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"content": "\u003cp>Supposedly we’re all in vacation mode in the summer, and in the mood for escape. At least that’s the thinking that drives Hollywood to stuff multiplexes with loud, stupid CGI fantasies during the out-of-school months. But what about those of us who aren’t 15, and love ducking out of the baking sun into a nice cool theater (a pleasure generally unavailable to San Franciscans, admittedly, but not to every other Bay Area denizen)? Maybe we don’t want to shut our brains off at the movies, or apply our fertile imaginations to rehashed superhero crime sagas. Here are five choices that combine pleasure with measurable brain-wave activity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lightnin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Blues Accordin’ to Lightnin’ Hopkins\u003c/i>\u003c/p>\n\u003cp>1. Les Blank loves people, music and food, pretty much in that order. The soft-spoken East Bay documentary maker has amassed a deep and enviable body of work, from \u003ci>The Blues Accordin’ to Lightnin’ Hopkins\u003c/i> (1968) to \u003ci>Garlic Is As Good As Ten Mothers\u003c/i> (1980) to \u003ci>The Maestro: King of the Cowboy Artists\u003c/i> (1994) and beyond, that has a consistent dual focus: the subject’s art, environment and personality and the viewer’s enjoyment. Blank is a throwback in an era when many doc makers are self-promoters (Morgan Spurlock) and/or directors of TV commercials (Errol Morris). The savory Pacific Film Archive retrospective \u003cb>Always for Pleasure: The Films of Les Blank\u003c/b> runs July 8 through August 30, 2012. (Check the schedule for shows that include olfactory and auditory treats such as meals and talks. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/blank\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/turin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Turin Horse\u003c/i>\u003c/p>\n\u003cp>2. I was at Krzysztof Kieslowski’s laidback press conference in 1993, following the screening of \u003ci>Blue\u003c/i> for journalists covering the New York Film Festival, when he casually declared he would be retiring from filmmaking after he completed his “Three Colors” trilogy. “I have too many books to read and cigarettes to smoke,” the Polish director said with a wry smile. It was widely presumed he was joking since he was in his early 50s, and in fact he subsequently recanted to the extent that he began writing another trilogy with collaborator Krzysztof Piesiewicz. But suddenly and tragically, Kieslowski died in early 1996 after bypass surgery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I am reminded of that tragedy, and the Kieslowski films we were deprived of, by Béla Tarr’s recent declaration. The dour, brilliant Hungarian, who turns 57 this month, announced that his 2011 film, \u003ci>The Turin Horse\u003c/i>, would be his last. I can’t think of a better place to commiserate about this news than the Roxie, which played his seven-and-a-half-hour 1994 masterwork, \u003ci>Satantango\u003c/i>, back in the day. \u003cb>Au Revoir Bela Tarr\u003c/b>, July 7-11, 2012, pairs \u003ci>The Turin Horse\u003c/i> with Tarr’s previous film, \u003ci>The Man From London\u003c/i>. It’s damn lucky there are good drinking spots a few steps from the theater; you don’t want to be in the sun, or even outdoors at night, after spending a lot of time inside Tarr’s head. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventid=8F47FC0D-1143-DBB3-C6D0FA5F56F32368\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wings.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Wings\u003c/i>\u003c/p>\n\u003cp>3. Some might say the programming of the San Francisco Silent Film Festival, comprising an array of vintage dramas and comedies from Hollywood and abroad (augmented by the occasional documentary and shorts program), has more to do with entertainment than art (and thus contradicts my tagline above). These movies were made for broad, mainstream audiences, their argument goes, not consumers or connoisseurs of technique, beauty and nuance. Fine with me if you have a good time at the festival; these films \u003ci>were\u003c/i> intended to move and amuse moviegoers, and the good ones should still work on us all these decades later. The festival opens Thursday, July 12, 2012 with William Wellman’s high-flying epic \u003ci>Wings\u003c/i> (1927) starring the immortal Clara Bow, who also appears the next night in Victor Fleming’s knowing adult comedy \u003ci>Mantrap\u003c/i> (1926). (Former \u003ci>S.F. Examiner\u003c/i> critic Michael Sragow, who published an excellent biography of the director in 2008, introduces the restored print.) There’s truly something for everyone at this all-ages festival. For \u003ca href=\"http://prod3.agileticketing.net/WebSales/pages/VerboseEventList.aspx?epguid=4b5fce53-ea3c-48fa-88b8-85ac153f00b6&\">more information\u003c/a> visit prod3.agileticketing.net.\u003c/p>\n\u003cp>For a silent treat of a different vintage and vibe, Film Night in the Park presents the Oscar-winning \u003ci>The Artist\u003c/i> outside in Union Square in a Bastille Day tribute. A beret will ward off the evening chill nicely. For \u003ca href=\"http://www.filmnight.org/the-artist\">more information\u003c/a> visit filmnight.org. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/darkhorse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Dark Horse\u003c/i>\u003c/p>\n\u003cp>4. A New Yorker through and through, writer-director Todd Solondz started out as a nebbish Woody Allen knockoff (casting himself as the lead in his movie) — with a darker streak. He found himself, and his voice, by delineating people profoundly uncomfortable in their own skins (and leaving the acting to actors). Solondz’s black comedies-slash-unflinching morality plays, notably \u003ci>Welcome to the Dollhouse\u003c/i>, \u003ci>Happiness\u003c/i> and \u003ci>Life During Wartime\u003c/i>, suggest to those who see them — but don’t examine them — a misanthrope who enjoys inflicting pain on his characters, and enjoys making us watch. On the contrary, the acuteness of the suffering on display reflects the depth of Solondz’s sensitivity and compassion. His latest, \u003ci>Dark Horse\u003c/i>, describes the awkward, unlikely and troubling relationship between an immature man and woman in their 30s.\u003c/p>\n\u003cp>\u003ci>Dark Horse\u003c/i> opens July 20, 2012 around the Bay Area. Todd Solondz appears in person at a pre-opening screening Thursday, July 19 at the SFFS Cinema and Friday night at the San Francisco shows (at a Landmark theater to be determined), Saturday night, July 21 at the Shattuck Cinemas in Berkeley and Sunday night, July 22 at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.landmarktheatres.com/Films/films_frameset.asp?id=118461\">more information\u003c/a> visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tahrir.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Tahrir: Liberation Square\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>5. The redoubtable French public broadcaster, ARTE, has compiled an extensive, expansive web site \u003ca href=\"http://monde-arabe.arte.tv/en/\">The Arab World in Revolution(s)\u003c/a> that will come as a revelation to anyone who gets their international news in simplistic snippets from U.S. media. It’s an excellent complement to Stefano Savona’s from-the-streets documentary, \u003ci>Tahrir: Liberation Square\u003c/i> (2011), screening Thursday, July 26 and Saturday, July 28, 2012 at Yerba Buena Center For the Arts in a co-presentation with the Arab Film Festival. The frenetic film captures two crucial weeks in recent Egyptian history, though I use the word “recent” advisedly: In the contemporary Middle East, “history” happens on a daily basis. For \u003ca href=\"http://www.ybca.org/tahrir-liberation-square\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Supposedly we’re all in vacation mode in the summer, and in the mood for escape. At least that’s the thinking that drives Hollywood to stuff multiplexes with loud, stupid CGI fantasies during the out-of-school months. But what about those of us who aren’t 15, and love ducking out of the baking sun into a nice cool theater (a pleasure generally unavailable to San Franciscans, admittedly, but not to every other Bay Area denizen)? Maybe we don’t want to shut our brains off at the movies, or apply our fertile imaginations to rehashed superhero crime sagas. Here are five choices that combine pleasure with measurable brain-wave activity.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lightnin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Blues Accordin’ to Lightnin’ Hopkins\u003c/i>\u003c/p>\n\u003cp>1. Les Blank loves people, music and food, pretty much in that order. The soft-spoken East Bay documentary maker has amassed a deep and enviable body of work, from \u003ci>The Blues Accordin’ to Lightnin’ Hopkins\u003c/i> (1968) to \u003ci>Garlic Is As Good As Ten Mothers\u003c/i> (1980) to \u003ci>The Maestro: King of the Cowboy Artists\u003c/i> (1994) and beyond, that has a consistent dual focus: the subject’s art, environment and personality and the viewer’s enjoyment. Blank is a throwback in an era when many doc makers are self-promoters (Morgan Spurlock) and/or directors of TV commercials (Errol Morris). The savory Pacific Film Archive retrospective \u003cb>Always for Pleasure: The Films of Les Blank\u003c/b> runs July 8 through August 30, 2012. (Check the schedule for shows that include olfactory and auditory treats such as meals and talks. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/blank\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/turin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Turin Horse\u003c/i>\u003c/p>\n\u003cp>2. I was at Krzysztof Kieslowski’s laidback press conference in 1993, following the screening of \u003ci>Blue\u003c/i> for journalists covering the New York Film Festival, when he casually declared he would be retiring from filmmaking after he completed his “Three Colors” trilogy. “I have too many books to read and cigarettes to smoke,” the Polish director said with a wry smile. It was widely presumed he was joking since he was in his early 50s, and in fact he subsequently recanted to the extent that he began writing another trilogy with collaborator Krzysztof Piesiewicz. But suddenly and tragically, Kieslowski died in early 1996 after bypass surgery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I am reminded of that tragedy, and the Kieslowski films we were deprived of, by Béla Tarr’s recent declaration. The dour, brilliant Hungarian, who turns 57 this month, announced that his 2011 film, \u003ci>The Turin Horse\u003c/i>, would be his last. I can’t think of a better place to commiserate about this news than the Roxie, which played his seven-and-a-half-hour 1994 masterwork, \u003ci>Satantango\u003c/i>, back in the day. \u003cb>Au Revoir Bela Tarr\u003c/b>, July 7-11, 2012, pairs \u003ci>The Turin Horse\u003c/i> with Tarr’s previous film, \u003ci>The Man From London\u003c/i>. It’s damn lucky there are good drinking spots a few steps from the theater; you don’t want to be in the sun, or even outdoors at night, after spending a lot of time inside Tarr’s head. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventid=8F47FC0D-1143-DBB3-C6D0FA5F56F32368\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wings.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Wings\u003c/i>\u003c/p>\n\u003cp>3. Some might say the programming of the San Francisco Silent Film Festival, comprising an array of vintage dramas and comedies from Hollywood and abroad (augmented by the occasional documentary and shorts program), has more to do with entertainment than art (and thus contradicts my tagline above). These movies were made for broad, mainstream audiences, their argument goes, not consumers or connoisseurs of technique, beauty and nuance. Fine with me if you have a good time at the festival; these films \u003ci>were\u003c/i> intended to move and amuse moviegoers, and the good ones should still work on us all these decades later. The festival opens Thursday, July 12, 2012 with William Wellman’s high-flying epic \u003ci>Wings\u003c/i> (1927) starring the immortal Clara Bow, who also appears the next night in Victor Fleming’s knowing adult comedy \u003ci>Mantrap\u003c/i> (1926). (Former \u003ci>S.F. Examiner\u003c/i> critic Michael Sragow, who published an excellent biography of the director in 2008, introduces the restored print.) There’s truly something for everyone at this all-ages festival. For \u003ca href=\"http://prod3.agileticketing.net/WebSales/pages/VerboseEventList.aspx?epguid=4b5fce53-ea3c-48fa-88b8-85ac153f00b6&\">more information\u003c/a> visit prod3.agileticketing.net.\u003c/p>\n\u003cp>For a silent treat of a different vintage and vibe, Film Night in the Park presents the Oscar-winning \u003ci>The Artist\u003c/i> outside in Union Square in a Bastille Day tribute. A beret will ward off the evening chill nicely. For \u003ca href=\"http://www.filmnight.org/the-artist\">more information\u003c/a> visit filmnight.org. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/darkhorse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Dark Horse\u003c/i>\u003c/p>\n\u003cp>4. A New Yorker through and through, writer-director Todd Solondz started out as a nebbish Woody Allen knockoff (casting himself as the lead in his movie) — with a darker streak. He found himself, and his voice, by delineating people profoundly uncomfortable in their own skins (and leaving the acting to actors). Solondz’s black comedies-slash-unflinching morality plays, notably \u003ci>Welcome to the Dollhouse\u003c/i>, \u003ci>Happiness\u003c/i> and \u003ci>Life During Wartime\u003c/i>, suggest to those who see them — but don’t examine them — a misanthrope who enjoys inflicting pain on his characters, and enjoys making us watch. On the contrary, the acuteness of the suffering on display reflects the depth of Solondz’s sensitivity and compassion. His latest, \u003ci>Dark Horse\u003c/i>, describes the awkward, unlikely and troubling relationship between an immature man and woman in their 30s.\u003c/p>\n\u003cp>\u003ci>Dark Horse\u003c/i> opens July 20, 2012 around the Bay Area. Todd Solondz appears in person at a pre-opening screening Thursday, July 19 at the SFFS Cinema and Friday night at the San Francisco shows (at a Landmark theater to be determined), Saturday night, July 21 at the Shattuck Cinemas in Berkeley and Sunday night, July 22 at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.landmarktheatres.com/Films/films_frameset.asp?id=118461\">more information\u003c/a> visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tahrir.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Tahrir: Liberation Square\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>5. The redoubtable French public broadcaster, ARTE, has compiled an extensive, expansive web site \u003ca href=\"http://monde-arabe.arte.tv/en/\">The Arab World in Revolution(s)\u003c/a> that will come as a revelation to anyone who gets their international news in simplistic snippets from U.S. media. It’s an excellent complement to Stefano Savona’s from-the-streets documentary, \u003ci>Tahrir: Liberation Square\u003c/i> (2011), screening Thursday, July 26 and Saturday, July 28, 2012 at Yerba Buena Center For the Arts in a co-presentation with the Arab Film Festival. The frenetic film captures two crucial weeks in recent Egyptian history, though I use the word “recent” advisedly: In the contemporary Middle East, “history” happens on a daily basis. For \u003ca href=\"http://www.ybca.org/tahrir-liberation-square\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Late afternoon yesterday, I read somewhere that Nora Ephron was gravely ill. So the obvious thing to do was stock up on enough Mexican food, Kit-Kat bars, and whiskey for at least three people; set up camp in bed; and watch \u003ci>Heartburn\u003c/i>, the 1986 film adapted from Ephron’s book about her disastrous marriage to Watergate journalist Carl Bernstein, starring Meryl Streep and Jack Nicholson. This cinematic gem is often overlooked for the orgasm-faking silliness of \u003ci>When Harry Met Sally\u003c/i> or the yes-she-was-kind-of-stalking-him-but-she’s-cute-so-it’s-romantic \u003ci>Sleepless In Seattle\u003c/i> or the harbinger of online dating \u003ci>You’ve Got Mail\u003c/i> or the I-really-should’ve-eaten-before-I-saw-this-movie \u003ci>Julie and Julia\u003c/i>. I could go on, but you know all of this. When we think of rom-coms, we think of Ephron, of her lacerating wit and her honest portrayal of strong women. And we’ll continue to think of her impact on cinema for the rest of our lives. When asked about her wishes for her funeral, Ephron once said: “I want everyone to be basket cases.” Judging by my sloppy viewing of \u003ci>Heartburn\u003c/i>, I think it’s safe to say that Nora Ephron will get her wish and then some.\u003c/p>\n\u003cp>I leave you with some of the most memorable Nora Ephron moments:\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=F-bsf2x-aeE&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=iY68ovrzfXc&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=l4wxX2OtNbo&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=T4Ij8R2orNg&version=3&hl=en_US&showinfo=0&rel=0]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=BBUA3cgKQdQ&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I’ve been working on a story that brings back lots of memories, lots of thoughts, about a tough subject.\u003c/p>\n\u003cp>It’s a story about a documentary that PBS stations across the nation will air this week remembering the time of AIDS in San Francisco. Shown on the series \u003ci>Independent Lens\u003c/i>, it’s called \u003ci>We Were Here\u003c/i>, and it recalls in simple, straightforward interviews the lives of people living in the largely-gay Castro District. The area was a Mecca for thousands of young gay men who started arriving in San Francisco in the 1970s, and who began contracting AIDS — though they didn’t know what it was — towards the end of that decade and in the early ’80s. About 20,000 people died from AIDS in San Francisco alone; in California nearly 90,000 have died since the epidemic began. Today, many AIDS patients in America live a normal life, because of drugs developed as a result of the epidemic.\u003c/p>\n\u003cp>\u003ci>We Were Here\u003c/i> tells the stories of four formerly young men and one woman — now middle aged — who lived through the horror of those years. Somehow, through luck or good genes or good medicine, they survived, but all of them lost friends and lovers, siblings and acquaintances. Their lives and the nature of the Castro district, and the power of the gay community, were changed forever.\u003c/p>\n\u003cp>But others, outside the community, like me, felt the devastation and the fascination as well, though perhaps not as directly or profoundly. As I talked with David Weissman, the film’s producer and director, I couldn’t help but remember some poignant scenes from those years:\u003c/p>\n\u003cp>I met Weissman on the corner of Castro and 18th Streets, where there used to be a gay bar called the Elephant Walk. In 1982, I covered a congressional campaign, where the legendary Democratic congressman Phil Burton was being challenged by a local Republican politician named Milton Marks. Marks was a glad-hander, a successful state legislator who loved meeting people. Trying to garner the votes of the gay community, whose political strength was just beginning to be felt partly over concern about AIDS, he plunged into the Elephant Walk. He was a fish out of water; he tried shaking hands with the bar’s patrons, but clearly, it didn’t quite work. Still, he forced a smile and played the room. He lost the election, and later switched his registration to Democrat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I remember covering a Gay Freedom Day parade around the same time — with both Marks and Burton taking part, riding down Market Street in open convertibles, along with the Dykes On Bikes and the Sisters of Perpetual Indulgence. The power of the gay community was on the rise, even as many were dying, and (almost) every San Francisco politician was currying their favor. One who wasn’t quite sure, at that point, was supervisor, and later mayor Dianne Feinstein. She wasn’t entirely comfortable with the flamboyant behavior of newly liberated gays, though later, as U.S. Senator, she got used to the scene and got gay support.\u003c/p>\n\u003cp>\u003ci>We Were Here\u003c/i> reminded me of the new gay political activity in that era. I remember talking with Harvey Milk, the city’s first openly gay supervisor, about, of all things, dog poop. He had introduced a law to encourage people to clean up after their pets. I met Milk in his camera store on Castro Street; he was a lovely, caring guy who was trying to show he was involved in issues beyond just the gay community. His murder, and that of Mayor George Moscone, are part of the DNA of all San Franciscans who lived through those years. In an odd twist, Milk’s martyrdom certainly contributed to the strength of the gay political movement, inspiring marches and campaigns that helped to spur funding for research into AIDS, and the election of gays to public office.\u003c/p>\n\u003cp>Perhaps the most indelible memories stirred by \u003ci>We Were Here\u003c/i> were of the loss from AIDS of my own friends and colleagues, people who worked with me at public TV station KQED in those years. Among them: John Roszak, Randy Shilts, Tom Yeager and Fred Baldwin.\u003c/p>\n\u003cp>Bringing up the not-so-distant past and showing it to those who weren’t here are among the goals of producer Weissman and \u003ci>We Were Here\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=44421\">Read Michael Fox’s review of the film\u003c/a>. \u003ci>We Were Here\u003c/i> screens tomorrow night, Thursday, June 14 at 10pm on KQED 9. \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=8630\">Check out KQED’s TV schedule\u003c/a> for a full list of screenings.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been working on a story that brings back lots of memories, lots of thoughts, about a tough subject.\u003c/p>\n\u003cp>It’s a story about a documentary that PBS stations across the nation will air this week remembering the time of AIDS in San Francisco. Shown on the series \u003ci>Independent Lens\u003c/i>, it’s called \u003ci>We Were Here\u003c/i>, and it recalls in simple, straightforward interviews the lives of people living in the largely-gay Castro District. The area was a Mecca for thousands of young gay men who started arriving in San Francisco in the 1970s, and who began contracting AIDS — though they didn’t know what it was — towards the end of that decade and in the early ’80s. About 20,000 people died from AIDS in San Francisco alone; in California nearly 90,000 have died since the epidemic began. Today, many AIDS patients in America live a normal life, because of drugs developed as a result of the epidemic.\u003c/p>\n\u003cp>\u003ci>We Were Here\u003c/i> tells the stories of four formerly young men and one woman — now middle aged — who lived through the horror of those years. Somehow, through luck or good genes or good medicine, they survived, but all of them lost friends and lovers, siblings and acquaintances. Their lives and the nature of the Castro district, and the power of the gay community, were changed forever.\u003c/p>\n\u003cp>But others, outside the community, like me, felt the devastation and the fascination as well, though perhaps not as directly or profoundly. As I talked with David Weissman, the film’s producer and director, I couldn’t help but remember some poignant scenes from those years:\u003c/p>\n\u003cp>I met Weissman on the corner of Castro and 18th Streets, where there used to be a gay bar called the Elephant Walk. In 1982, I covered a congressional campaign, where the legendary Democratic congressman Phil Burton was being challenged by a local Republican politician named Milton Marks. Marks was a glad-hander, a successful state legislator who loved meeting people. Trying to garner the votes of the gay community, whose political strength was just beginning to be felt partly over concern about AIDS, he plunged into the Elephant Walk. He was a fish out of water; he tried shaking hands with the bar’s patrons, but clearly, it didn’t quite work. Still, he forced a smile and played the room. He lost the election, and later switched his registration to Democrat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I remember covering a Gay Freedom Day parade around the same time — with both Marks and Burton taking part, riding down Market Street in open convertibles, along with the Dykes On Bikes and the Sisters of Perpetual Indulgence. The power of the gay community was on the rise, even as many were dying, and (almost) every San Francisco politician was currying their favor. One who wasn’t quite sure, at that point, was supervisor, and later mayor Dianne Feinstein. She wasn’t entirely comfortable with the flamboyant behavior of newly liberated gays, though later, as U.S. Senator, she got used to the scene and got gay support.\u003c/p>\n\u003cp>\u003ci>We Were Here\u003c/i> reminded me of the new gay political activity in that era. I remember talking with Harvey Milk, the city’s first openly gay supervisor, about, of all things, dog poop. He had introduced a law to encourage people to clean up after their pets. I met Milk in his camera store on Castro Street; he was a lovely, caring guy who was trying to show he was involved in issues beyond just the gay community. His murder, and that of Mayor George Moscone, are part of the DNA of all San Franciscans who lived through those years. In an odd twist, Milk’s martyrdom certainly contributed to the strength of the gay political movement, inspiring marches and campaigns that helped to spur funding for research into AIDS, and the election of gays to public office.\u003c/p>\n\u003cp>Perhaps the most indelible memories stirred by \u003ci>We Were Here\u003c/i> were of the loss from AIDS of my own friends and colleagues, people who worked with me at public TV station KQED in those years. Among them: John Roszak, Randy Shilts, Tom Yeager and Fred Baldwin.\u003c/p>\n\u003cp>Bringing up the not-so-distant past and showing it to those who weren’t here are among the goals of producer Weissman and \u003ci>We Were Here\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=44421\">Read Michael Fox’s review of the film\u003c/a>. \u003ci>We Were Here\u003c/i> screens tomorrow night, Thursday, June 14 at 10pm on KQED 9. \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=8630\">Check out KQED’s TV schedule\u003c/a> for a full list of screenings.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Unless you’re planning to settle for a generic tie or pajamas, shopping for a Father’s Day gift entails matching the present to the man. Fortunately, the film gods have seen fit to provide a range of offerings that cover every base — whether your dad is tough or sensitive, helpful or aloof.\u003c/p>\n\u003cp>1. A man’s movie if ever there was one, the existential 1953 nail-biter \u003ci>The Wages of Fear\u003c/i> is a deeply and unexpectedly profound contemplation of one’s place in the world. A fascinating character study that turns into an action flick in its breathless second half, Henri-Georges Clouzot’s forged-steel drama centers on four guys (two Frenchmen, a Dutchman and an Italian) stuck in their postwar malaise in a South American town. In a gesture that transforms their individual scarred histories into timeless archetypes, they take on the suicide mission of driving two trucks of nitroglycerine to a burning, faraway oil field. Maybe Dad fancies himself a desperate hero, too. \u003ci>The Wages of Fear\u003c/i> plays June 8-14, 2012 at SFFS Cinema. For more information, visit \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema.aspx/\">SFFS Cinema\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/yellowsub.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Yellow Submarine\u003c/i>\u003c/p>\n\u003cp>2. What kind of father would take his children to see an animated film inspired by a novelty hit by a band known for its groundbreaking experimentation with drugs? Is it better, or worse, if the kids take the old man? Either way, 40-plus years and the imprimatur of The Beatles make everything copacetic. John, George, Paul and Ringo were initially reluctant to participate in \u003ci>Yellow Submarine\u003c/i> (1968) beyond granting the rights to a couple of B-sides, but were completely won over by the completed work. (“What were they smoking?” you might ask.) Newly restored, the trippiest family film this side of \u003ci>Fantasia\u003c/i> screens June 8, 10, 11 and 12 at the Castro Theatre. For \u003ca href=\"http://www.castrotheatre.com/p-list.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>3. Father’s Day coincides with the weekend of Juneteenth, and the 14th annual \u003cb>San Francisco Black Film Festival\u003c/b> (June 15-17) parlays the dual celebration into a Saturday focus on the family. Films by Kevin Epps (\u003ci>Fam Bam\u003c/i>) and Jacquie Taliaferro (\u003ci>10-10 Gotta Win\u003c/i>) anchor a day of games, music and discussion. The real attraction, we submit, is the presentation of the winning entries in the “My Dad is My Hero” video and essay contest. For \u003ca href=\"http://www.sfbff.org/z2011-aftr-fest/2012-schedule-shell.html\">more information\u003c/a> visit sfbff.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/novak.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Kim Novak in \u003ci>Vertigo\u003c/i>\u003c/p>\n\u003cp>4. If your father is of a certain age, you can assume he harbored a secret lust for Kim Novak. (You thought Hitchcock was the only guy with a thing for blondes?) Dig deep and spring for a $500 ticket for Dad to attend the San Francisco Museum and Historical Society’s fifth \u003cb>Standing Ovations\u003c/b> gala benefit on Thursday, June 14, including a cocktail reception, fancy dinner and a suitably irreverent interview with S.F. Cinematic Icon Award-winner Kim Novak. For five G’s, your dad should be able to get a paparazzi shot with Ms. Novak. \u003cb>The Stuff That Dreams Are Made of: San Francisco and the Movies\u003c/b>, an exhibition of Bay Area-centric props and goodies augmented with a group of paintings by the actress, goes on view that night and is open to the public June 16-24, 2012 for a populist entrance fee of $10. For \u003ca href=\"http://www.sfstandingovations.com/index.html\">more information\u003c/a> visit sfstandingovations.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/newskin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>New Skin for the Old Ceremony\u003c/i>\u003c/p>\n\u003cp>5. The wizened and enlightened poet and singer Leonard Cohen is an uncommon fount of wisdom about fathers (and sons, and daughters, and lovers). On Thursday, June 21, SFMOMA’s largely overlooked and underrated film program screens \u003ci>New Skin for the Old Ceremony\u003c/i>, a collection of 11 short works by next-generation filmmakers inspired by and paired with a different track on the bard’s 1974 album. Originally screened locally at last year’s S.F. International Film Festival, \u003ci>New Skin\u003c/i> was, appropriately for our purposes, co-curated by Cohen’s daughter, Lorca. (The 35-minute video plays with \u003ci>Futurist Life Redux\u003c/i>, a 2009 SFMOMA commission that reimagines a lost 1916 film.) We’re a long way from the show-no-mercy-or-fear world of Henri-Georges Clouzot, but we don’t think anyone — least of all Dad — will complain. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2081\">more information\u003c/a> visit sfmoma.org.</\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unless you’re planning to settle for a generic tie or pajamas, shopping for a Father’s Day gift entails matching the present to the man. Fortunately, the film gods have seen fit to provide a range of offerings that cover every base — whether your dad is tough or sensitive, helpful or aloof.\u003c/p>\n\u003cp>1. A man’s movie if ever there was one, the existential 1953 nail-biter \u003ci>The Wages of Fear\u003c/i> is a deeply and unexpectedly profound contemplation of one’s place in the world. A fascinating character study that turns into an action flick in its breathless second half, Henri-Georges Clouzot’s forged-steel drama centers on four guys (two Frenchmen, a Dutchman and an Italian) stuck in their postwar malaise in a South American town. In a gesture that transforms their individual scarred histories into timeless archetypes, they take on the suicide mission of driving two trucks of nitroglycerine to a burning, faraway oil field. Maybe Dad fancies himself a desperate hero, too. \u003ci>The Wages of Fear\u003c/i> plays June 8-14, 2012 at SFFS Cinema. For more information, visit \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema.aspx/\">SFFS Cinema\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/yellowsub.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Yellow Submarine\u003c/i>\u003c/p>\n\u003cp>2. What kind of father would take his children to see an animated film inspired by a novelty hit by a band known for its groundbreaking experimentation with drugs? Is it better, or worse, if the kids take the old man? Either way, 40-plus years and the imprimatur of The Beatles make everything copacetic. John, George, Paul and Ringo were initially reluctant to participate in \u003ci>Yellow Submarine\u003c/i> (1968) beyond granting the rights to a couple of B-sides, but were completely won over by the completed work. (“What were they smoking?” you might ask.) Newly restored, the trippiest family film this side of \u003ci>Fantasia\u003c/i> screens June 8, 10, 11 and 12 at the Castro Theatre. For \u003ca href=\"http://www.castrotheatre.com/p-list.html\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>3. Father’s Day coincides with the weekend of Juneteenth, and the 14th annual \u003cb>San Francisco Black Film Festival\u003c/b> (June 15-17) parlays the dual celebration into a Saturday focus on the family. Films by Kevin Epps (\u003ci>Fam Bam\u003c/i>) and Jacquie Taliaferro (\u003ci>10-10 Gotta Win\u003c/i>) anchor a day of games, music and discussion. The real attraction, we submit, is the presentation of the winning entries in the “My Dad is My Hero” video and essay contest. For \u003ca href=\"http://www.sfbff.org/z2011-aftr-fest/2012-schedule-shell.html\">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://a.s.kqed.net/img/arts/blog/novak.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Kim Novak in \u003ci>Vertigo\u003c/i>\u003c/p>\n\u003cp>4. If your father is of a certain age, you can assume he harbored a secret lust for Kim Novak. (You thought Hitchcock was the only guy with a thing for blondes?) Dig deep and spring for a $500 ticket for Dad to attend the San Francisco Museum and Historical Society’s fifth \u003cb>Standing Ovations\u003c/b> gala benefit on Thursday, June 14, including a cocktail reception, fancy dinner and a suitably irreverent interview with S.F. Cinematic Icon Award-winner Kim Novak. For five G’s, your dad should be able to get a paparazzi shot with Ms. Novak. \u003cb>The Stuff That Dreams Are Made of: San Francisco and the Movies\u003c/b>, an exhibition of Bay Area-centric props and goodies augmented with a group of paintings by the actress, goes on view that night and is open to the public June 16-24, 2012 for a populist entrance fee of $10. For \u003ca href=\"http://www.sfstandingovations.com/index.html\">more information\u003c/a> visit sfstandingovations.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/newskin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>New Skin for the Old Ceremony\u003c/i>\u003c/p>\n\u003cp>5. The wizened and enlightened poet and singer Leonard Cohen is an uncommon fount of wisdom about fathers (and sons, and daughters, and lovers). On Thursday, June 21, SFMOMA’s largely overlooked and underrated film program screens \u003ci>New Skin for the Old Ceremony\u003c/i>, a collection of 11 short works by next-generation filmmakers inspired by and paired with a different track on the bard’s 1974 album. Originally screened locally at last year’s S.F. International Film Festival, \u003ci>New Skin\u003c/i> was, appropriately for our purposes, co-curated by Cohen’s daughter, Lorca. (The 35-minute video plays with \u003ci>Futurist Life Redux\u003c/i>, a 2009 SFMOMA commission that reimagines a lost 1916 film.) We’re a long way from the show-no-mercy-or-fear world of Henri-Georges Clouzot, but we don’t think anyone — least of all Dad — will complain. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2081\">more information\u003c/a> visit sfmoma.org.</\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "In Indie Game: The Movie, Maverick Developers Go for Broke",
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"content": "\u003cp>In this month’s issue of \u003ci>The Atlantic\u003c/i>, \u003ca href=\"http://www.theatlantic.com/magazine/archive/2012/05/the-most-dangerous-gamer/8928/\">a profile of Bay Area video game developer Jonathan Blow\u003c/a> situates him “in a medium still awaiting its quantum intellectual leap,” which Blow intends to provide. This ambition has its perils: “To Blow, being labeled the most intellectual man in video games is a little like being called the most chaste woman in a brothel: not exactly something to crow about to Mom and Dad.”\u003c/p>\n\u003cp>We meet Blow again in \u003ci>Indie Game: The Movie\u003c/i>, an affecting documentary portrait of him and three other game developers, which opens at the Roxie this week. Here Blow describes how the success of his game \u003ci>Braid\u003c/i>, which made him a fortune, also broke his heart. “I visualized that I was going to have some kind of connection with people through this game. And they think it’s great, but the connection’s not there.” Next to a YouTube video of Soulja Boy playing \u003ci>Braid\u003c/i>, and clearly not appreciating its finer nuances, we see Blow looking deeply, existentially wounded.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/indiegame1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Edmund McMillen\u003cbr>\u003c/center>\n\u003cp>To those who eschew the corporate imprimatur, whether for personal or aesthetic reasons or both, this is what “indie” sometimes means: independence as a terrible sort of freedom, a tyrannical isolation. Inevitably, it seems, the developers with whom filmmakers Lisanne Pajot and James Swirsky became acquainted all are self-secluders hunkered down in front of their computers for years at a time, obsessed, strung out from their labors, playing games, yes, but obviously not always having fun.\u003c/p>\n\u003cp>The wrong way to explore this would be with so much critical distance as to seem condescending. But Pajot and Swirsky frame the gamers’ common quest in distinctly human terms, steering straight into the tensions that result from seeking self-expression through an innately interactive art form. Even in the highly accelerated 21st century, the path between private creation and public consumption still seems like a long, tough slog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/indiegame2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Phil Fish\u003cbr>\u003c/center>\n\u003cp>Forging their way through a new aesthetic frontier, these young men seem wrenched and perplexed by the flickering uncertain image of what it means to realize their own artistic ambitions. Montreal’s Phil Fish can’t ever seem to finish \u003ci>Fez\u003c/i>, his allegorically poignant game about a two-dimensional character in a wondrous three-dimensional world. Santa Cruz developer Edmund McMillen, half of the team behind \u003ci>Super Meat Boy\u003c/i>, keeps expecting failure even with success staring him in the face; welling emotion finally cracks through his composure when he imagines some hypothetical youngster playing his game and feeling inspired, as he once was.\u003c/p>\n\u003cp>And then there’s Jonathan Blow, who says, “If you don’t see a vulnerability in somebody, you’re probably not relating with them on a very personal level.” What that has to do with video games is exactly the question \u003ci>Indie Game: The Movie\u003c/i> strives to answer, and why it’s worth seeing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Indie Game: The Movie\u003c/i> plays Friday, May 18, through Monday, May 21, 2012, at the Roxie in San Francisco. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=654AFA1C-1143-DBB3-C67A12FCBEEE170E\">tickets and information\u003c/a> visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In this month’s issue of \u003ci>The Atlantic\u003c/i>, \u003ca href=\"http://www.theatlantic.com/magazine/archive/2012/05/the-most-dangerous-gamer/8928/\">a profile of Bay Area video game developer Jonathan Blow\u003c/a> situates him “in a medium still awaiting its quantum intellectual leap,” which Blow intends to provide. This ambition has its perils: “To Blow, being labeled the most intellectual man in video games is a little like being called the most chaste woman in a brothel: not exactly something to crow about to Mom and Dad.”\u003c/p>\n\u003cp>We meet Blow again in \u003ci>Indie Game: The Movie\u003c/i>, an affecting documentary portrait of him and three other game developers, which opens at the Roxie this week. Here Blow describes how the success of his game \u003ci>Braid\u003c/i>, which made him a fortune, also broke his heart. “I visualized that I was going to have some kind of connection with people through this game. And they think it’s great, but the connection’s not there.” Next to a YouTube video of Soulja Boy playing \u003ci>Braid\u003c/i>, and clearly not appreciating its finer nuances, we see Blow looking deeply, existentially wounded.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/indiegame1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Edmund McMillen\u003cbr>\u003c/center>\n\u003cp>To those who eschew the corporate imprimatur, whether for personal or aesthetic reasons or both, this is what “indie” sometimes means: independence as a terrible sort of freedom, a tyrannical isolation. Inevitably, it seems, the developers with whom filmmakers Lisanne Pajot and James Swirsky became acquainted all are self-secluders hunkered down in front of their computers for years at a time, obsessed, strung out from their labors, playing games, yes, but obviously not always having fun.\u003c/p>\n\u003cp>The wrong way to explore this would be with so much critical distance as to seem condescending. But Pajot and Swirsky frame the gamers’ common quest in distinctly human terms, steering straight into the tensions that result from seeking self-expression through an innately interactive art form. Even in the highly accelerated 21st century, the path between private creation and public consumption still seems like a long, tough slog.\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://a.s.kqed.net/img/arts/blog/indiegame2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Phil Fish\u003cbr>\u003c/center>\n\u003cp>Forging their way through a new aesthetic frontier, these young men seem wrenched and perplexed by the flickering uncertain image of what it means to realize their own artistic ambitions. Montreal’s Phil Fish can’t ever seem to finish \u003ci>Fez\u003c/i>, his allegorically poignant game about a two-dimensional character in a wondrous three-dimensional world. Santa Cruz developer Edmund McMillen, half of the team behind \u003ci>Super Meat Boy\u003c/i>, keeps expecting failure even with success staring him in the face; welling emotion finally cracks through his composure when he imagines some hypothetical youngster playing his game and feeling inspired, as he once was.\u003c/p>\n\u003cp>And then there’s Jonathan Blow, who says, “If you don’t see a vulnerability in somebody, you’re probably not relating with them on a very personal level.” What that has to do with video games is exactly the question \u003ci>Indie Game: The Movie\u003c/i> strives to answer, and why it’s worth seeing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Indie Game: The Movie\u003c/i> plays Friday, May 18, through Monday, May 21, 2012, at the Roxie in San Francisco. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=654AFA1C-1143-DBB3-C67A12FCBEEE170E\">tickets and information\u003c/a> visit roxie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The simple problem posed by any given Michael Glawogger film is a challenge to get one’s head around it. The simple solution is to come out feeling a little faint, vowing never again to complain about one’s job, and making helpless uneasy jokes about needing to swear off poultry for a while, or prostitutes. Right, but then what?\u003c/p>\n\u003cp>A native Austrian whose apprenticeship includes a stint at the San Francisco Art Institute, Glawogger has achieved international standing with a loose trilogy of documentaries about globalization and human labor. He returns to the Bay Area this week for two inevitably intense days of screening and conversation at the Pacific Film Archive.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whores.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Whores’ Glory\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Neither mushy profusions of shiny banalities nor hectoring calls to action, Glawogger’s documentaries rebuke more familiar modes of nonfiction engagement. They might seem more like bourgeois-guilt-trip travel tours, neatly packaged in pungent nuggets of neo-Mondo masochism, if not for the director’s conviction to keep looking: \u003ci>Whores’ Glory\u003c/i>, from last year, extends the scope of 2005’s \u003ci>Workingman’s Death\u003c/i>, which in turn elaborates on 1998’s \u003ci>Megacities\u003c/i>. What he sees is unambiguously demeaning transactional labor, including sex, made even more untenable by the advent of technology. At times it’s downright ghastly, and also challengingly quotidian.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workingmans.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Workingman’s Death\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Heavy-duty epigraphs — from Faulkner, Dickinson, William Vollmann — mitigate ostensible detachment by implying a mind at work. Glawogger suggests that condonation and condemnation aren’t worth much, cinematically, whereas consideration is. And so he recognizes an immense, planet-wide squalor, from which sprouts of human culture tenaciously and perversely emerge. “The absurd is the cultural legacy of mankind,” says one masked Mexican prophet. A Ukrainian coal miner tells us she wanted to be a dancer, but “now I dance with sacks of coal in the mine.” A junkie hustler in New York asks, “What’s my dream in life?” and passes out before he can answer. Meanwhile the so-called City of Joy in Bangladesh seems so ironically named as to suggest cosmic cruelty. The outdoor abattoir in Nigeria looks like a Bosch painting brought to life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If these are places most of us would rather never go, their emotional auras are richly familiar, film history-wise. Unabashedly staged in parts, and aestheticized by increasingly slick cinematography and music supervision, Glawogger’s nominal documentaries flit across geographical and categorical borders as if waved through by Werner Herzog, himself a proponent of invention as a way toward truth. It’s the world but it’s also an odd cinema dreamworld, where spectacles contrived by the likes of scrappy mysterio-wayfarer Jim Jarmusch and moneyed city-demolitionist Christopher Nolan have been held socially accountable. People in \u003ci>Megacities\u003c/i> talk about going to the movies for recreation, and whether or not this explicitly endorses the Preston Sturges theory of movie make-believe as noble diversion from life’s “cockeyed caravan” is hard to say. Paradoxically, it is safe to assume that they aren’t going to see the films of Michael Glawogger.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/killdaddy.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Kill Daddy Good Night\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The PFA’s slate also includes one fiction feature: In \u003ci>Kill Daddy Good Night\u003c/i>, based on Josef Haslinger’s novel, a vaguely patricidal young Austrian video game designer finds himself refurbishing a Nazi war criminal’s hideout, and therefore in dialogue with a bona fide first-person shooter. Even escapist catharsis, it seems, demands a reckoning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Afterimage: Films of Michael Glawogger\u003c/b> runs Friday, May 4, through Sunday May 6, 2012, with the filmmaker in conversation with New York critic and programmer Dennis Lim, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/glawogger\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The simple problem posed by any given Michael Glawogger film is a challenge to get one’s head around it. The simple solution is to come out feeling a little faint, vowing never again to complain about one’s job, and making helpless uneasy jokes about needing to swear off poultry for a while, or prostitutes. Right, but then what?\u003c/p>\n\u003cp>A native Austrian whose apprenticeship includes a stint at the San Francisco Art Institute, Glawogger has achieved international standing with a loose trilogy of documentaries about globalization and human labor. He returns to the Bay Area this week for two inevitably intense days of screening and conversation at the Pacific Film Archive.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whores.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Whores’ Glory\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Neither mushy profusions of shiny banalities nor hectoring calls to action, Glawogger’s documentaries rebuke more familiar modes of nonfiction engagement. They might seem more like bourgeois-guilt-trip travel tours, neatly packaged in pungent nuggets of neo-Mondo masochism, if not for the director’s conviction to keep looking: \u003ci>Whores’ Glory\u003c/i>, from last year, extends the scope of 2005’s \u003ci>Workingman’s Death\u003c/i>, which in turn elaborates on 1998’s \u003ci>Megacities\u003c/i>. What he sees is unambiguously demeaning transactional labor, including sex, made even more untenable by the advent of technology. At times it’s downright ghastly, and also challengingly quotidian.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workingmans.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Workingman’s Death\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Heavy-duty epigraphs — from Faulkner, Dickinson, William Vollmann — mitigate ostensible detachment by implying a mind at work. Glawogger suggests that condonation and condemnation aren’t worth much, cinematically, whereas consideration is. And so he recognizes an immense, planet-wide squalor, from which sprouts of human culture tenaciously and perversely emerge. “The absurd is the cultural legacy of mankind,” says one masked Mexican prophet. A Ukrainian coal miner tells us she wanted to be a dancer, but “now I dance with sacks of coal in the mine.” A junkie hustler in New York asks, “What’s my dream in life?” and passes out before he can answer. Meanwhile the so-called City of Joy in Bangladesh seems so ironically named as to suggest cosmic cruelty. The outdoor abattoir in Nigeria looks like a Bosch painting brought to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If these are places most of us would rather never go, their emotional auras are richly familiar, film history-wise. Unabashedly staged in parts, and aestheticized by increasingly slick cinematography and music supervision, Glawogger’s nominal documentaries flit across geographical and categorical borders as if waved through by Werner Herzog, himself a proponent of invention as a way toward truth. It’s the world but it’s also an odd cinema dreamworld, where spectacles contrived by the likes of scrappy mysterio-wayfarer Jim Jarmusch and moneyed city-demolitionist Christopher Nolan have been held socially accountable. People in \u003ci>Megacities\u003c/i> talk about going to the movies for recreation, and whether or not this explicitly endorses the Preston Sturges theory of movie make-believe as noble diversion from life’s “cockeyed caravan” is hard to say. Paradoxically, it is safe to assume that they aren’t going to see the films of Michael Glawogger.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/killdaddy.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Kill Daddy Good Night\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The PFA’s slate also includes one fiction feature: In \u003ci>Kill Daddy Good Night\u003c/i>, based on Josef Haslinger’s novel, a vaguely patricidal young Austrian video game designer finds himself refurbishing a Nazi war criminal’s hideout, and therefore in dialogue with a bona fide first-person shooter. Even escapist catharsis, it seems, demands a reckoning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Afterimage: Films of Michael Glawogger\u003c/b> runs Friday, May 4, through Sunday May 6, 2012, with the filmmaker in conversation with New York critic and programmer Dennis Lim, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/glawogger\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every day cities across the globe are becoming more and more like one another. The swell of multinational chain stores and uninspired developments based on the same tired design templates are creating a world in which the built environment is devolving into a single standard backdrop, which leads to predictable experiences no matter where we are. This trend toward uniformity is threatening to undermine what makes cities the enticing places that have attracted residents and visitors for hundreds of years.\u003c/p>\n\u003cp>Despite the massive economic and regulatory forces pushing our cities in this direction, there are many people finding ways (often illegally) to redefine urban space in a manner that allows them to pursue their unique passions. It is essential to share the stories of these individuals in an effort to remind city dwellers and visitors not only what is possible, but also that there is still adventure hiding just underneath, or sometimes above, the surface of their daily routines.\u003c/p>\n\u003cp>\u003cstrong>Plasticity\u003c/strong> leads a tour through three unconventional uses of urban space in San Francisco: a rooftop apiary, an occasional restaurant, and a mobile pizzeria. Profiles include:\u003cbr>– Cameo Wood from Her Majesty’s Secret Beekeeper\u003cbr>– Anthony Myint from Mission Chinese\u003cbr>– Jeff Krupman from Pizza Hacker\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Yes, of course, I wish along with you that women filmmakers, and movies centered on female protagonists, were so common that the notion of singling them out for attention was beyond ludicrous. That day is still a long way off in mainstream commercial films, and that’s all that counts for a certain chunk of our society. Let’s consider the glass half-full this month, and contemplate the array of mothers, lovers, daughters, sisters and gal-pals having their say and getting their way (at least some of the time) in other genres, and in Old Hollywood.\u003c/p>\n\u003cp>In film noir, women are rarely the motor that propels the movie, but they’re almost always the engine that revs the men who drive the story. An exception of sorts is the newlywed played by Kim Hunter in the no-budget 1944 thriller \u003ci>When Strangers Marry\u003c/i> (Thursday, May 17), unearthed by programmer extraordinaire Elliot Lavine for his latest compilation of mid-century pulp, \u003cb>I Wake Up Dreaming 2012: The French have a name for it!\u003c/b>. Hunter, with ex-boyfriend Robert Mitchum lending amoral support, starts to wonder if new hubby Dean Jagger is a lunatic killer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/strangers-marry.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>When Strangers Marry\u003c/i>\u003c/p>\n\u003cp>Most of the series, which runs May 11-24 at the Roxie in San Francisco, features variations of the typical female noir role — the femme fatale; one highlight among many is Mamie Van Doren lighting Lee Van Cleef’s cigar, so to speak, in the 1959 heist yarn, \u003ci>Guns, Girls and Gangsters\u003c/i> (Thursday, May 24). For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=E5E5072D-1143-DBB3-C6AF978DD134E5FD\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>The GAZE Women Film Series at Artists’ Television Access (ATA) presents a program of short films conceived and directed by women exploring the theme of home. Working variously in experimental, documentary and narrative genres, Anjali Sundaram, Kyja Kristjansson-Nelson, Raquel Schefer, Irina Leimbacher, Merve Kayan, Vera Brunner-Sung and Mandy Williams contemplate the complexities of family, strangers and familiar and unfamiliar environments. \u003cb>GAZE\u003c/b> screens Thursday, May 17, 2012 at ATA in San Francisco. For \u003ca href=\"http://www.atasite.org/\">more information\u003c/a> visit atasite.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rayon-vert.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Le Rayon Vert (Summer)\u003c/i>\u003c/p>\n\u003cp>Few filmmakers of either sex have ever portrayed female characters with more curiosity, fascination, ambiguity and affection than Eric Rohmer. Two of the late, great French director’s best films, the charming \u003ci>Four Adventures of Reinette and Mirabelle\u003c/i> (1987) and the masterwork \u003ci>Le Rayon Vert (Summer)\u003c/i> (1986) play on a double bill for a week beginning Friday, May 18, 2012 at the SF Film Society Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/four-adventures-of-reinette-and-mirabelle.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chickstrand.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Filmmaker, Chick Strand\u003c/p>\n\u003cp>The San Francisco Cinematheque’s third annual \u003cb>Crossroads\u003c/b> festival, a weekend blowout of new and classic avant-garde films, unspools May 18-20, 2012 at the Victoria Theatre in San Francisco. Women have long excelled at personal filmmaking, needless to say, and are represented throughout the program. The hottest tickets are likely to be \u003cb>Woman With Flowers: Celebrating Chick Strand\u003c/b> (Saturday, May 19 at 2pm), featuring the recently completed final film by the much-loved artist who died in 2009, and \u003cb>California Dreaming: Films by Laida Lertxundi\u003c/b> (Sunday, May 2 at 5:30pm), with the Basque-born, L.A.-based artist on hand to introduce her work, which recently screened in the Whitney Biennial. For \u003ca href=\"http://www.sfcinematheque.org/#/news/201204180/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whoresglory.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Whores’ Glory\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Whores’ Glory\u003c/i>, the gifted Austrian filmmaker Michael Glawogger’s latest exploration of work, society and power, opens May 25, 2012. The most unsettling aspect of the film, which was shot in Thailand (Bangkok), Bangladesh (Faridpur) and Mexico (Reynosa), is that it doesn’t portray its subjects as victims or freaks. It’s a sympathetic study, but some readers might point out that it nonetheless portrays women in one of the handful of roles they’re mostly given in movies. Well, keep your knickers on: Tanya Wexler’s \u003ci>Hysteria\u003c/i>, a Victorian-era romantic comedy (em)powered by the invention of the vibrator, opens the same day at the Embarcadero and the Shattuck. Maggie Gyllenhall and Felicity Jones, two of the most likable female presences in movies today, deliver ample doses of spirit and independence.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, of course, I wish along with you that women filmmakers, and movies centered on female protagonists, were so common that the notion of singling them out for attention was beyond ludicrous. That day is still a long way off in mainstream commercial films, and that’s all that counts for a certain chunk of our society. Let’s consider the glass half-full this month, and contemplate the array of mothers, lovers, daughters, sisters and gal-pals having their say and getting their way (at least some of the time) in other genres, and in Old Hollywood.\u003c/p>\n\u003cp>In film noir, women are rarely the motor that propels the movie, but they’re almost always the engine that revs the men who drive the story. An exception of sorts is the newlywed played by Kim Hunter in the no-budget 1944 thriller \u003ci>When Strangers Marry\u003c/i> (Thursday, May 17), unearthed by programmer extraordinaire Elliot Lavine for his latest compilation of mid-century pulp, \u003cb>I Wake Up Dreaming 2012: The French have a name for it!\u003c/b>. Hunter, with ex-boyfriend Robert Mitchum lending amoral support, starts to wonder if new hubby Dean Jagger is a lunatic killer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/strangers-marry.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>When Strangers Marry\u003c/i>\u003c/p>\n\u003cp>Most of the series, which runs May 11-24 at the Roxie in San Francisco, features variations of the typical female noir role — the femme fatale; one highlight among many is Mamie Van Doren lighting Lee Van Cleef’s cigar, so to speak, in the 1959 heist yarn, \u003ci>Guns, Girls and Gangsters\u003c/i> (Thursday, May 24). For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=E5E5072D-1143-DBB3-C6AF978DD134E5FD\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>The GAZE Women Film Series at Artists’ Television Access (ATA) presents a program of short films conceived and directed by women exploring the theme of home. Working variously in experimental, documentary and narrative genres, Anjali Sundaram, Kyja Kristjansson-Nelson, Raquel Schefer, Irina Leimbacher, Merve Kayan, Vera Brunner-Sung and Mandy Williams contemplate the complexities of family, strangers and familiar and unfamiliar environments. \u003cb>GAZE\u003c/b> screens Thursday, May 17, 2012 at ATA in San Francisco. For \u003ca href=\"http://www.atasite.org/\">more information\u003c/a> visit atasite.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://a.s.kqed.net/img/arts/blog/rayon-vert.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Le Rayon Vert (Summer)\u003c/i>\u003c/p>\n\u003cp>Few filmmakers of either sex have ever portrayed female characters with more curiosity, fascination, ambiguity and affection than Eric Rohmer. Two of the late, great French director’s best films, the charming \u003ci>Four Adventures of Reinette and Mirabelle\u003c/i> (1987) and the masterwork \u003ci>Le Rayon Vert (Summer)\u003c/i> (1986) play on a double bill for a week beginning Friday, May 18, 2012 at the SF Film Society Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/four-adventures-of-reinette-and-mirabelle.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chickstrand.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Filmmaker, Chick Strand\u003c/p>\n\u003cp>The San Francisco Cinematheque’s third annual \u003cb>Crossroads\u003c/b> festival, a weekend blowout of new and classic avant-garde films, unspools May 18-20, 2012 at the Victoria Theatre in San Francisco. Women have long excelled at personal filmmaking, needless to say, and are represented throughout the program. The hottest tickets are likely to be \u003cb>Woman With Flowers: Celebrating Chick Strand\u003c/b> (Saturday, May 19 at 2pm), featuring the recently completed final film by the much-loved artist who died in 2009, and \u003cb>California Dreaming: Films by Laida Lertxundi\u003c/b> (Sunday, May 2 at 5:30pm), with the Basque-born, L.A.-based artist on hand to introduce her work, which recently screened in the Whitney Biennial. For \u003ca href=\"http://www.sfcinematheque.org/#/news/201204180/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/whoresglory.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Whores’ Glory\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Whores’ Glory\u003c/i>, the gifted Austrian filmmaker Michael Glawogger’s latest exploration of work, society and power, opens May 25, 2012. The most unsettling aspect of the film, which was shot in Thailand (Bangkok), Bangladesh (Faridpur) and Mexico (Reynosa), is that it doesn’t portray its subjects as victims or freaks. It’s a sympathetic study, but some readers might point out that it nonetheless portrays women in one of the handful of roles they’re mostly given in movies. Well, keep your knickers on: Tanya Wexler’s \u003ci>Hysteria\u003c/i>, a Victorian-era romantic comedy (em)powered by the invention of the vibrator, opens the same day at the Embarcadero and the Shattuck. Maggie Gyllenhall and Felicity Jones, two of the most likable female presences in movies today, deliver ample doses of spirit and independence.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometime in the early ’90s, the programmers at the S.F. International Film Festival had a eureka moment. They recognized the educated Bay Area population’s hunger for frank, up-close dispatches from other countries, and assiduously tapped into it. No doubt this demand for documentaries from abroad had something to do with cable news’ shift from behind-the-scenes reporting to surface-level infotainment; whatever the cause, the SFIFF smartly answered the call. Fast forward to the present: U.S. television news has deteriorated even further, and the festival’s lineup of international documentaries has become arguably the most consistently popular section of the program.\u003c/p>\n\u003cp>A trio of films from Iraq, South Africa and Israel illustrates both the reach and the sociopolitical philosophy of the SFIFF, which begins Thursday, April 19 and continues through May 3 in San Francisco and Berkeley. The valuable yet frustrating verité doc \u003ci>In My Mother’s Arms\u003c/i>, by the Iraqi brothers Atia and Mohamed Jabarah al-Daradji, reminds us that life goes on even if Baghdad has fallen off the radar of U.S. news directors and citizens.\u003c/p>\n\u003cp>The focus is a no-frills orphanage independently operated on a permanent shoestring by a good-looking, chain-smoking fellow named Husham. A heroic iconoclast waging a perpetual uphill battle, Husham is more devoted to the 30-plus boys under his care than he is to his wife and children. While we can’t help but admire his unwavering commitment and good intentions, it becomes increasingly clear that the lack of resources and professional staff limits the extent of his help to shelter, food and tough love.\u003c/p>\n\u003cp>That’s far from insignificant, of course, but what the children crave — especially the two whom the filmmakers highlight, a talented teenage high-diver and a relentlessly bullied younger boy — is a therapeutic framework for dealing with their loss, grief, self-identity and self-worth. A record of a tiny sliver of postwar nation-building, \u003ci>In My Mother’s Arms\u003c/i> (screening Thurs., April 26 and Sun., April 29 at the Sundance Kabuki Cinemas in San Francisco and Wed., May 2 at the Pacific Film Archive in Berkeley) offers little sense of progress and no resolution. And yet, somehow, we come away with a smidgen of hope for Iraq, whether it’s justified or not.\u003c/p>\n\u003cp>The individual consequences of immense forces is also the underlying theme of Benjamin Kahlmeyer’s patient and generous portrait of a Pretoria family, \u003ci>Meanwhile in Mamelodi\u003c/i>. The German director journeyed to South Africa in 2010 with the aim of depicting the lives of people whom the hordes of tourists — as well as the international TV crews and journalists — attending and covering the World Cup matches would never see or meet. (Hence the “meanwhile” of the title.) Fortunately, Kahlmeyer eschews heavy-handed global messages in favor of a character-oriented approach that satisfyingly insinuates us into his subject’s lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Mtsweni family lives in Third World conditions, but they aren’t blighted by poverty. The hardworking father owns a store and makes a decent living selling drinks and cigarettes (one or two at a time, never a whole pack). His teenage daughter is a talented soccer player but has begun to figure out that neither sports nor young motherhood will provide the life she wants. Through interviews and voice-over, we are given access to the father’s goals and dreams for his children; the filmmaker’s observant camera, meanwhile, conveys both the difficulties and satisfactions of everyday life.\u003c/p>\n\u003cp>Unforced yet beautifully paced, \u003ci>Meanwhile in Mamelodi\u003c/i> (playing Monday, April 30 and Wednesday, May 2 in San Francisco and Thursday, May 3 in Berkeley) never drops the focus from its everyday, workaday protagonists. It’s a humanistic point of view that some would say is the essence of political filmmaking. You’ll get no argument from me.\u003c/p>\n\u003cp>The damning Israeli film \u003ci>The Law in These Parts\u003c/i> (screening Wed., Apr. 25 in Berkeley and Sun., April 29 and Tues., May 1 in San Francisco) is the most explicitly political, and carefully conceptualized, of the three films. Seeking a fresh way to speak about the occupation of the territories, and the gradual, insidious damage it’s wreaked on his country’s morality and soul, Ra’anan Alexandrowicz (\u003ci>The Inner Tour\u003c/i>) dredges up the historical record to force a collision between the dry abstractions of legal decisions and on-the-ground reality.\u003c/p>\n\u003cp>The filmmaker asks a number of retired military lawyers and judges, and even a former Supreme Court justice, to revisit rulings they made and consider, if they’d be so kind, the pressures they faced, the compromises they embraced and the consequences of their decisions. A precise, unyielding interviewer, Alexandrowicz is after nothing less than their acknowledgement that, one step at a time over 40 years, the Israeli military justice system codified and thus condoned the systematic denial of the Palestinians’ rights.\u003c/p>\n\u003cp>\u003ci>The Law in These Parts\u003c/i> — an inspired title that invokes the “peacemaker” (i.e., gun-enforced) justice of old-school American Westerns and applies it to government sanctioned, court-ordered, by-the-book crimes — never loses sight of who the real victims are in this ongoing debacle. A few lawyers, or peace activists, may lose sleep; the Palestinians lose much, much more. The empathy we feel watching \u003ci>In My Mother’s Arms\u003c/i> and \u003ci>Meanwhile in Mamelodi\u003c/i> is supplanted midway through \u003ci>The Law in These Parts\u003c/i> by a rising fury. Come to think of it, that’s the prevailing emotion I experience during the evening news.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 55th San Francisco International Film Festival runs Thursday, April 19-Thursday, May 3, 2012 at the Sundance Kabuki, Film Society Cinema and Castro Theaters in San Francisco and the Pacific Film Archive in Berkeley. For more information, visit \u003ca href=\"http://festival.sffs.org/\">\u003c/a>festival.sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometime in the early ’90s, the programmers at the S.F. International Film Festival had a eureka moment. They recognized the educated Bay Area population’s hunger for frank, up-close dispatches from other countries, and assiduously tapped into it. No doubt this demand for documentaries from abroad had something to do with cable news’ shift from behind-the-scenes reporting to surface-level infotainment; whatever the cause, the SFIFF smartly answered the call. Fast forward to the present: U.S. television news has deteriorated even further, and the festival’s lineup of international documentaries has become arguably the most consistently popular section of the program.\u003c/p>\n\u003cp>A trio of films from Iraq, South Africa and Israel illustrates both the reach and the sociopolitical philosophy of the SFIFF, which begins Thursday, April 19 and continues through May 3 in San Francisco and Berkeley. The valuable yet frustrating verité doc \u003ci>In My Mother’s Arms\u003c/i>, by the Iraqi brothers Atia and Mohamed Jabarah al-Daradji, reminds us that life goes on even if Baghdad has fallen off the radar of U.S. news directors and citizens.\u003c/p>\n\u003cp>The focus is a no-frills orphanage independently operated on a permanent shoestring by a good-looking, chain-smoking fellow named Husham. A heroic iconoclast waging a perpetual uphill battle, Husham is more devoted to the 30-plus boys under his care than he is to his wife and children. While we can’t help but admire his unwavering commitment and good intentions, it becomes increasingly clear that the lack of resources and professional staff limits the extent of his help to shelter, food and tough love.\u003c/p>\n\u003cp>That’s far from insignificant, of course, but what the children crave — especially the two whom the filmmakers highlight, a talented teenage high-diver and a relentlessly bullied younger boy — is a therapeutic framework for dealing with their loss, grief, self-identity and self-worth. A record of a tiny sliver of postwar nation-building, \u003ci>In My Mother’s Arms\u003c/i> (screening Thurs., April 26 and Sun., April 29 at the Sundance Kabuki Cinemas in San Francisco and Wed., May 2 at the Pacific Film Archive in Berkeley) offers little sense of progress and no resolution. And yet, somehow, we come away with a smidgen of hope for Iraq, whether it’s justified or not.\u003c/p>\n\u003cp>The individual consequences of immense forces is also the underlying theme of Benjamin Kahlmeyer’s patient and generous portrait of a Pretoria family, \u003ci>Meanwhile in Mamelodi\u003c/i>. The German director journeyed to South Africa in 2010 with the aim of depicting the lives of people whom the hordes of tourists — as well as the international TV crews and journalists — attending and covering the World Cup matches would never see or meet. (Hence the “meanwhile” of the title.) Fortunately, Kahlmeyer eschews heavy-handed global messages in favor of a character-oriented approach that satisfyingly insinuates us into his subject’s lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Mtsweni family lives in Third World conditions, but they aren’t blighted by poverty. The hardworking father owns a store and makes a decent living selling drinks and cigarettes (one or two at a time, never a whole pack). His teenage daughter is a talented soccer player but has begun to figure out that neither sports nor young motherhood will provide the life she wants. Through interviews and voice-over, we are given access to the father’s goals and dreams for his children; the filmmaker’s observant camera, meanwhile, conveys both the difficulties and satisfactions of everyday life.\u003c/p>\n\u003cp>Unforced yet beautifully paced, \u003ci>Meanwhile in Mamelodi\u003c/i> (playing Monday, April 30 and Wednesday, May 2 in San Francisco and Thursday, May 3 in Berkeley) never drops the focus from its everyday, workaday protagonists. It’s a humanistic point of view that some would say is the essence of political filmmaking. You’ll get no argument from me.\u003c/p>\n\u003cp>The damning Israeli film \u003ci>The Law in These Parts\u003c/i> (screening Wed., Apr. 25 in Berkeley and Sun., April 29 and Tues., May 1 in San Francisco) is the most explicitly political, and carefully conceptualized, of the three films. Seeking a fresh way to speak about the occupation of the territories, and the gradual, insidious damage it’s wreaked on his country’s morality and soul, Ra’anan Alexandrowicz (\u003ci>The Inner Tour\u003c/i>) dredges up the historical record to force a collision between the dry abstractions of legal decisions and on-the-ground reality.\u003c/p>\n\u003cp>The filmmaker asks a number of retired military lawyers and judges, and even a former Supreme Court justice, to revisit rulings they made and consider, if they’d be so kind, the pressures they faced, the compromises they embraced and the consequences of their decisions. A precise, unyielding interviewer, Alexandrowicz is after nothing less than their acknowledgement that, one step at a time over 40 years, the Israeli military justice system codified and thus condoned the systematic denial of the Palestinians’ rights.\u003c/p>\n\u003cp>\u003ci>The Law in These Parts\u003c/i> — an inspired title that invokes the “peacemaker” (i.e., gun-enforced) justice of old-school American Westerns and applies it to government sanctioned, court-ordered, by-the-book crimes — never loses sight of who the real victims are in this ongoing debacle. A few lawyers, or peace activists, may lose sleep; the Palestinians lose much, much more. The empathy we feel watching \u003ci>In My Mother’s Arms\u003c/i> and \u003ci>Meanwhile in Mamelodi\u003c/i> is supplanted midway through \u003ci>The Law in These Parts\u003c/i> by a rising fury. Come to think of it, that’s the prevailing emotion I experience during the evening news.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 55th San Francisco International Film Festival runs Thursday, April 19-Thursday, May 3, 2012 at the Sundance Kabuki, Film Society Cinema and Castro Theaters in San Francisco and the Pacific Film Archive in Berkeley. For more information, visit \u003ca href=\"http://festival.sffs.org/\">\u003c/a>festival.sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In his Tehran apartment, the filmmaker Jafar Panahi sits down to breakfast with a video camera pointed at himself. For a man being tyrannized, he seems in decent spirits. His apartment, the camera records, is brightly lit and well appointed, his breakfast tactfully deluxe. Somewhere outside a muffled boom occurs. Then a siren. Panahi doesn’t seem surprised or disturbed. He’s focused, reflecting on his own situation.\u003c/p>\n\u003cp>For “making propaganda against the system,” Panahi has been sentenced by Iranian authorities to six years in prison, and 20 without making more films. Under house arrest and awaiting the outcome of an appeal, he spends some time on the phone with a lawyer, then summons a colleague, cameraman Mojtaba Mirtahmasb, for assistance with the video diary already under way. \u003ci>This Is Not a Film\u003c/i> is what they’ll call the result, and that’s true enough. It’s merely an “effort,” by which the prisoner of conscience testifies to his experience. Disarmingly, and rivetingly, his approach is not so much a matter of rebellious defiance as of creative problem-solving.\u003c/p>\n\u003cp>Stasis being the focus of its examination, the camera doesn’t move much, and neither does the story. But in his sly way Panahi commands attention. He resorts to blocking out and reading from a pending script — about a girl who can’t go to art school because her parents have locked her in her room — and even his spoken description of the opening shot is transfixing. Inevitably, though, ingrained circumspection gives way to frustration. “If we could \u003ci>tell\u003c/i> a film, why \u003ci>make\u003c/i> a film?” Panahi says, stepping gloomily out onto the balcony for a smoke and a moment alone. Later, perusing DVDs of his previous films reveals earlier precedents for Panahi’s adaptiveness as a seeker of serendipity, but also makes clear how necessary freedom is to him.\u003c/p>\n\u003cp>In recent years, with minor variations, “This Is Not a Film” has been a movie title several times. As such it evokes the self-interrogating art prank of René Magritte’s 1929 painting of a pipe, under which was written “Ceci n’est pas une pipe.” The English title of that painting is \u003ci>The Treachery of Images\u003c/i>. Sometimes it’s translated as \u003ci>The Treason of Images\u003c/i>, although that might sound a little dramatic to anyone but the Iranian authorities. Before Magritte, in 1772, Denis Diderot wrote a story called \u003ci>This Is Not a Story\u003c/i>. \u003c/p>\n\u003cp>Panahi’s project is nicely tempered by an awareness that everything radical also is cyclical. Accordingly his title seems by turns cheeky, despondent, and sincere. Good artists understand the usefulness of restriction, and \u003ci>This Is Not a Film\u003c/i> draws much power from its maker’s humility. A conviction to continue his work is not the same as a sense of entitlement. Of course there is that also basic satisfaction of a big FU — the not-trivial moral victory of having out-maneuvered and humiliated a bully, without ever stooping. That Panahi maintains his dignity is the essence of the effort, and more than adequate cause to make it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All the not-film lacks is a scene of its own epilogue: Reportedly smuggled out of Iran on a USB stick hidden in a cake, it made it to France just in times for Cannes. Later, Mirtahmasb spent three months in prison for his participation. Panahi remains under house arrest, awaiting a ruling on his latest appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>This Is Not a Film\u003c/b> opens Friday, April 6, 2012, at the SF Film Society Cinema, 1746 Post Street, San Francisco. For \u003ca href=\"sffs.org/\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his Tehran apartment, the filmmaker Jafar Panahi sits down to breakfast with a video camera pointed at himself. For a man being tyrannized, he seems in decent spirits. His apartment, the camera records, is brightly lit and well appointed, his breakfast tactfully deluxe. Somewhere outside a muffled boom occurs. Then a siren. Panahi doesn’t seem surprised or disturbed. He’s focused, reflecting on his own situation.\u003c/p>\n\u003cp>For “making propaganda against the system,” Panahi has been sentenced by Iranian authorities to six years in prison, and 20 without making more films. Under house arrest and awaiting the outcome of an appeal, he spends some time on the phone with a lawyer, then summons a colleague, cameraman Mojtaba Mirtahmasb, for assistance with the video diary already under way. \u003ci>This Is Not a Film\u003c/i> is what they’ll call the result, and that’s true enough. It’s merely an “effort,” by which the prisoner of conscience testifies to his experience. Disarmingly, and rivetingly, his approach is not so much a matter of rebellious defiance as of creative problem-solving.\u003c/p>\n\u003cp>Stasis being the focus of its examination, the camera doesn’t move much, and neither does the story. But in his sly way Panahi commands attention. He resorts to blocking out and reading from a pending script — about a girl who can’t go to art school because her parents have locked her in her room — and even his spoken description of the opening shot is transfixing. Inevitably, though, ingrained circumspection gives way to frustration. “If we could \u003ci>tell\u003c/i> a film, why \u003ci>make\u003c/i> a film?” Panahi says, stepping gloomily out onto the balcony for a smoke and a moment alone. Later, perusing DVDs of his previous films reveals earlier precedents for Panahi’s adaptiveness as a seeker of serendipity, but also makes clear how necessary freedom is to him.\u003c/p>\n\u003cp>In recent years, with minor variations, “This Is Not a Film” has been a movie title several times. As such it evokes the self-interrogating art prank of René Magritte’s 1929 painting of a pipe, under which was written “Ceci n’est pas une pipe.” The English title of that painting is \u003ci>The Treachery of Images\u003c/i>. Sometimes it’s translated as \u003ci>The Treason of Images\u003c/i>, although that might sound a little dramatic to anyone but the Iranian authorities. Before Magritte, in 1772, Denis Diderot wrote a story called \u003ci>This Is Not a Story\u003c/i>. \u003c/p>\n\u003cp>Panahi’s project is nicely tempered by an awareness that everything radical also is cyclical. Accordingly his title seems by turns cheeky, despondent, and sincere. Good artists understand the usefulness of restriction, and \u003ci>This Is Not a Film\u003c/i> draws much power from its maker’s humility. A conviction to continue his work is not the same as a sense of entitlement. Of course there is that also basic satisfaction of a big FU — the not-trivial moral victory of having out-maneuvered and humiliated a bully, without ever stooping. That Panahi maintains his dignity is the essence of the effort, and more than adequate cause to make it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All the not-film lacks is a scene of its own epilogue: Reportedly smuggled out of Iran on a USB stick hidden in a cake, it made it to France just in times for Cannes. Later, Mirtahmasb spent three months in prison for his participation. Panahi remains under house arrest, awaiting a ruling on his latest appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>This Is Not a Film\u003c/b> opens Friday, April 6, 2012, at the SF Film Society Cinema, 1746 Post Street, San Francisco. For \u003ca href=\"sffs.org/\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "S.F. International Film Festival: 5 to Watch in April",
"headTitle": "S.F. International Film Festival: 5 to Watch in April | KQED",
"content": "\u003cp>The perennial challenge for local moviegoers who don’t know Mathieu Kassovitz from Victor Kossakovsky — the vast majority, needless to say — is rooting out the revelations, rarities and rarefied delights in the dauntingly wide-ranging San Francisco International Film Festival program. My advice doesn’t vary from year to year: When in doubt, take a chance. If a film piques your curiosity, especially (though not exclusively) if it doesn’t have a U.S. distributor and may not play here again, pop for a ticket. All you have to lose is 13 clams (12 for seniors and students). Kassovitz’s \u003ci>Rebellion\u003c/i> (a fact-based drama about a 1988 hostage negotiation between a French officer and an insurgent leader, and Kossakovsky’s \u003ci>Vivan Las Antipodas!\u003c/i>, a globe-trotting, small-world documentary made even more enticing by the filmmaker’s appearance at the festival, are worthy possibilities. If you’d rather be with the crowd, here are my guesses for the programs most likely to sell out.\u003c/p>\n\u003cp>The SFIFF’s most eagerly anticipated event is the live pairing every year of a contemporary band or musician with a vintage silent treasure at the venerable Castro Theatre. Not every combo’s been a winner, but that’s the nature (and the exciting uncertainty) of collaboration between living and dead artists. It’s impossible to go wrong with Buster Keaton, though, and four comic shorts from the late teens and early 1920s screen Monday, April 23 to the original accompaniment of Merrill Garbus (of Oakland’s tUnE-yArDs) and guitarist Ava Mendoza. Tickets for this show are $25.\u003c/p>\n\u003cp>Another one-of-a-kind talent from cinema’s glorious past, the daringly flamboyant, frequently entertaining and always provocative Ken Russell, died late last year at the age of 84. Local performer and impresario Peaches Christ honors the over-the-top master of garish (read bad) taste with a glitzy, late-night drag revue and screening of \u003ci>Tommy\u003c/i> (1975) Saturday, April 21 at the Sundance Kabuki Cinemas. Tickets for “Acid Queens: Peaches and \u003ci>Tommy\u003c/i>” are $20, but the SFIFF revives \u003ci>Quadrophenia\u003c/i> (1979) at the Castro the following Saturday night, April 28, for those who prefer their Who fix at regular prices without the sideshow.\u003c/p>\n\u003cp>The documentary section is consistently one of the festival’s most popular, year after year. Topping the bill is the great Barbara Kopple, who is saluted Sunday, April 22 with the annual Persistence of Vision Award, an onstage interview and a timely screening of her timeless, Oscar-winning record of a coal miner’s strike, \u003ci>Harlan County, U.S.A.\u003c/i> (1976). My crystal ball reveals no less than three nonfiction programs with local connections that are guaranteed to be electric: Peter Nicks’ \u003ci>The Waiting Room\u003c/i> (April 21 in Berkeley and April 30 and May 1 in S.F.) is a mesmerizing (and also timely) look at Oakland’s Highland Hospital. Jamie Meltzer’s \u003ci>Informant\u003c/i> (April 22 and 27 in S.F., April 23 in Berkeley) brings shadowy FBI informant Brandon Darby, the villain in last year’s wrenching, locally made doc, \u003ci>Better This World\u003c/i>, into the spotlight. Speaking of idealists, the beloved Sam Green returns with the latest installment in his marvelous series of live, performative documentaries, \u003ci>The Love Song of R. Buckminster Fuller\u003c/i>), Tuesday, May 1 at SFMOMA (a $25 ticket).\u003c/p>\n\u003cp>Nobody gives more articulate, informed and amusing interviews than British directors and actors. Kenneth Branagh checks both boxes, of course, so he should be positively scintillating when he receives the Founder’s Directing Award Friday, April 27 at the Castro. The $30 ducat includes an interview and his 1991 directing-acting turn, \u003ci>Dead Again\u003c/i>. (What, no Shakespeare? Well, be grateful the festival didn’t pick \u003ci>Peter’s Friends\u003c/i>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My last tip is a film that is unlikely to spark a mad frenzy at the ticket office or the rush line. But I’ll use my bully pulpit here, such as it is, to tout \u003ci>Goodbye\u003c/i>, the latest work by the profoundly observant Iranian director Mohammad Rasoulof. His previous film, a gorgeous, mysterious fable entitled \u003ci>The White Meadows\u003c/i>, was my 2010 SFIFF highlight. \u003ci>Goodbye\u003c/i> (April 20, 21 and 23 in S.F.) eschews that movie’s open-air vistas for the claustrophobic apartment of a pregnant lawyer desperate to emigrate and escape the choking atmosphere of religious, political and police encroachment. (Rasoulof and fellow director Jafar Panahi were recently banned from filmmaking and sentenced to prison in a ruling that became an international cause celebre.) Actually, given the recent critical and box-office success of the Oscar-winning Iranian drama \u003ci>A Separation\u003c/i>, it’s quite possible that \u003ci>Goodbye\u003c/i> turns out to be a tough ticket, after all. A word to the wise: Get your tickets today, and thank me later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 55th San Francisco International Film Festival runs Thursday, April 19-Thursday, May 3, 2012 at the Sundance Kabuki, Film Society Cinema and Castro Theaters in San Francisco and the Pacific Film Archive in Berkeley. \u003ca href=\"http://festival.sffs.org\">For more information\u003c/a>, visit festival.sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The perennial challenge for local moviegoers who don’t know Mathieu Kassovitz from Victor Kossakovsky — the vast majority, needless to say — is rooting out the revelations, rarities and rarefied delights in the dauntingly wide-ranging San Francisco International Film Festival program. My advice doesn’t vary from year to year: When in doubt, take a chance. If a film piques your curiosity, especially (though not exclusively) if it doesn’t have a U.S. distributor and may not play here again, pop for a ticket. All you have to lose is 13 clams (12 for seniors and students). Kassovitz’s \u003ci>Rebellion\u003c/i> (a fact-based drama about a 1988 hostage negotiation between a French officer and an insurgent leader, and Kossakovsky’s \u003ci>Vivan Las Antipodas!\u003c/i>, a globe-trotting, small-world documentary made even more enticing by the filmmaker’s appearance at the festival, are worthy possibilities. If you’d rather be with the crowd, here are my guesses for the programs most likely to sell out.\u003c/p>\n\u003cp>The SFIFF’s most eagerly anticipated event is the live pairing every year of a contemporary band or musician with a vintage silent treasure at the venerable Castro Theatre. Not every combo’s been a winner, but that’s the nature (and the exciting uncertainty) of collaboration between living and dead artists. It’s impossible to go wrong with Buster Keaton, though, and four comic shorts from the late teens and early 1920s screen Monday, April 23 to the original accompaniment of Merrill Garbus (of Oakland’s tUnE-yArDs) and guitarist Ava Mendoza. Tickets for this show are $25.\u003c/p>\n\u003cp>Another one-of-a-kind talent from cinema’s glorious past, the daringly flamboyant, frequently entertaining and always provocative Ken Russell, died late last year at the age of 84. Local performer and impresario Peaches Christ honors the over-the-top master of garish (read bad) taste with a glitzy, late-night drag revue and screening of \u003ci>Tommy\u003c/i> (1975) Saturday, April 21 at the Sundance Kabuki Cinemas. Tickets for “Acid Queens: Peaches and \u003ci>Tommy\u003c/i>” are $20, but the SFIFF revives \u003ci>Quadrophenia\u003c/i> (1979) at the Castro the following Saturday night, April 28, for those who prefer their Who fix at regular prices without the sideshow.\u003c/p>\n\u003cp>The documentary section is consistently one of the festival’s most popular, year after year. Topping the bill is the great Barbara Kopple, who is saluted Sunday, April 22 with the annual Persistence of Vision Award, an onstage interview and a timely screening of her timeless, Oscar-winning record of a coal miner’s strike, \u003ci>Harlan County, U.S.A.\u003c/i> (1976). My crystal ball reveals no less than three nonfiction programs with local connections that are guaranteed to be electric: Peter Nicks’ \u003ci>The Waiting Room\u003c/i> (April 21 in Berkeley and April 30 and May 1 in S.F.) is a mesmerizing (and also timely) look at Oakland’s Highland Hospital. Jamie Meltzer’s \u003ci>Informant\u003c/i> (April 22 and 27 in S.F., April 23 in Berkeley) brings shadowy FBI informant Brandon Darby, the villain in last year’s wrenching, locally made doc, \u003ci>Better This World\u003c/i>, into the spotlight. Speaking of idealists, the beloved Sam Green returns with the latest installment in his marvelous series of live, performative documentaries, \u003ci>The Love Song of R. Buckminster Fuller\u003c/i>), Tuesday, May 1 at SFMOMA (a $25 ticket).\u003c/p>\n\u003cp>Nobody gives more articulate, informed and amusing interviews than British directors and actors. Kenneth Branagh checks both boxes, of course, so he should be positively scintillating when he receives the Founder’s Directing Award Friday, April 27 at the Castro. The $30 ducat includes an interview and his 1991 directing-acting turn, \u003ci>Dead Again\u003c/i>. (What, no Shakespeare? Well, be grateful the festival didn’t pick \u003ci>Peter’s Friends\u003c/i>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My last tip is a film that is unlikely to spark a mad frenzy at the ticket office or the rush line. But I’ll use my bully pulpit here, such as it is, to tout \u003ci>Goodbye\u003c/i>, the latest work by the profoundly observant Iranian director Mohammad Rasoulof. His previous film, a gorgeous, mysterious fable entitled \u003ci>The White Meadows\u003c/i>, was my 2010 SFIFF highlight. \u003ci>Goodbye\u003c/i> (April 20, 21 and 23 in S.F.) eschews that movie’s open-air vistas for the claustrophobic apartment of a pregnant lawyer desperate to emigrate and escape the choking atmosphere of religious, political and police encroachment. (Rasoulof and fellow director Jafar Panahi were recently banned from filmmaking and sentenced to prison in a ruling that became an international cause celebre.) Actually, given the recent critical and box-office success of the Oscar-winning Iranian drama \u003ci>A Separation\u003c/i>, it’s quite possible that \u003ci>Goodbye\u003c/i> turns out to be a tough ticket, after all. A word to the wise: Get your tickets today, and thank me later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 55th San Francisco International Film Festival runs Thursday, April 19-Thursday, May 3, 2012 at the Sundance Kabuki, Film Society Cinema and Castro Theaters in San Francisco and the Pacific Film Archive in Berkeley. \u003ca href=\"http://festival.sffs.org\">For more information\u003c/a>, visit festival.sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NAPOLEON!",
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"content": "\u003cp>In the decadent Paramount Theatre, attending \u003cem>Napoleon\u003c/em> feels like an act of history. The audience is finely dressed in vests and hats and some use umbrellas as canes — one audience member even dons a stylish bicorne hat, which she pairs with a double-breasted coat and heels. Buzzing, attendees saunter in early to hear the orchestra tune in that cacophony that precedes the grand opening of the curtain. The titles win applause, and though clapping for a film can often feel arbitrary, here at the Paramount — it is inspired.\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em>, the 1927 film by French silent film master Abel Gance, has never been shown in its entirety. Reconstructed by Gance scholar Kevin Brownlow and presented by the San Francisco Silent Film Festival, this five and a half hour version will likely be the closest we will ever get to see the film as the director intended. The Oakland East Bay Symphony provides a marvelous accompaniment under the direction of Carl Davis, who wrote the score for a series of screenings in 1981. The synched three-projection finale of \u003cem>Napoleon\u003c/em> is exceedingly rare. When Gance innovated this technique (later called Polyvision), he believed it to be the future of cinema. His experiential approach, placing the audience within the grandiose landscape of Napoleon’s Italian campaign, makes this production a true live event. \u003c/p>\n\u003cp>The film opens on a Champagne hillside at Napoleon’s military school. Headmasters huddle around snowy windows and overlook a grave snowball fight. The warring boys are well-entrenched in forts, dressed in full Revolutionary uniforms. Ten versus forty reads the title card. Napoleon, played ruthlessly by the young Vladimir Roudenko, displays iconic fortitude. Amidst an onslaught of snow, he is unmoved while directing his nine child-soldiers. He uses a mirrored belt buckle to survey the battlefield. The camera follows along with the pounding of a timpani drum. These boyhood squabbles are not a metaphor — aside from being historical, they are also Gance’s first battle scene.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/28/napoleon21.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">Vladimir Roudenko as the young Napoleon. Photo courtesy Photoplay Productions.\u003c/center>\n\u003cp>As boy or man, Napoleon is never seen outside of military uniform. He wears tight white trousers, leather boots, and a dark jacket that flares out in a ‘V’. His hat rarely leaves his head, giving his silhouette the shape of an erect hammerhead shark. He is centered and aloof through the French Revolution, the Reign of Terror, and imprisonment for espionage. Every character in this film is set to counter Napoleon. In a brilliant performance of Napoleon, Albert Dieudonné meets their ignorance, indifference, and malice with proud obstinacy. While aristocrats are dragged to the guillotine, he remains bent over a map, planning his empire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gance’s closely examined characters provide the film’s strongest moments. He leans toward surrealism, often layering symbols over his characters, such as fire, waves, a spinning globe, or in Napoleon’s case, the head of a chirping eagle, an imposition later picked up by the Italian photographer Wanda Wulz. The majority of the film is tinted with color dyes: blood red for the scenes of the Revolution, lavender for memories, blue for night marches, auburn for the homeland of Corsica. And there are great innovations for the camera: the point-of-view zooms by, strapped to a sled, bicycle or swing, or follows Napoleon’s entourage along jaunting horseback rides.\u003c/p>\n\u003cp>But this is mostly a classical picture. Napoleon is on the hero’s journey. His troops are ragged and underfed with ribs painted onto their bare chests. They persevere, injected with enthusiasm by Napoleon’s piercing eyes and his incantatory speech. Napoleon is descried as the true leader of France amidst patriotic imagery (his escape from the island of Corsica is staged on a boat with the French flag as his sail). The frame is continually packed with action and the theme of the \u003cem>Marseillaise\u003c/em> repeats. Battle scenes are composed as a painting by Delacroix — soldiers expiring in the lower frame while others tread on into battle anew. They march to the swelling beat of field-drums like in a propaganda film by Riefenstahl.\u003c/p>\n\u003cp>Enrapt, the audience rises with giddiness. By second intermission, almost everyone is drinking wine. A woman and a man energetically hum the \u003cem>Marseillaise\u003c/em>, and by dinner break, the obsession with Napoleon seems palpable. Two women gush by the art-deco columns: “…those \u003cem>dark\u003c/em> eyes and that \u003cem>dark\u003c/em> hat!” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/28/napoleon31.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">Three projections complete the finale. Photo courtesy Photoplay Productions.\u003c/center>\n\u003cp>When the curtains open for the final act and Gance extends his palette to three screens, the audience howls wildly. This is the moment we’ve all been waiting for, and Gance delivers. Everyone seems to be leaning forward on their seats as the orchestra echoes the triumphal theme of Napoleon’s victories. Addressing the browbeaten army, Napoleon’s striking features fill the center screen while sublime silver clouds pass over a white sky on the two screens to his sides. This is the moment \u003cem>Napoleon\u003c/em> becomes epic. He promises that those traveling Europe will one day encounter “a common fatherland.” Trumpets trill and chimes ring out. The cuts accelerate, the camera movements hasten, and what we see next is one of the most extraordinary and beautiful layering sequences to ever be caught on film. It is not to be missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> plays at Oakland’s Paramount Theatre on March 31 and April 1, 2012. For \u003ca href=\"http://www.silentfilm.org/napoleon-home.php\">tickets and information\u003c/a> visit silentfilm.org.\u003c/p>\n\n",
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"excerpt": "Reconstructed by Gance scholar Kevin Brownlow and presented by the San Francisco Silent Film Festival, this five and a half hour version of the 1927 film will likely be the closest we will ever get to see the film as the director intended.",
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"description": "Reconstructed by Gance scholar Kevin Brownlow and presented by the San Francisco Silent Film Festival, this five and a half hour version of the 1927 film will likely be the closest we will ever get to see the film as the director intended.",
"title": "NAPOLEON! | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the decadent Paramount Theatre, attending \u003cem>Napoleon\u003c/em> feels like an act of history. The audience is finely dressed in vests and hats and some use umbrellas as canes — one audience member even dons a stylish bicorne hat, which she pairs with a double-breasted coat and heels. Buzzing, attendees saunter in early to hear the orchestra tune in that cacophony that precedes the grand opening of the curtain. The titles win applause, and though clapping for a film can often feel arbitrary, here at the Paramount — it is inspired.\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em>, the 1927 film by French silent film master Abel Gance, has never been shown in its entirety. Reconstructed by Gance scholar Kevin Brownlow and presented by the San Francisco Silent Film Festival, this five and a half hour version will likely be the closest we will ever get to see the film as the director intended. The Oakland East Bay Symphony provides a marvelous accompaniment under the direction of Carl Davis, who wrote the score for a series of screenings in 1981. The synched three-projection finale of \u003cem>Napoleon\u003c/em> is exceedingly rare. When Gance innovated this technique (later called Polyvision), he believed it to be the future of cinema. His experiential approach, placing the audience within the grandiose landscape of Napoleon’s Italian campaign, makes this production a true live event. \u003c/p>\n\u003cp>The film opens on a Champagne hillside at Napoleon’s military school. Headmasters huddle around snowy windows and overlook a grave snowball fight. The warring boys are well-entrenched in forts, dressed in full Revolutionary uniforms. Ten versus forty reads the title card. Napoleon, played ruthlessly by the young Vladimir Roudenko, displays iconic fortitude. Amidst an onslaught of snow, he is unmoved while directing his nine child-soldiers. He uses a mirrored belt buckle to survey the battlefield. The camera follows along with the pounding of a timpani drum. These boyhood squabbles are not a metaphor — aside from being historical, they are also Gance’s first battle scene.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/28/napoleon21.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">Vladimir Roudenko as the young Napoleon. Photo courtesy Photoplay Productions.\u003c/center>\n\u003cp>As boy or man, Napoleon is never seen outside of military uniform. He wears tight white trousers, leather boots, and a dark jacket that flares out in a ‘V’. His hat rarely leaves his head, giving his silhouette the shape of an erect hammerhead shark. He is centered and aloof through the French Revolution, the Reign of Terror, and imprisonment for espionage. Every character in this film is set to counter Napoleon. In a brilliant performance of Napoleon, Albert Dieudonné meets their ignorance, indifference, and malice with proud obstinacy. While aristocrats are dragged to the guillotine, he remains bent over a map, planning his empire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gance’s closely examined characters provide the film’s strongest moments. He leans toward surrealism, often layering symbols over his characters, such as fire, waves, a spinning globe, or in Napoleon’s case, the head of a chirping eagle, an imposition later picked up by the Italian photographer Wanda Wulz. The majority of the film is tinted with color dyes: blood red for the scenes of the Revolution, lavender for memories, blue for night marches, auburn for the homeland of Corsica. And there are great innovations for the camera: the point-of-view zooms by, strapped to a sled, bicycle or swing, or follows Napoleon’s entourage along jaunting horseback rides.\u003c/p>\n\u003cp>But this is mostly a classical picture. Napoleon is on the hero’s journey. His troops are ragged and underfed with ribs painted onto their bare chests. They persevere, injected with enthusiasm by Napoleon’s piercing eyes and his incantatory speech. Napoleon is descried as the true leader of France amidst patriotic imagery (his escape from the island of Corsica is staged on a boat with the French flag as his sail). The frame is continually packed with action and the theme of the \u003cem>Marseillaise\u003c/em> repeats. Battle scenes are composed as a painting by Delacroix — soldiers expiring in the lower frame while others tread on into battle anew. They march to the swelling beat of field-drums like in a propaganda film by Riefenstahl.\u003c/p>\n\u003cp>Enrapt, the audience rises with giddiness. By second intermission, almost everyone is drinking wine. A woman and a man energetically hum the \u003cem>Marseillaise\u003c/em>, and by dinner break, the obsession with Napoleon seems palpable. Two women gush by the art-deco columns: “…those \u003cem>dark\u003c/em> eyes and that \u003cem>dark\u003c/em> hat!” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/03/28/napoleon31.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">Three projections complete the finale. Photo courtesy Photoplay Productions.\u003c/center>\n\u003cp>When the curtains open for the final act and Gance extends his palette to three screens, the audience howls wildly. This is the moment we’ve all been waiting for, and Gance delivers. Everyone seems to be leaning forward on their seats as the orchestra echoes the triumphal theme of Napoleon’s victories. Addressing the browbeaten army, Napoleon’s striking features fill the center screen while sublime silver clouds pass over a white sky on the two screens to his sides. This is the moment \u003cem>Napoleon\u003c/em> becomes epic. He promises that those traveling Europe will one day encounter “a common fatherland.” Trumpets trill and chimes ring out. The cuts accelerate, the camera movements hasten, and what we see next is one of the most extraordinary and beautiful layering sequences to ever be caught on film. It is not to be missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> plays at Oakland’s Paramount Theatre on March 31 and April 1, 2012. For \u003ca href=\"http://www.silentfilm.org/napoleon-home.php\">tickets and information\u003c/a> visit silentfilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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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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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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"perspectives": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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