festival-appropriate, but the answer probably is being a viral cat video. The festival itself has since gone viral, in its way, and so on Saturday, May 11, after cat adoptions and live performances all afternoon, and a costume contest at 7:30pm, the \u003cb>OakCatVidFest\u003c/b> will project adorably and hilariously familiar videos onto the Great Wall of Oakland.\u003c/p>\n\u003cp>With its shark-suited Roomba riders, its vocal sour cream appreciators, its chatty players of patty cake, the cat-video continuum is vast, or at least vast enough to make cultural space for the gaffe-affirming vaudevillian Keyboard Cat, the pixilated space-faring rainbow-trailing Pop-Tart-bodied Nyan Cat, the existentially despairing Henri, le Chat Noir, and of course Maru, who really loves boxes. These venerable performers play devoutly to their audience, over and over again.\u003c/p>\n\u003cp>One key difference between sharing cat videos on the internet and going outside and seeing them projected with a like-minded audience is security in the knowledge that the you’re not a half-feral recluse after all. Or maybe you are, but then aren’t we all?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PlayGround's Second Annual Film Festival: From Seed to Stage to a Screen Near You",
"headTitle": "PlayGround’s Second Annual Film Festival: From Seed to Stage to a Screen Near You | KQED",
"content": "\u003cp>\u003ca href=\"http://playground-sf.org/filmfest/\">The Second Annual PlayGround Film Festival\u003c/a> bears the fruit of the cross-pollination of Bay filmmakers and playwrights. A film festival with its roots in play writing, the festival showcases the evolutionary process from seed to stage to screen. PlayGround provides creative nurturance and collaboration from inception through development. But the process is also one of elimination. The six films in the film festival are the result of natural selection.\u003c/p>\n\u003cp>Each of films in the festival — which runs through May 25 — started life as a short play developed and produced by PlayGround, the Berkeley-based theater company dedicated to nurturing new playwrights. The festival’s six short films were adapted from plays previously selected for the Best of PlayGround theater showcase. Each of these plays started life in PlayGround’s Monday Night reading series. And even before this, each script started life as a writer’s prompt; Monday Night PlayGrounds are structured around a different theme each month. \u003c/p>\n\u003cp>PlayGround has been cultivating the works of early-career playwrights since 1994. Through its Monday Night staged readings, 650 original short plays have been developed. PlayGround alumni have gone on to stage their works at the Humana Festival, Sundance Festival, \u003ca href=\"http://www.playwrightsfoundation.org/index.php?p=183\">\u003c/a>Bay Area Playwrights Festival, Aurora Theatre’s Global Age Project, and N.Y. International Fringe Festival, among others. \u003c/p>\n\u003cp>Last year, artistic director Jim Kleinman and the company decided to mix some fresh talent into the gene pool by coaxing collaboration between playwrights and filmmakers. By providing an opportunity for film directors to team up with theater writers, the festival encourages partnerships that result in cross-bred outcomes. \u003c/p>\n\u003cp>“So many films get made that are good in every respect, they may have great production values, but if the script isn’t there, the film wont be first-rate,” said Amy Harrison, who adapted Kirk Shimano’s play \u003ci>Miss Finknagle Succumbs to Chaos\u003c/i> for the current film festival. “It’s really all about the quality of the script. With these playwrights, the battle is won.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One innovative component of the festival’s film screenings is that each film is followed by a short documentary about the playwright. Each playwright speaks of the theme or “prompt” that inspired his or her play. \u003c/p>\n\u003cp>In yet another layer of PlayGround’s multiple levels of collaboration and inter-disciplinary cross-pollination, PlayGround partners in discussions with \u003ca href=\"http://www.msri.org/web/msri\">Berkeley’s Mathematical Sciences Research Institute\u003c/a> to inspire the popular “Math Night” theme. Mathematicians discuss concepts with PlayGround’s pool of playwrights and five days later, the writers produce plays based on these talks. Several of the films in this year’s festival have their origin stories in these one-night stands with math nerds.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=R6_AUimovcc?rel=0&w=480&h=270]\u003c/p>\n\u003cp>For instance, Kirk Shimano used a discussion of \u003ci>Patterns of Chaos\u003c/i> as the foundation for \u003ci>Miss Finknagle Succumbs To Chaos\u003c/i>. But the dynamic film, a teen-view missing persons mystery with a repressed librarian at its comedic core, has more in common with comic books, after-school specials and rom-coms than with mathematical theory. Harrison said she doesn’t really understand chaos theory, but she did email Shimano over and over again to find out his precise interpretation of the word “duh.” \u003c/p>\n\u003cp>In the documentary following Bruce Coughran’s \u003ci>Undone\u003c/i>, writer Diane Sampson explains that her play — about parental ties, the limits of attachment and mental illness — had its genesis in the concept of the “unknot” an aspect of knot theory. \u003c/p>\n\u003cp>Other stand-out plays in the festival are distant descendants of their writers’ prompts. Playwright Geetha Reddy said she used the theme “State of the Union,” as a very loose prompt for \u003ci>Obit\u003c/i>, her compelling short play about an aging father and his adult daughter coming to terms with death, debilitation, and memory. Sean Owens’ clever play \u003ci>Climax\u003c/i>, was prompted from the theme “On the Verge,” but it really takes its inspiration from Noel Coward’s witty banter.\u003c/p>\n\u003cp>The film festival overlaps with the \u003ca href=\"http://PlayGround-sf.org/bestof.shtml\">Best of Playground 17\u003c/a> theater festival, which opens this week. Both festivals represent the final rounds in what amounts to the Bay Area’s most rigorous (or only) game of \u003ci>Survivor\u003c/i> –- the playwright’s edition. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The PlayGround Film Festival runs through May 25, 2013. The Best of PlayGround 17 runs through May 26, 2013. For \u003ca href=\"http://playground-sf.org/index.php\">tickets and more information\u003c/a> go to playground-sf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://playground-sf.org/filmfest/\">The Second Annual PlayGround Film Festival\u003c/a> bears the fruit of the cross-pollination of Bay filmmakers and playwrights. A film festival with its roots in play writing, the festival showcases the evolutionary process from seed to stage to screen. PlayGround provides creative nurturance and collaboration from inception through development. But the process is also one of elimination. The six films in the film festival are the result of natural selection.\u003c/p>\n\u003cp>Each of films in the festival — which runs through May 25 — started life as a short play developed and produced by PlayGround, the Berkeley-based theater company dedicated to nurturing new playwrights. The festival’s six short films were adapted from plays previously selected for the Best of PlayGround theater showcase. Each of these plays started life in PlayGround’s Monday Night reading series. And even before this, each script started life as a writer’s prompt; Monday Night PlayGrounds are structured around a different theme each month. \u003c/p>\n\u003cp>PlayGround has been cultivating the works of early-career playwrights since 1994. Through its Monday Night staged readings, 650 original short plays have been developed. PlayGround alumni have gone on to stage their works at the Humana Festival, Sundance Festival, \u003ca href=\"http://www.playwrightsfoundation.org/index.php?p=183\">\u003c/a>Bay Area Playwrights Festival, Aurora Theatre’s Global Age Project, and N.Y. International Fringe Festival, among others. \u003c/p>\n\u003cp>Last year, artistic director Jim Kleinman and the company decided to mix some fresh talent into the gene pool by coaxing collaboration between playwrights and filmmakers. By providing an opportunity for film directors to team up with theater writers, the festival encourages partnerships that result in cross-bred outcomes. \u003c/p>\n\u003cp>“So many films get made that are good in every respect, they may have great production values, but if the script isn’t there, the film wont be first-rate,” said Amy Harrison, who adapted Kirk Shimano’s play \u003ci>Miss Finknagle Succumbs to Chaos\u003c/i> for the current film festival. “It’s really all about the quality of the script. With these playwrights, the battle is won.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One innovative component of the festival’s film screenings is that each film is followed by a short documentary about the playwright. Each playwright speaks of the theme or “prompt” that inspired his or her play. \u003c/p>\n\u003cp>In yet another layer of PlayGround’s multiple levels of collaboration and inter-disciplinary cross-pollination, PlayGround partners in discussions with \u003ca href=\"http://www.msri.org/web/msri\">Berkeley’s Mathematical Sciences Research Institute\u003c/a> to inspire the popular “Math Night” theme. Mathematicians discuss concepts with PlayGround’s pool of playwrights and five days later, the writers produce plays based on these talks. Several of the films in this year’s festival have their origin stories in these one-night stands with math nerds.\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/R6_AUimovcc?rel=0'\n title='//www.youtube.com/embed/R6_AUimovcc?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For instance, Kirk Shimano used a discussion of \u003ci>Patterns of Chaos\u003c/i> as the foundation for \u003ci>Miss Finknagle Succumbs To Chaos\u003c/i>. But the dynamic film, a teen-view missing persons mystery with a repressed librarian at its comedic core, has more in common with comic books, after-school specials and rom-coms than with mathematical theory. Harrison said she doesn’t really understand chaos theory, but she did email Shimano over and over again to find out his precise interpretation of the word “duh.” \u003c/p>\n\u003cp>In the documentary following Bruce Coughran’s \u003ci>Undone\u003c/i>, writer Diane Sampson explains that her play — about parental ties, the limits of attachment and mental illness — had its genesis in the concept of the “unknot” an aspect of knot theory. \u003c/p>\n\u003cp>Other stand-out plays in the festival are distant descendants of their writers’ prompts. Playwright Geetha Reddy said she used the theme “State of the Union,” as a very loose prompt for \u003ci>Obit\u003c/i>, her compelling short play about an aging father and his adult daughter coming to terms with death, debilitation, and memory. Sean Owens’ clever play \u003ci>Climax\u003c/i>, was prompted from the theme “On the Verge,” but it really takes its inspiration from Noel Coward’s witty banter.\u003c/p>\n\u003cp>The film festival overlaps with the \u003ca href=\"http://PlayGround-sf.org/bestof.shtml\">Best of Playground 17\u003c/a> theater festival, which opens this week. Both festivals represent the final rounds in what amounts to the Bay Area’s most rigorous (or only) game of \u003ci>Survivor\u003c/i> –- the playwright’s edition. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The PlayGround Film Festival runs through May 25, 2013. The Best of PlayGround 17 runs through May 26, 2013. For \u003ca href=\"http://playground-sf.org/index.php\">tickets and more information\u003c/a> go to playground-sf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mother’s Day is peddled as an excuse to not just celebrate matriarchs, but to take them out on the town. Frankly, we’d be thrilled if moms proposed any of this month’s ideas, rather than waiting on their offspring to propose plans. So take the initiative, moms, and surprise your brood with your latent affection for adventure.\u003c/p>\n\u003cp>One of the great disservices we do our mothers is to assume that their rarefied tastes allow no room for lowbrow pleasures. \u003cb>Girls! Guns! Ghosts! The Sensational Films of Shintoho\u003c/b>, unspooling May 9-26, 2013 at Yerba Buena Center For the Arts by way of the Udine Far East Film Festival, revisits the low-budget and amusingly creative movies produced by Japan’s version of a Poverty Row studio at the end of the 1950s. Who could possibly resist titles such as \u003ci>Flesh Pier\u003c/i>, \u003ci>Vampire Bride\u003c/i>, \u003ci>Death Row Woman\u003c/i> and \u003ci>Revenge of the Pearl Queen\u003c/i>? That’s right — nobody. For \u003ca href=\"http://www.ybca.org/girls-guns-ghosts\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>Notwithstanding a plethora of movie stars and prescient themes, film noir still retains a pleasing whiff of the gutter all these years later. But mothers don’t scare so easy, kid, and will relish the myriad dark temptations in \u003cb>I Wake Up Dreaming\u003c/b>, programmer extraordinaire Elliot Lavine’s latest dip into noir’s murky depths at the Roxie May 10-23, 2013. \u003ci>Johnny O’Clock\u003c/i> and \u003ci>Sweet Smell of Success\u003c/i> are the best-known and best-loved titles in this collection, but we suggest taking Mom to the seedy, bottom-rung double bill of \u003ci>Wicked Woman\u003c/i> and \u003ci>Pickup\u003c/i> (May 17), featuring the now-forgotten Beverly Michaels. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=F5CA13EB-F86C-14F9-2232446F2DD5C34C\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/mommie.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Mommie Dearest\u003c/i>\u003c/p>\n\u003cp>San Francisco’s preeminent purveyor of Hollywood tinsel and trash, Marc Huestis, celebrates Mother’s Day (May 11) the only way he knows how: with \u003ci>Mommie Dearest\u003c/i> on the Castro screen. He’s aided and abetted in this festive embrace of Joan Crawford at her worst (portrayed by Faye Dunaway at, well, her worst) by Rutanya Alda, who played the maid Carol Ann. If you’ve always wanted to blurt out, “Mom, I never said you were the worst mother in the world,” this is the time and place to do it. For \u003ca href=\"www.castrotheatre.com/s-events.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gifted Canadian actress (\u003ci>The Sweet Hereafter\u003c/i>) and director (\u003ci>Away From Her\u003c/i>) Sarah Polley unpacks a family conundrum in her witty and affectionate first-person documentary, \u003ci>Stories We Tell\u003c/i>. Her mother, a vibrant, life-of-the-party type who was also an actress, died when Polley was 11; the filmmaker creatively and effortlessly fills this apparent void in the film. As you’d expect from a movie populated with Canadians, everyone is hyper-articulate, politely discreet, and drolly engaging. A rare experience, \u003ci>Stories We Tell\u003c/i> opens Friday, May 17, 2013 at the Embarcadero Center Cinemas in San Francisco and the Shattuck in Berkeley. For \u003ca href=\"http://www.landmarktheatres.com/Films/films_frameset.asp?id=121264\">more information\u003c/a> visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/stories.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Stories We Tell\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s more than a little remarkable that \u003ci>La Belle et la Bête\u003c/i>, Jean Cocteau’s dreamy screen adaptation of the classic fairy tale, was released in 1946. One has to marvel at the emergence and resurgence of poetry in the wake of world war, collaboration, betrayal and genocide. Or not—simply bask in the moment, savoring the sumptuous black-and-white production and reveling in Philip Glass’s immersive score. SF Performances presents three screenings of \u003ci>La Belle et la Bête\u003c/i>, accompanied by the Philip Glass Ensemble, on May 23, 24, and 25, 2013 at the Lam Research Theater at YBCA. In addition, the PGE accompanies \u003ci>Koyaanisqatsi\u003c/i> at Davies Symphony Hall on May 26, 2013. For \u003ca href=\"http://performances.org/performances/1213/PhilipGlassLaBelle.html\">more information\u003c/a> visit performances.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mother’s Day is peddled as an excuse to not just celebrate matriarchs, but to take them out on the town. Frankly, we’d be thrilled if moms proposed any of this month’s ideas, rather than waiting on their offspring to propose plans. So take the initiative, moms, and surprise your brood with your latent affection for adventure.\u003c/p>\n\u003cp>One of the great disservices we do our mothers is to assume that their rarefied tastes allow no room for lowbrow pleasures. \u003cb>Girls! Guns! Ghosts! The Sensational Films of Shintoho\u003c/b>, unspooling May 9-26, 2013 at Yerba Buena Center For the Arts by way of the Udine Far East Film Festival, revisits the low-budget and amusingly creative movies produced by Japan’s version of a Poverty Row studio at the end of the 1950s. Who could possibly resist titles such as \u003ci>Flesh Pier\u003c/i>, \u003ci>Vampire Bride\u003c/i>, \u003ci>Death Row Woman\u003c/i> and \u003ci>Revenge of the Pearl Queen\u003c/i>? That’s right — nobody. For \u003ca href=\"http://www.ybca.org/girls-guns-ghosts\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>Notwithstanding a plethora of movie stars and prescient themes, film noir still retains a pleasing whiff of the gutter all these years later. But mothers don’t scare so easy, kid, and will relish the myriad dark temptations in \u003cb>I Wake Up Dreaming\u003c/b>, programmer extraordinaire Elliot Lavine’s latest dip into noir’s murky depths at the Roxie May 10-23, 2013. \u003ci>Johnny O’Clock\u003c/i> and \u003ci>Sweet Smell of Success\u003c/i> are the best-known and best-loved titles in this collection, but we suggest taking Mom to the seedy, bottom-rung double bill of \u003ci>Wicked Woman\u003c/i> and \u003ci>Pickup\u003c/i> (May 17), featuring the now-forgotten Beverly Michaels. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=F5CA13EB-F86C-14F9-2232446F2DD5C34C\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/mommie.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Mommie Dearest\u003c/i>\u003c/p>\n\u003cp>San Francisco’s preeminent purveyor of Hollywood tinsel and trash, Marc Huestis, celebrates Mother’s Day (May 11) the only way he knows how: with \u003ci>Mommie Dearest\u003c/i> on the Castro screen. He’s aided and abetted in this festive embrace of Joan Crawford at her worst (portrayed by Faye Dunaway at, well, her worst) by Rutanya Alda, who played the maid Carol Ann. If you’ve always wanted to blurt out, “Mom, I never said you were the worst mother in the world,” this is the time and place to do it. For \u003ca href=\"www.castrotheatre.com/s-events.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gifted Canadian actress (\u003ci>The Sweet Hereafter\u003c/i>) and director (\u003ci>Away From Her\u003c/i>) Sarah Polley unpacks a family conundrum in her witty and affectionate first-person documentary, \u003ci>Stories We Tell\u003c/i>. Her mother, a vibrant, life-of-the-party type who was also an actress, died when Polley was 11; the filmmaker creatively and effortlessly fills this apparent void in the film. As you’d expect from a movie populated with Canadians, everyone is hyper-articulate, politely discreet, and drolly engaging. A rare experience, \u003ci>Stories We Tell\u003c/i> opens Friday, May 17, 2013 at the Embarcadero Center Cinemas in San Francisco and the Shattuck in Berkeley. For \u003ca href=\"http://www.landmarktheatres.com/Films/films_frameset.asp?id=121264\">more information\u003c/a> visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/stories.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Stories We Tell\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s more than a little remarkable that \u003ci>La Belle et la Bête\u003c/i>, Jean Cocteau’s dreamy screen adaptation of the classic fairy tale, was released in 1946. One has to marvel at the emergence and resurgence of poetry in the wake of world war, collaboration, betrayal and genocide. Or not—simply bask in the moment, savoring the sumptuous black-and-white production and reveling in Philip Glass’s immersive score. SF Performances presents three screenings of \u003ci>La Belle et la Bête\u003c/i>, accompanied by the Philip Glass Ensemble, on May 23, 24, and 25, 2013 at the Lam Research Theater at YBCA. In addition, the PGE accompanies \u003ci>Koyaanisqatsi\u003c/i> at Davies Symphony Hall on May 26, 2013. For \u003ca href=\"http://performances.org/performances/1213/PhilipGlassLaBelle.html\">more information\u003c/a> visit performances.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jem Cohen Explores Art and Life With a Film That's Like No Other",
"headTitle": "Jem Cohen Explores Art and Life With a Film That’s Like No Other | KQED",
"content": "\u003cp>In Jem Cohen’s newest feature film, a guard at Vienna’s Kunsthistorisches Museum patrols the corridors of the famous art institution, and waits. And waits. As the movie opens, we hear the guard narrating his thoughts: “When it’s quiet or one tires of looking only at visitors, one can turn an eye to the paintings and you will always see something new, especially with Bruegel (Pieter Bruegel the Elder). Just the other day I noticed a frying pan sticking up from a figure’s hat that I hadn’t noticed before, and that led me to thinking about eggs, and to start a search for them in different paintings.” \u003c/p>\n\u003cp>Poignant and slyly funny — that’s the Jem Cohen way. At least with \u003ci>Museum Hours\u003c/i>, which is the best drama ever made about museums and the connection between visual art and everyday life. Let me repeat: \u003ci>Museum Hours\u003c/i> is the best drama ever made about museums and the connection between visual art and everyday life. Granted, it’s a small subset of films that includes \u003ci>All the Vermeers in New York\u003c/i> and \u003ci>Rendezvous in Paris\u003c/i>, but still. The San Francisco International Film Festival has recognized the film’s special qualities. When it screens \u003ci>Museum Hours\u003c/i> on Sunday, April 28, at 5:30pm at the Sundance Kabuki Cinemas, it is also presenting Cohen with the festival’s Golden Gate Persistence of Vision award, which has been previously given to such directors as Errol Morris (\u003ci>The Fog of War\u003c/i>, \u003ci>The Thin Blue Line\u003c/i>), Robert Frank (\u003ci>Cocksucker Blues\u003c/i>), and Adam Curtis (\u003ci>The Century of the Self\u003c/i>). Cohen will also give an on-stage interview on Sunday night. \u003c/p>\n\u003cp>“The goal,” Cohen tells me about his films, “is to blow a few people’s minds, like to \u003ci>really\u003c/i> blow their minds.” \u003c/p>\n\u003cp>By “few,” Cohen means his films don’t usually reach a mass audience, though the director has certainly known popular success. Scores of people have seen his video work for R.E.M. and other music groups, and one of the most touching scenes in the Oscar-winning \u003ci>American Beauty\u003c/i> — a plastic bag floating in the wind — was a virtual imitation of a scene from Cohen’s earlier work called \u003ci>Lost Book Found\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/fBvaCiVIzC4\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003ci>Museum Hours\u003c/i> has two main characters: the Viennese guard named Johann (played by Bobby Sommer), and an eccentric museum-goer from Canada named Anne (played by singer/actress Mary Margaret O’Hara). At the Kunsthistorisches, Anne asks Johann a question, which results in an immediate friendship that takes the two around the museum and then around Vienna. Anne, who has little money, is in Austria to see a hospitalized cousin, and the cousin’s precarious medical condition lends more urgency to the way centuries-old art speaks to modern worries about love and death. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Museum Hours\u003c/i> is Cohen’s most narrative work to date. Cohen’s short documentaries tend to have elliptical structures and abstract and poetic scenes. \u003ci>Museum Hours\u003c/i> certainly has Cohen’s contemplative touches. Leaves blow in the streets. Birds caw on the branches of trees. \u003c/p>\n\u003cp>“For people who know my work and sometimes tend to think of me as more of an unorthodox or even an experimental filmmaker — and ‘unorthodox’ is OK with me but ‘experimental’ is never a term I’ve embraced — \u003ci>Museum Hours\u003c/i> will come as a surprise, but not if they stay with the film,” Cohen says in the phone interview from his home in New York. “I wanted to make a movie where ideas and character and environment were really all on the same level, and I think that in itself is inherently an unorthodox proposition. And given that a lot of the ideas in the movie are basically art-historical or philosophical explorations, what I think makes it simultaneously accessible and curious or unorthodox is that the characters talk about these things, but they do it in a very down-to-earth way. And they relate them directly to their observations and their lives.” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/27/MuseumHours2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>“I think,” Cohen adds, “that people are used to an either-or proposition. Either making the kind of lighter movie about a man and a woman, or a friendship, or you’re making a kind of essay film involving philosophy, but they don’t usually put those two together. It’s all there in this film.” \u003c/p>\n\u003cp>Cohen’s films frequently incorporate images of landscapes and streetscapes that he’s shot himself over the years. Filming randomly is one of his habits — and it got him in trouble in January 2005, during an Amtrak train ride from New York to Washington, D.C. From his compartment, Cohen was filming the passing scenes (with a hand-wound Bolex camera) when an Amtrak ticket-taker told him to stop, apparently concerned that Cohen’s filming posed a national security concern. Though Cohen stopped using his camera, four police officers interrogated him when the train stopped in Philadelphia and took his film. U.S. security personnel interviewed him in Washington, D.C. He never did get his film back. \u003c/p>\n\u003cp>“The film was given to the Joint Terrorism Task Force, who gave it to the FBI, and I got a lawyer through the New York ACLU who bugged them for months,” Cohen says. “Eventually, they said the film had been ‘cleared’ and would be returned, and they returned an empty box. The whole thing was patently absurd given that the footage I was shooting was actually experimental. I’d love to have seen the screening that they had at the FBI. Because they did take it to a lab and process it and apparently look at it. Why they would think that a terrorist would be shooting 16 millimeter film with a spring-wound Bolex, I cannot say. A lot of the work that I do, including \u003ci>Museum Hours\u003c/i>, is contingent on moving through the world with a camera and keeping a low profile and filming things as they come around the corner. I’m often not using the kind of grand, visible apparatus of traditional moviemaking, with its permits and its set schedules and knowing exactly where you’re going to be at a given moment to shoot. So the incident was quite disturbing to me because it actually threatened the core of what I do and what anybody does who works in a street photography tradition.” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/27/MuseumHours3.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In fact, the incident inspired Cohen to “get involved in New York with fighting the attempts to restrict street photography, which was a serious problem a few years after my incident. And I’m happy to say that we really turned that one around. Now in New York, we have a very reasonable set of regulations. But that’s only because we raised a stink. Increasingly, this is something that all filmmakers need to think about because a lot more filmmakers are working with small equipment and the nature of HD technology means that more and more people are going to be needing to function without permits and without paying exorbitant insurance and that kind of thing. But what it really has to do with is freedom of expression and things like the Patriot Act. This is basically a way in which the powers that be restrict behavior in the name of something that they can’t really control.” \u003c/p>\n\u003cp>The incident was Cohen’s second involving an official government agency. In the weeks after 9/11, Cohen created stickers that featured a photo of Osama bin Laden next one of George Bush, with a headline across their faces that said, “Both Want War. Both Unelected.” Cohen hoped his stickering would inspire a bigger campaign. It didn’t. But it was deemed important enough that the Library of Congress put a print of Cohen’s sticker in its archive. \u003c/p>\n\u003cp>“I made thousands of stickers,” Cohen says. “And I did my best to disseminate them. It was stickers and flyers. I made them in the climate that, at the time, I felt was so oppressive and extreme, when it seemed like speaking your mind was not necessarily an option. This was just a small, essentially ineffective, reaction, but I just felt it was something that I needed to do. I do believe that the work that I do is political, even if it doesn’t really seem that way. Even \u003ci>Museum Hours\u003c/i> talks about the nature of public experience, and the idea that everyone should be getting access — it’s really also a political film about the idea of the common. And the idea of that kind of open dialogue. It’s a celebration of the museum, but it’s also in its way a critique of some of the aspects of museums. So I think it’s a political film. And a lot of my work is political for those who see it as political, and other people may miss that all together, and that’s OK, too. The stickers, the train incident, \u003ci>Museum Hours\u003c/i> — they’re all part of the same journey, and it’s a journey in which I’m feeling the need to simultaneously celebrate things that I love and critique things that I think are restrictive and dangerous and sometimes downright repressive.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Museum Hours\u003c/i> screens Sunday, April 28, 5:30pm, at the Sundance Kabuki Cinemas, when director Jem Cohen will be presented with the San Francisco International Film Festival’s Golden Gate Persistence of Vision award. Cohen will also give an on-stage interview. For \u003ca href=\"http://festival.sffs.org/\">tickets and more information\u003c/a> visit festival.sffs.org.\u003c/p>\n\n",
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"excerpt": "\u003ci>Museum Hours\u003c/i> screens Sunday, April 28, at the San Francisco International Film Festival, where the director will also be honored.",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Jem Cohen’s newest feature film, a guard at Vienna’s Kunsthistorisches Museum patrols the corridors of the famous art institution, and waits. And waits. As the movie opens, we hear the guard narrating his thoughts: “When it’s quiet or one tires of looking only at visitors, one can turn an eye to the paintings and you will always see something new, especially with Bruegel (Pieter Bruegel the Elder). Just the other day I noticed a frying pan sticking up from a figure’s hat that I hadn’t noticed before, and that led me to thinking about eggs, and to start a search for them in different paintings.” \u003c/p>\n\u003cp>Poignant and slyly funny — that’s the Jem Cohen way. At least with \u003ci>Museum Hours\u003c/i>, which is the best drama ever made about museums and the connection between visual art and everyday life. Let me repeat: \u003ci>Museum Hours\u003c/i> is the best drama ever made about museums and the connection between visual art and everyday life. Granted, it’s a small subset of films that includes \u003ci>All the Vermeers in New York\u003c/i> and \u003ci>Rendezvous in Paris\u003c/i>, but still. The San Francisco International Film Festival has recognized the film’s special qualities. When it screens \u003ci>Museum Hours\u003c/i> on Sunday, April 28, at 5:30pm at the Sundance Kabuki Cinemas, it is also presenting Cohen with the festival’s Golden Gate Persistence of Vision award, which has been previously given to such directors as Errol Morris (\u003ci>The Fog of War\u003c/i>, \u003ci>The Thin Blue Line\u003c/i>), Robert Frank (\u003ci>Cocksucker Blues\u003c/i>), and Adam Curtis (\u003ci>The Century of the Self\u003c/i>). Cohen will also give an on-stage interview on Sunday night. \u003c/p>\n\u003cp>“The goal,” Cohen tells me about his films, “is to blow a few people’s minds, like to \u003ci>really\u003c/i> blow their minds.” \u003c/p>\n\u003cp>By “few,” Cohen means his films don’t usually reach a mass audience, though the director has certainly known popular success. Scores of people have seen his video work for R.E.M. and other music groups, and one of the most touching scenes in the Oscar-winning \u003ci>American Beauty\u003c/i> — a plastic bag floating in the wind — was a virtual imitation of a scene from Cohen’s earlier work called \u003ci>Lost Book Found\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/fBvaCiVIzC4\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003ci>Museum Hours\u003c/i> has two main characters: the Viennese guard named Johann (played by Bobby Sommer), and an eccentric museum-goer from Canada named Anne (played by singer/actress Mary Margaret O’Hara). At the Kunsthistorisches, Anne asks Johann a question, which results in an immediate friendship that takes the two around the museum and then around Vienna. Anne, who has little money, is in Austria to see a hospitalized cousin, and the cousin’s precarious medical condition lends more urgency to the way centuries-old art speaks to modern worries about love and death. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Museum Hours\u003c/i> is Cohen’s most narrative work to date. Cohen’s short documentaries tend to have elliptical structures and abstract and poetic scenes. \u003ci>Museum Hours\u003c/i> certainly has Cohen’s contemplative touches. Leaves blow in the streets. Birds caw on the branches of trees. \u003c/p>\n\u003cp>“For people who know my work and sometimes tend to think of me as more of an unorthodox or even an experimental filmmaker — and ‘unorthodox’ is OK with me but ‘experimental’ is never a term I’ve embraced — \u003ci>Museum Hours\u003c/i> will come as a surprise, but not if they stay with the film,” Cohen says in the phone interview from his home in New York. “I wanted to make a movie where ideas and character and environment were really all on the same level, and I think that in itself is inherently an unorthodox proposition. And given that a lot of the ideas in the movie are basically art-historical or philosophical explorations, what I think makes it simultaneously accessible and curious or unorthodox is that the characters talk about these things, but they do it in a very down-to-earth way. And they relate them directly to their observations and their lives.” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/27/MuseumHours2.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>“I think,” Cohen adds, “that people are used to an either-or proposition. Either making the kind of lighter movie about a man and a woman, or a friendship, or you’re making a kind of essay film involving philosophy, but they don’t usually put those two together. It’s all there in this film.” \u003c/p>\n\u003cp>Cohen’s films frequently incorporate images of landscapes and streetscapes that he’s shot himself over the years. Filming randomly is one of his habits — and it got him in trouble in January 2005, during an Amtrak train ride from New York to Washington, D.C. From his compartment, Cohen was filming the passing scenes (with a hand-wound Bolex camera) when an Amtrak ticket-taker told him to stop, apparently concerned that Cohen’s filming posed a national security concern. Though Cohen stopped using his camera, four police officers interrogated him when the train stopped in Philadelphia and took his film. U.S. security personnel interviewed him in Washington, D.C. He never did get his film back. \u003c/p>\n\u003cp>“The film was given to the Joint Terrorism Task Force, who gave it to the FBI, and I got a lawyer through the New York ACLU who bugged them for months,” Cohen says. “Eventually, they said the film had been ‘cleared’ and would be returned, and they returned an empty box. The whole thing was patently absurd given that the footage I was shooting was actually experimental. I’d love to have seen the screening that they had at the FBI. Because they did take it to a lab and process it and apparently look at it. Why they would think that a terrorist would be shooting 16 millimeter film with a spring-wound Bolex, I cannot say. A lot of the work that I do, including \u003ci>Museum Hours\u003c/i>, is contingent on moving through the world with a camera and keeping a low profile and filming things as they come around the corner. I’m often not using the kind of grand, visible apparatus of traditional moviemaking, with its permits and its set schedules and knowing exactly where you’re going to be at a given moment to shoot. So the incident was quite disturbing to me because it actually threatened the core of what I do and what anybody does who works in a street photography tradition.” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/27/MuseumHours3.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>In fact, the incident inspired Cohen to “get involved in New York with fighting the attempts to restrict street photography, which was a serious problem a few years after my incident. And I’m happy to say that we really turned that one around. Now in New York, we have a very reasonable set of regulations. But that’s only because we raised a stink. Increasingly, this is something that all filmmakers need to think about because a lot more filmmakers are working with small equipment and the nature of HD technology means that more and more people are going to be needing to function without permits and without paying exorbitant insurance and that kind of thing. But what it really has to do with is freedom of expression and things like the Patriot Act. This is basically a way in which the powers that be restrict behavior in the name of something that they can’t really control.” \u003c/p>\n\u003cp>The incident was Cohen’s second involving an official government agency. In the weeks after 9/11, Cohen created stickers that featured a photo of Osama bin Laden next one of George Bush, with a headline across their faces that said, “Both Want War. Both Unelected.” Cohen hoped his stickering would inspire a bigger campaign. It didn’t. But it was deemed important enough that the Library of Congress put a print of Cohen’s sticker in its archive. \u003c/p>\n\u003cp>“I made thousands of stickers,” Cohen says. “And I did my best to disseminate them. It was stickers and flyers. I made them in the climate that, at the time, I felt was so oppressive and extreme, when it seemed like speaking your mind was not necessarily an option. This was just a small, essentially ineffective, reaction, but I just felt it was something that I needed to do. I do believe that the work that I do is political, even if it doesn’t really seem that way. Even \u003ci>Museum Hours\u003c/i> talks about the nature of public experience, and the idea that everyone should be getting access — it’s really also a political film about the idea of the common. And the idea of that kind of open dialogue. It’s a celebration of the museum, but it’s also in its way a critique of some of the aspects of museums. So I think it’s a political film. And a lot of my work is political for those who see it as political, and other people may miss that all together, and that’s OK, too. The stickers, the train incident, \u003ci>Museum Hours\u003c/i> — they’re all part of the same journey, and it’s a journey in which I’m feeling the need to simultaneously celebrate things that I love and critique things that I think are restrictive and dangerous and sometimes downright repressive.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Museum Hours\u003c/i> screens Sunday, April 28, 5:30pm, at the Sundance Kabuki Cinemas, when director Jem Cohen will be presented with the San Francisco International Film Festival’s Golden Gate Persistence of Vision award. Cohen will also give an on-stage interview. For \u003ca href=\"http://festival.sffs.org/\">tickets and more information\u003c/a> visit festival.sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'What Maisie Knew', a Powerful Start to the San Francisco International Film Festival",
"headTitle": "‘What Maisie Knew’, a Powerful Start to the San Francisco International Film Festival | KQED",
"content": "\u003cp>What does a six-year-old girl understand about the tumultuous life of grown-ups? The new film, \u003ca href=\"http://www.sffs.org/content.aspx?pageid=3443/\">\u003ci>What Maisie Knew\u003c/i>,\u003c/a> begs that question. A gut-churning domestic drama about a turbulent divorce and its collateral damage, the film is a loose and contemporary adaptation of the Henry James novel. \u003c/p>\n\u003cp>Directed by Bay Area natives Scott McGehee and David Siegel and starring Julianne Moore, Steve Coogan, and Alexander Skarsgård, the film opens the \u003ca href=\"http://www.sffs.org/\">San Francisco International Film Festival\u003c/a> on April 25, 2013. \u003c/p>\n\u003cp>\u003ci>What Maisie Knew\u003c/i> observes Maisie as she observes her parents, who toss and tug her back and forth in a brutal custody battle. Maise is the contested territory, as well as a weapon, a hostage, and a casualty. \u003ci>What Maisie Knew\u003c/i> makes \u003ca href=\"http://www.imdb.com/media/rm2616242/tt0079417\">\u003ci>Kramer vs. Kramer\u003c/i>\u003c/a> look like a sunny walk in the park.\u003c/p>\n\u003cp>Julianne Moore stars as a train wreck of a parent — a hard-living, past-her-prime rock star. Steve Coogan plays the seemingly stable parent, who appears calmer but is ultimately no less selfish or destructive. They are consumed with themselves; they are incidental parents.\u003c/p>\n\u003cp>In harm’s way is their daughter Maisie, played with an unsettling stoicism by six-year-old actress Onata Aprile. Maisie plays with her plastic farm animals as her parents scream and curse. Maisie wakes to hear the slamming of doors and pounding on doors. In the cutest of tiger ears, she peeks around the corner where her mother and a group of stoners blast music and slouch on the couch. She speaks little but absorbs it all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/22/maisie1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Scenes of a boozy Moore wallowing and strung out are interspersed with scenes of Maisie playing cat’s cradle or with her toys. The should-be wholesomeness of childhood is repeatedly smacked against the sordid lives of adults who are part-time parents at best.\u003c/p>\n\u003cp>From the producers of <a href=\"http://www.imdb.com/title/tt0842926/combined\"/\u003ci>The Kids are All Right\u003c/i>, the film is another sharply-crafted look at the fracturing of a nuclear family and the possibility that outsiders can come into the family sphere.\u003c/p>\n\u003cp>Nancy Doyne and Carroll Cartwright’s screenplay is acutely affecting, painful at times, but it still allows for moments of humor. Susanna’s parental instincts can be laughably horrible and Moore is wonderful at delivering these lines on the razor’s edge of comedy and tragedy. Her lack of self-awareness and self-control, her pettiness and rock-star petulance are blackly comic, but mostly just despicable. It would be funny if it wasn’t going to leave scars.\u003c/p>\n\u003cp>On their way to the custody hearing, Susanna tries to prime her daughter: “You can definitely tell about the time he threw you on to the couch. Don’t you remember? It was your first most shattering moment.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/22/maisie3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Coogan and Moore’s characters play a tug of war with their daughter, lavishing her with goodies, coaxing her to their side, digging for info about each other’s new lives. In scenes set in their striking SoHo apartments, we see privileged lives, bedrooms filled with giant stuffed animals, canopy beds, all that money can bribe.\u003c/p>\n\u003cp>Coogan’s disappointingly self-absorbed Beale abruptly marries Maisie’s nanny (Joanna Vanderham as the kind, but conflicted Margo). Initially, it seems to inject some stability to their household. So Susanna hastily marries a rumpled bartender (Alexander Skarsgård).\u003c/p>\n\u003cp>Skarsgård’s portrayal of Lincoln is perhaps the most surprising and touching aspect of this saga. Susanna seems to pluck him from her crew of couch dwellers as an arbitrary step-parent. Or babysitter. An afterthought husband and an ill-equipped father figure, Lincoln comes to this role like a slacker who just woke from a nap and was asked to run an errand.\u003c/p>\n\u003cp>Scott McGehee and David Siegel skillfully maneuver Lincoln’s evolution. During a half-hearted attempt to engage with Maisie, the smell of a crayon during a coloring session unlocks Lincoln’s nurturing nature. His growing devotion to Maisie is as surprising to him as it is to us. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/22/maisie2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Maisie attaches to him, as she has attached to Margo. It is heart-clenching how willing Maisie is to adapt to new situations, as long as there’s some promise of stability and safety. But even these designated surrogates retreat from the toxicity and negligence of Susanna and Beale.\u003c/p>\n\u003cp>Still Maisie embraces both her very flawed parents, giving them second and third and fourth chances. It’s touching and painful how willing she is to leap into either of her parents’ arms, even after they’ve left her stranded time after time in a careless game of hot potato. \u003c/p>\n\u003cp>McGehee and Siegel use understated scenes to show small moments of hope; an age-appropriate day at the beach, the listening to shells, a game of monopoly are detoxifying salves. Childhood is made of small moments among big people. \u003ci>What Maisie Knew\u003c/i> conveys the precariousness of stability and hints at the promise of resilience. \u003c/p>\n\u003cp>\u003ci>What Maisie Knew\u003c/i> opens the SF International Film Festival on Thursday, April 25, 2013 at the Castro Theater in San Francisco. For \u003ca href=\"http://festival.sffs.org/events/opening-night-what-maisie-knew/\">tickets and information\u003c/a> visit festival.sffs.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images courtesy of the San Francisco Film Society.\u003c/p>\n\n",
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"excerpt": "A modern-day adaptation of the Henry James novel stars Julianne Moore, Steve Coogan, and newcomer Onata Aprile in the story of a turbulent divorce, custody battle, and a young girl yearning to find support and stability in both real and surrogate parents.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does a six-year-old girl understand about the tumultuous life of grown-ups? The new film, \u003ca href=\"http://www.sffs.org/content.aspx?pageid=3443/\">\u003ci>What Maisie Knew\u003c/i>,\u003c/a> begs that question. A gut-churning domestic drama about a turbulent divorce and its collateral damage, the film is a loose and contemporary adaptation of the Henry James novel. \u003c/p>\n\u003cp>Directed by Bay Area natives Scott McGehee and David Siegel and starring Julianne Moore, Steve Coogan, and Alexander Skarsgård, the film opens the \u003ca href=\"http://www.sffs.org/\">San Francisco International Film Festival\u003c/a> on April 25, 2013. \u003c/p>\n\u003cp>\u003ci>What Maisie Knew\u003c/i> observes Maisie as she observes her parents, who toss and tug her back and forth in a brutal custody battle. Maise is the contested territory, as well as a weapon, a hostage, and a casualty. \u003ci>What Maisie Knew\u003c/i> makes \u003ca href=\"http://www.imdb.com/media/rm2616242/tt0079417\">\u003ci>Kramer vs. Kramer\u003c/i>\u003c/a> look like a sunny walk in the park.\u003c/p>\n\u003cp>Julianne Moore stars as a train wreck of a parent — a hard-living, past-her-prime rock star. Steve Coogan plays the seemingly stable parent, who appears calmer but is ultimately no less selfish or destructive. They are consumed with themselves; they are incidental parents.\u003c/p>\n\u003cp>In harm’s way is their daughter Maisie, played with an unsettling stoicism by six-year-old actress Onata Aprile. Maisie plays with her plastic farm animals as her parents scream and curse. Maisie wakes to hear the slamming of doors and pounding on doors. In the cutest of tiger ears, she peeks around the corner where her mother and a group of stoners blast music and slouch on the couch. She speaks little but absorbs it all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/22/maisie1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Scenes of a boozy Moore wallowing and strung out are interspersed with scenes of Maisie playing cat’s cradle or with her toys. The should-be wholesomeness of childhood is repeatedly smacked against the sordid lives of adults who are part-time parents at best.\u003c/p>\n\u003cp>From the producers of <a href=\"http://www.imdb.com/title/tt0842926/combined\"/\u003ci>The Kids are All Right\u003c/i>, the film is another sharply-crafted look at the fracturing of a nuclear family and the possibility that outsiders can come into the family sphere.\u003c/p>\n\u003cp>Nancy Doyne and Carroll Cartwright’s screenplay is acutely affecting, painful at times, but it still allows for moments of humor. Susanna’s parental instincts can be laughably horrible and Moore is wonderful at delivering these lines on the razor’s edge of comedy and tragedy. Her lack of self-awareness and self-control, her pettiness and rock-star petulance are blackly comic, but mostly just despicable. It would be funny if it wasn’t going to leave scars.\u003c/p>\n\u003cp>On their way to the custody hearing, Susanna tries to prime her daughter: “You can definitely tell about the time he threw you on to the couch. Don’t you remember? It was your first most shattering moment.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/22/maisie3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Coogan and Moore’s characters play a tug of war with their daughter, lavishing her with goodies, coaxing her to their side, digging for info about each other’s new lives. In scenes set in their striking SoHo apartments, we see privileged lives, bedrooms filled with giant stuffed animals, canopy beds, all that money can bribe.\u003c/p>\n\u003cp>Coogan’s disappointingly self-absorbed Beale abruptly marries Maisie’s nanny (Joanna Vanderham as the kind, but conflicted Margo). Initially, it seems to inject some stability to their household. So Susanna hastily marries a rumpled bartender (Alexander Skarsgård).\u003c/p>\n\u003cp>Skarsgård’s portrayal of Lincoln is perhaps the most surprising and touching aspect of this saga. Susanna seems to pluck him from her crew of couch dwellers as an arbitrary step-parent. Or babysitter. An afterthought husband and an ill-equipped father figure, Lincoln comes to this role like a slacker who just woke from a nap and was asked to run an errand.\u003c/p>\n\u003cp>Scott McGehee and David Siegel skillfully maneuver Lincoln’s evolution. During a half-hearted attempt to engage with Maisie, the smell of a crayon during a coloring session unlocks Lincoln’s nurturing nature. His growing devotion to Maisie is as surprising to him as it is to us. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/22/maisie2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Maisie attaches to him, as she has attached to Margo. It is heart-clenching how willing Maisie is to adapt to new situations, as long as there’s some promise of stability and safety. But even these designated surrogates retreat from the toxicity and negligence of Susanna and Beale.\u003c/p>\n\u003cp>Still Maisie embraces both her very flawed parents, giving them second and third and fourth chances. It’s touching and painful how willing she is to leap into either of her parents’ arms, even after they’ve left her stranded time after time in a careless game of hot potato. \u003c/p>\n\u003cp>McGehee and Siegel use understated scenes to show small moments of hope; an age-appropriate day at the beach, the listening to shells, a game of monopoly are detoxifying salves. Childhood is made of small moments among big people. \u003ci>What Maisie Knew\u003c/i> conveys the precariousness of stability and hints at the promise of resilience. \u003c/p>\n\u003cp>\u003ci>What Maisie Knew\u003c/i> opens the SF International Film Festival on Thursday, April 25, 2013 at the Castro Theater in San Francisco. For \u003ca href=\"http://festival.sffs.org/events/opening-night-what-maisie-knew/\">tickets and information\u003c/a> visit festival.sffs.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images courtesy of the San Francisco Film Society.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every year our beloved San Francisco International gets to call itself the longest running film festival in the Americas, and all it ever must do to maintain that claim is continue to exist. That’s easier said than done nowadays, with myriad cable channels and online streaming services, let alone the other very crowded film festivals, offering an essentially infinite all-you-can-eat buffet of motion picture experiences.\u003c/p>\n\u003cp>This year’s SFIFF, number 56 and the first since prolific indie movie producer Ted Hope assumed leadership of the San Francisco Film Society, takes nothing for granted. For instance, its State of Cinema address will be delivered by Steven Soderbergh, fresh from announcing that he’s now retired from making films. (Chroniclers of allegedly dead or dying art forms may enjoy knowing that Soderbergh’s main reason for giving up movies is that he wants to do more painting.) As for the general and pressing question of what’s in it for you, one answer seems to be this festival’s active interest in transmuting past shared cultures into future ones.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/17/Invasion.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Invasion of the Body Snatchers\u003c/i>\u003c/center>\n\u003cp>So the usual cornucopia of panels, seminars, tributes, and awards this year includes a directing award for local filmmaker Philip Kaufman, whose 1978 take on \u003ci>Invasion of the Body Snatchers\u003c/i>, one of the greatest San Francisco movies of all time, will get a big-screen showing at the Castro. The robust crop of films with Bay Area ties also includes a batch of newly restored, refreshingly old-fashioned works by the rightly revered late documentarian Les Blank, who died from cancer in his Berkeley home earlier this month. Festival opener \u003ci>What Maisie Knew\u003c/i>, an attentive little-girl’s-eye view of her parents’ divorce, from former locals Scott McGehee and David Siegel, loosely updates a novel by Henry James. \u003ci>Big Sur\u003c/i>, from Michael Polish, lyrically adapts a novel by Jack Kerouac, and tests the durability of the Beat mystique.\u003c/p>\n\u003cp>More studies of past meeting future — in content and in form — may be found within the festival’s unique, once-only events. Local archivist Rick Prelinger’s audience-interactive home-movies collage, \u003ci>No More Road Trips?\u003c/i>, wonders if we’ve reached “peak travel,” and whether localism, for all its benefits, has overtaken the American tradition of nomadism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/17/NoMore.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>No More Road Trips?\u003c/i>\u003c/center>\n\u003cp>On his blog, Prelinger says this of the project: “I’ve written no narration, nor have I commissioned music or sound effects. The soundtrack for this fully participatory film will be made fresh daily by audiences at each screening. Perhaps they’ll identify some of the places that come and go in the 639 shots that currently populate the cut. Perhaps they’ll ask me questions, or answer those posed by others. Or perhaps they’ll react tendentiously, in the manner of Question Time in the British House of Commons, or riff rowdily in the style of the Elizabethan theater. Once the movie starts, it belongs to the audience.”\u003c/p>\n\u003cp>Relatedly, in an increasingly popular one-off festival showcase, the Film Society annually commissions contemporary musicians to perform live original scores to old silent films. This year’s is \u003ci>Waxworks\u003c/i>, a German horror-fantasy from 1924, with a fresh, percussion-intensive soundtrack from erstwhile Faith No More and Mr. Bungle frontman Mike Patton, along with locals Scott Amendola, Matthias Bossi, and Will Winant.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/17/BeforeMidnight.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Before Midnight\u003c/i>\u003c/center>\n\u003cp>Name directors making the festival rounds with indie-flavored, willfully regressive new work include Joss Whedon, whose followup to last summer’s superhero tent-pole \u003ci>The Avengers\u003c/i> just happens to be an as-yet barely publicized, micro-budgeted modern update of Shakespeare’s \u003ci>Much Ado About Nothing\u003c/i>; David Gordon Green, whose muted comedy-drama \u003ci>Prince Avalanche\u003c/i> reportedly is a return to pre-\u003ci>Your Highness\u003c/i> subtlety; Noah Baumbach, whose hipsterish black-and-white comedy \u003ci>Frances Ha\u003c/i> stars his partner and post-mumblecore muse Greta Gerwig; and Richard Linklater, whose trilogy-concluding romantic duet \u003ci>Before Midnight\u003c/i>, reuniting the no-longer-young lovers played by Ethan Hawke and Julie Delpy, serves as SFIFF56’s closing night film.\u003c/p>\n\u003cp>Aging isn’t easy, but it’s worth it; sometimes the older you get, the younger you feel.\u003c/p>\n\u003cp>The 56th San Francisco International Film Festival runs from April 25 through May 9 at the Sundance Kabuki Cinemas, Castro Theatre, and New People Cinema in San Francisco, and at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://festival.sffs.org\">tickets and information\u003c/a>, visit festival.sffs.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images courtesy of the San Francisco Film Society.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year our beloved San Francisco International gets to call itself the longest running film festival in the Americas, and all it ever must do to maintain that claim is continue to exist. That’s easier said than done nowadays, with myriad cable channels and online streaming services, let alone the other very crowded film festivals, offering an essentially infinite all-you-can-eat buffet of motion picture experiences.\u003c/p>\n\u003cp>This year’s SFIFF, number 56 and the first since prolific indie movie producer Ted Hope assumed leadership of the San Francisco Film Society, takes nothing for granted. For instance, its State of Cinema address will be delivered by Steven Soderbergh, fresh from announcing that he’s now retired from making films. (Chroniclers of allegedly dead or dying art forms may enjoy knowing that Soderbergh’s main reason for giving up movies is that he wants to do more painting.) As for the general and pressing question of what’s in it for you, one answer seems to be this festival’s active interest in transmuting past shared cultures into future ones.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/17/Invasion.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Invasion of the Body Snatchers\u003c/i>\u003c/center>\n\u003cp>So the usual cornucopia of panels, seminars, tributes, and awards this year includes a directing award for local filmmaker Philip Kaufman, whose 1978 take on \u003ci>Invasion of the Body Snatchers\u003c/i>, one of the greatest San Francisco movies of all time, will get a big-screen showing at the Castro. The robust crop of films with Bay Area ties also includes a batch of newly restored, refreshingly old-fashioned works by the rightly revered late documentarian Les Blank, who died from cancer in his Berkeley home earlier this month. Festival opener \u003ci>What Maisie Knew\u003c/i>, an attentive little-girl’s-eye view of her parents’ divorce, from former locals Scott McGehee and David Siegel, loosely updates a novel by Henry James. \u003ci>Big Sur\u003c/i>, from Michael Polish, lyrically adapts a novel by Jack Kerouac, and tests the durability of the Beat mystique.\u003c/p>\n\u003cp>More studies of past meeting future — in content and in form — may be found within the festival’s unique, once-only events. Local archivist Rick Prelinger’s audience-interactive home-movies collage, \u003ci>No More Road Trips?\u003c/i>, wonders if we’ve reached “peak travel,” and whether localism, for all its benefits, has overtaken the American tradition of nomadism.\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/2013/04/17/NoMore.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>No More Road Trips?\u003c/i>\u003c/center>\n\u003cp>On his blog, Prelinger says this of the project: “I’ve written no narration, nor have I commissioned music or sound effects. The soundtrack for this fully participatory film will be made fresh daily by audiences at each screening. Perhaps they’ll identify some of the places that come and go in the 639 shots that currently populate the cut. Perhaps they’ll ask me questions, or answer those posed by others. Or perhaps they’ll react tendentiously, in the manner of Question Time in the British House of Commons, or riff rowdily in the style of the Elizabethan theater. Once the movie starts, it belongs to the audience.”\u003c/p>\n\u003cp>Relatedly, in an increasingly popular one-off festival showcase, the Film Society annually commissions contemporary musicians to perform live original scores to old silent films. This year’s is \u003ci>Waxworks\u003c/i>, a German horror-fantasy from 1924, with a fresh, percussion-intensive soundtrack from erstwhile Faith No More and Mr. Bungle frontman Mike Patton, along with locals Scott Amendola, Matthias Bossi, and Will Winant.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/17/BeforeMidnight.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Before Midnight\u003c/i>\u003c/center>\n\u003cp>Name directors making the festival rounds with indie-flavored, willfully regressive new work include Joss Whedon, whose followup to last summer’s superhero tent-pole \u003ci>The Avengers\u003c/i> just happens to be an as-yet barely publicized, micro-budgeted modern update of Shakespeare’s \u003ci>Much Ado About Nothing\u003c/i>; David Gordon Green, whose muted comedy-drama \u003ci>Prince Avalanche\u003c/i> reportedly is a return to pre-\u003ci>Your Highness\u003c/i> subtlety; Noah Baumbach, whose hipsterish black-and-white comedy \u003ci>Frances Ha\u003c/i> stars his partner and post-mumblecore muse Greta Gerwig; and Richard Linklater, whose trilogy-concluding romantic duet \u003ci>Before Midnight\u003c/i>, reuniting the no-longer-young lovers played by Ethan Hawke and Julie Delpy, serves as SFIFF56’s closing night film.\u003c/p>\n\u003cp>Aging isn’t easy, but it’s worth it; sometimes the older you get, the younger you feel.\u003c/p>\n\u003cp>The 56th San Francisco International Film Festival runs from April 25 through May 9 at the Sundance Kabuki Cinemas, Castro Theatre, and New People Cinema in San Francisco, and at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://festival.sffs.org\">tickets and information\u003c/a>, visit festival.sffs.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images courtesy of the San Francisco Film Society.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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>",
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"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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"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.",
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"soldout": {
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