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"content": "\u003cp>San Francisco isn’t that big a town, and you’d think a local filmmaker with four feature films to his credit would, at the very least, be recognized in his preferred Lower Nob Hill café. Maybe it’s asking too much, given the intense, talky nature of JP Allen’s work, for his name to be familiar to the general public, but his barista-slash-bartender should be wise to the man’s oeuvre. Perhaps five will be Allen’s lucky number, and \u003ci>Centaur\u003c/i> will raise the curtain once and for all on his emotionally raw yet refreshingly thoughtful movies.\u003c/p>\n\u003cp>The choice of a theater metaphor is not accidental, for Allen comes from a stage background and continues to teach acting along with filmmaking. His films — \u003ci>Coffee and Language\u003c/i>, \u003ci>Gambling\u003c/i>, \u003ci>Belief\u003c/i> and \u003ci>Sex and Imagining\u003c/i> — were made for a pittance and typically rely on a few unusually brave actors to put over psychologically astute relationship dramas distinguished by crisp, pithy dialogue. \u003ci>Centaur\u003c/i> is even more stripped-down and direct, but paradoxically it’s also his most open cinematically.\u003c/p>\n\u003cp>The main character, a man with no name played by the writer-director, addresses the camera, and the audience, at the outset. “I’m planning to kill someone, but I’m just like you and I want you to understand me,” he announces. “Maybe you’ll agree with me and maybe you won’t, but come along with me.” Thirty-three days later, the man’s plan will turn into action, and another man’s life will hang in the balance. \u003ci>Centaur\u003c/i> takes the form of a video journal leading up to and beyond the fateful (fatal? don’t expect a spoiler here) day.\u003c/p>\n\u003cp>“I’ve always loved the idea of a diary format,” Allen relates over a caffeine drink at Cup-a-Joe on Sutter. “I basically came down and wrote \u003ci>Centaur\u003c/i> a day at a time for 33 days. I don’t know that you would call that a [writing] exercise; I just thought it was the most honest way to go about it. The whole idea behind it, for me, is that he’s trying to communicate with somebody as he makes the piece. So the action of the film is constantly breaking the fourth wall.”\u003c/p>\n\u003cp>For moviegoers used to passively slouching in their seat and watching a movie unspool, \u003ci>Centaur\u003c/i> is alternately seductive, voyeuristic, discomfiting, meditative and darkly hilarious.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The key action of the piece is the character’s relationship with the audience,” Allen maintains. “For me as a filmmaker, that’s maybe the most interesting part because the audience is put in a position of interaction as opposed to sitting back and looking through the frame. The character is constantly going into the audience and trying to affect them, so that becomes perhaps the main action.”\u003c/p>\n\u003cp>Allen’s character is a regular-looking individual but he’s unusually literate, even by the standards of San Francisco coffeehouses. I wonder if the filmmaker reined in his character’s intellectualism, to make him more accessible to viewers.\u003c/p>\n\u003cp>“No, I never pulled back, I just did what I thought made sense for the character,” Allen replies. “You’re trying to take the audience into consideration, but you have an ideal audience — a secret friend — who you’re writing for, and you imagine this person would understand you for who you are. You wouldn’t have to alter who you are, or change anything, you just express it how you would express it and you hope they would understand you. Maybe that’s a question in my writing,” he says, laughing. “I don’t think about, ‘No one will have read this Jack Kerouac piece.’ I just go ahead and assume that the ‘secret friend’ would have or might have, and go from there.”\u003c/p>\n\u003cp>Allen uses the phrase “indie noir” to describe the setting and the tone, not because the plot unfolds in shadowy bars or deserted parking lots but because his character is not entirely reliable as a narrator. Sure, he has blind spots about himself, like all of us, but he’s also a little reluctant to completely trust the one person — “the secret friend” — the detective or stranger, that is, who he presumes will find the video journal in the aftermath of his revenge killing.\u003c/p>\n\u003cp>“It’s going to be unpredictable how the audience takes it,” Allen muses. “A lot of people react strongly to some of the scenes where he addresses them very intimately. There’s a scene where he says, ‘Who are you? I’d like to reach through the lens and find out who you are.’ Some audience members find that interesting, and others find it off-putting because he’s kind of a questionable character.”\u003c/p>\n\u003cp>Allen was aided and abetted at key points by actors Chris Pflueger (as the designated victim) and Amy Mordecai (as the main character’s taken-too-soon lover), and he makes splendid use of the music of former college pal and Austin fave Michael Slattery’s well-crafted, Steppenwolf-influenced rock and roll. But by and large he made the film by himself. He shot the crucial opening monologue in three or four different locations, racking up nearly a hundred takes before he was satisfied.\u003c/p>\n\u003cp>“The character is a little bit ill,” Allen concedes. “There’s some real sickness going on, in a way, and loneliness. It was actually quite lonely to film. I began to realize this is the way he would have done it, so loneliness would have pervaded the film [journal]. I was always trying to make sure he was pushing out, to this secret friend. That is one direction I [as the actor] did take from myself [as the director], that he was constantly, strongly and aggressively trying to affect the audience. And if a take wasn’t going in that direction, I knew it wasn’t going the right way.”\u003c/p>\n\u003cp>As a loner’s journey, \u003ci>Centaur\u003c/i> is quintessentially a San Francisco movie. It also qualifies on the basis of being a film of words, ideas and evocative memories. I don’t recall any café scenes or references, but there is a funny and poignant passage that makes splendid use of Irish whiskey — in Jack Kerouac Alley. That ought to be good enough for Allen’s barkeep, and other discerning moviegoers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Centaur\u003c/i> opens Friday, March 23, 2012 at the Lumiere Theatre, 1572 California St. in San Francisco. For more information, visit \u003ca href=\"http:/www.landmarkfilms.com\">landmarkfilms.com\u003c/a>. JP Allen and co-actors Amy Mordecai and Chris Pflueger will be on hand opening night. Saturday night, Mar. 24, features a double bill with Allen’s earlier film, \u003ci>Sex and Imagining\u003c/i>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco isn’t that big a town, and you’d think a local filmmaker with four feature films to his credit would, at the very least, be recognized in his preferred Lower Nob Hill café. Maybe it’s asking too much, given the intense, talky nature of JP Allen’s work, for his name to be familiar to the general public, but his barista-slash-bartender should be wise to the man’s oeuvre. Perhaps five will be Allen’s lucky number, and \u003ci>Centaur\u003c/i> will raise the curtain once and for all on his emotionally raw yet refreshingly thoughtful movies.\u003c/p>\n\u003cp>The choice of a theater metaphor is not accidental, for Allen comes from a stage background and continues to teach acting along with filmmaking. His films — \u003ci>Coffee and Language\u003c/i>, \u003ci>Gambling\u003c/i>, \u003ci>Belief\u003c/i> and \u003ci>Sex and Imagining\u003c/i> — were made for a pittance and typically rely on a few unusually brave actors to put over psychologically astute relationship dramas distinguished by crisp, pithy dialogue. \u003ci>Centaur\u003c/i> is even more stripped-down and direct, but paradoxically it’s also his most open cinematically.\u003c/p>\n\u003cp>The main character, a man with no name played by the writer-director, addresses the camera, and the audience, at the outset. “I’m planning to kill someone, but I’m just like you and I want you to understand me,” he announces. “Maybe you’ll agree with me and maybe you won’t, but come along with me.” Thirty-three days later, the man’s plan will turn into action, and another man’s life will hang in the balance. \u003ci>Centaur\u003c/i> takes the form of a video journal leading up to and beyond the fateful (fatal? don’t expect a spoiler here) day.\u003c/p>\n\u003cp>“I’ve always loved the idea of a diary format,” Allen relates over a caffeine drink at Cup-a-Joe on Sutter. “I basically came down and wrote \u003ci>Centaur\u003c/i> a day at a time for 33 days. I don’t know that you would call that a [writing] exercise; I just thought it was the most honest way to go about it. The whole idea behind it, for me, is that he’s trying to communicate with somebody as he makes the piece. So the action of the film is constantly breaking the fourth wall.”\u003c/p>\n\u003cp>For moviegoers used to passively slouching in their seat and watching a movie unspool, \u003ci>Centaur\u003c/i> is alternately seductive, voyeuristic, discomfiting, meditative and darkly hilarious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The key action of the piece is the character’s relationship with the audience,” Allen maintains. “For me as a filmmaker, that’s maybe the most interesting part because the audience is put in a position of interaction as opposed to sitting back and looking through the frame. The character is constantly going into the audience and trying to affect them, so that becomes perhaps the main action.”\u003c/p>\n\u003cp>Allen’s character is a regular-looking individual but he’s unusually literate, even by the standards of San Francisco coffeehouses. I wonder if the filmmaker reined in his character’s intellectualism, to make him more accessible to viewers.\u003c/p>\n\u003cp>“No, I never pulled back, I just did what I thought made sense for the character,” Allen replies. “You’re trying to take the audience into consideration, but you have an ideal audience — a secret friend — who you’re writing for, and you imagine this person would understand you for who you are. You wouldn’t have to alter who you are, or change anything, you just express it how you would express it and you hope they would understand you. Maybe that’s a question in my writing,” he says, laughing. “I don’t think about, ‘No one will have read this Jack Kerouac piece.’ I just go ahead and assume that the ‘secret friend’ would have or might have, and go from there.”\u003c/p>\n\u003cp>Allen uses the phrase “indie noir” to describe the setting and the tone, not because the plot unfolds in shadowy bars or deserted parking lots but because his character is not entirely reliable as a narrator. Sure, he has blind spots about himself, like all of us, but he’s also a little reluctant to completely trust the one person — “the secret friend” — the detective or stranger, that is, who he presumes will find the video journal in the aftermath of his revenge killing.\u003c/p>\n\u003cp>“It’s going to be unpredictable how the audience takes it,” Allen muses. “A lot of people react strongly to some of the scenes where he addresses them very intimately. There’s a scene where he says, ‘Who are you? I’d like to reach through the lens and find out who you are.’ Some audience members find that interesting, and others find it off-putting because he’s kind of a questionable character.”\u003c/p>\n\u003cp>Allen was aided and abetted at key points by actors Chris Pflueger (as the designated victim) and Amy Mordecai (as the main character’s taken-too-soon lover), and he makes splendid use of the music of former college pal and Austin fave Michael Slattery’s well-crafted, Steppenwolf-influenced rock and roll. But by and large he made the film by himself. He shot the crucial opening monologue in three or four different locations, racking up nearly a hundred takes before he was satisfied.\u003c/p>\n\u003cp>“The character is a little bit ill,” Allen concedes. “There’s some real sickness going on, in a way, and loneliness. It was actually quite lonely to film. I began to realize this is the way he would have done it, so loneliness would have pervaded the film [journal]. I was always trying to make sure he was pushing out, to this secret friend. That is one direction I [as the actor] did take from myself [as the director], that he was constantly, strongly and aggressively trying to affect the audience. And if a take wasn’t going in that direction, I knew it wasn’t going the right way.”\u003c/p>\n\u003cp>As a loner’s journey, \u003ci>Centaur\u003c/i> is quintessentially a San Francisco movie. It also qualifies on the basis of being a film of words, ideas and evocative memories. I don’t recall any café scenes or references, but there is a funny and poignant passage that makes splendid use of Irish whiskey — in Jack Kerouac Alley. That ought to be good enough for Allen’s barkeep, and other discerning moviegoers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Will Ferrell on ‘Casa de mi Padre’ | KQED",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/03/casapadre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/03/casapadre.jpg\" alt=\"casapadre\" width=\"324\" height=\"500\" class=\"alignleft size-full wp-image-129171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/03/casapadre.jpg 324w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/03/casapadre-194x300.jpg 194w\" sizes=\"(max-width: 324px) 100vw, 324px\">\u003c/a>For the past week I’ve been trying to describe Will Ferrell’s new movie, \u003ci>Casa de mi Padre\u003c/i>, to various friends and loved ones. It’s been a difficult task. Here are some of the things I have said:\u003c/p>\n\u003cp>“Well, it’s completely absurd, you have to start there.”\u003c/p>\n\u003cp>“There’s an animatronic white tiger. At least, I think it’s a white tiger.”\u003c/p>\n\u003cp>“Diego Luna and Gael Garcia Bernal play warring drug dealers and Diego Luna is also Will Ferrell’s brother. I think his big brother.”\u003c/p>\n\u003cp>“It’s all in Spanish. Yes, the whole thing. There are subtitles.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Yeah, Will Ferrell speaks Spanish the entire time too.”\u003c/p>\n\u003cp>“I’ve never laughed so hard at a massacre scene.”\u003c/p>\n\u003cp>“There’s a few pretty amazing musical numbers.”\u003c/p>\n\u003cp>“There’s a lot of cigarette smoking. Sometimes multiple cigarettes at one time. The drug dealers smoke a brand called ‘Canadian Slims.'”\u003c/p>\n\u003cp>“I think there was a mannequin involved in the sex scene.”\u003c/p>\n\u003cp>Then I send them the trailer.\u003c/p>\n\u003cp>http://youtu.be/p5GYrBB86Fo\u003c/p>\n\u003cp>I have a good feeling about \u003ci>Casa de mi Padre\u003c/i>. I didn’t always have this feeling though. After the press screening, I’ll admit I was confused. When a friendly girl who was probably employed by the studio or something asked me on my way out if I liked the movie, I had to be honest and say, “Well…it was interesting? Let me think about it.”\u003c/p>\n\u003cp>Which is what I have been doing ever since.\u003c/p>\n\u003cp>In terms of a Will Ferrell movie, \u003ci>Casa de mi Padre\u003c/i> is very plot driven. But we’re talking about Will Ferrell, who is mostly a king of insane characters who sometimes stretch into movies gracefully (\u003ci>Anchor Man\u003c/i>) and sometimes stretch awkwardly (\u003ci>Semi-Pro\u003c/i>). Usually, though, all “plot” is driven by character. But \u003ci>Casa de mi Padre\u003c/i> is a stretched out idea instead of a stretched out character so the idea — what if we made a totally insane, beautiful, violent movie sort of like a telenovela mixed with a western in which Will Ferrell speaks Spanish? — drives the plot.\u003c/p>\n\u003cp>So the plot is a basic, kind of familiar one, perfect for say, a movie you would watch in Spanish class in eighth grade: Armando (Will Ferrell) is a simple ranchero whose mother died under suspicious circumstances when he was a child. He lives with his father, who thinks he’s a stupid failure (maybe because his Spanish is so rudimentary) on their ranch where they are frequently served drinks by scantily clad maids. Armando spends his days with his ranchero pals (one of whom is played by Efren Ramirez who you will recognize as Pedro from \u003ci>Napoleon Dynamite\u003c/i>), rescuing calves and watching the local drug lord, La Onza (Gael Garcia Bernal), murder people. When Armando’s brother (Diego Luna) returns to the ranch with his beautiful fiancé, Armando discovers that he too is a drug dealer and that his brother’s fiancé is also the niece of La Onza. I know I said it’s simple but it is also sort of complicated.\u003c/p>\n\u003cp>And then there are cigarettes and blood dripping from a white rose and a rousing song called “Yo No Se!” and the sex scene I mention before in which the girl turns into a mannequin but just for a second. And Molly Shannon yells out, “Mexico is the best-ico!”\u003c/p>\n\u003cp>A lot of really great stuff happens in \u003ci>Casa de mi Padre\u003c/i>, more than I can even list, so don’t worry, I haven’t ruined the experience for you. And anyway, the more I think about it, the more I am convinced that once this movie completely bombs at the box office, it will become a cult classic, so you’ll probably be watching it at least once a week for the rest of your life.\u003c/p>\n\u003cp>In an insane lucky break, I got to sit at a table with a few other people in the Ritz Carleton in San Francisco and ask Will Ferrell himself what he thought about who might actually see this movie. Here is what he said:\u003cbr>\nhttps://soundcloud.com/kqed/will-ferrell-2\u003c/p>\n\u003cp>Here’s the gem from that exchange: “…with the strength of the cast and myself in the movie, I thought for sure a major studio, at that price would say, ‘oh yeah let’s take a chance.’ But no one bought it.”\u003c/p>\n\u003cp>When he said that, it became clear why he was being interviewed by a bunch of not-really-anybodies in San Francisco. Why the film is being released more widely in Mexico than in the US. Why some of it is complete nonsense. And why ultimately, it is so good. Because \u003ci>Casa de mi Padre\u003c/i> was really made for the love of making it, without a major studio trying to slide in a Pepsi can or a reasonable ending. Not to get bodies in theaters, not to make a ton of money (or any money for that matter). Just because Will Ferrell and his crew are at a point in their careers where they can take “only 5 million dollars” and do whatever they want with it.\u003c/p>\n\u003cp>And for me, the final product works, comedically, ideologically and aesthetically. Here is Will Ferrell talking about the visual style of the movie, a mix of low-budget sight gags, super saturated color, magical-looking sets and detailed visual effects:\u003cbr>\nhttps://soundcloud.com/kqed/will-ferrell-2-2\u003c/p>\n\u003cp>I’ve liked pretty much everything Will Ferrell has done, from his cheerleader character on \u003ci>Saturday Night Live\u003c/i> to the movie \u003ci>Stepbrothers\u003c/i>. He consistently makes me laugh like a maniac. But I think \u003ci>Casa de mi Padre\u003c/i> might be the next level of Will Ferrell, the level where he goes beyond what makes everyone happy and we get to see the totally insane inner-workings of his mind, where maybe his failures will be epic but his successes will also be epic. And sometimes they might even happen in the same movie.\u003c/p>\n\u003cp>I say we are lucky that instead of going the Adam Sandler route and pandering to the lowest common denominator by playing his own twin sister, Will Ferrell has decided to use his success to make the art he’s always wanted to make, even if it makes half the audience squirm in their seats. And on that subject, I will let him have the final word:\u003cbr>\nhttps://soundcloud.com/kqed/will-ferrell-3\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.casademipadremovie.com/\">\u003ci>Casa de mi Padre\u003c/i>\u003c/a> opens March 16 in limited theaters in the U.S. Go see it, hype it up, so your friends in the Midwest can get the big screen experience before they inevitably watch it 30 more times on Netflix.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/03/casapadre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/03/casapadre.jpg\" alt=\"casapadre\" width=\"324\" height=\"500\" class=\"alignleft size-full wp-image-129171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/03/casapadre.jpg 324w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/03/casapadre-194x300.jpg 194w\" sizes=\"(max-width: 324px) 100vw, 324px\">\u003c/a>For the past week I’ve been trying to describe Will Ferrell’s new movie, \u003ci>Casa de mi Padre\u003c/i>, to various friends and loved ones. It’s been a difficult task. Here are some of the things I have said:\u003c/p>\n\u003cp>“Well, it’s completely absurd, you have to start there.”\u003c/p>\n\u003cp>“There’s an animatronic white tiger. At least, I think it’s a white tiger.”\u003c/p>\n\u003cp>“Diego Luna and Gael Garcia Bernal play warring drug dealers and Diego Luna is also Will Ferrell’s brother. I think his big brother.”\u003c/p>\n\u003cp>“It’s all in Spanish. Yes, the whole thing. There are subtitles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Yeah, Will Ferrell speaks Spanish the entire time too.”\u003c/p>\n\u003cp>“I’ve never laughed so hard at a massacre scene.”\u003c/p>\n\u003cp>“There’s a few pretty amazing musical numbers.”\u003c/p>\n\u003cp>“There’s a lot of cigarette smoking. Sometimes multiple cigarettes at one time. The drug dealers smoke a brand called ‘Canadian Slims.'”\u003c/p>\n\u003cp>“I think there was a mannequin involved in the sex scene.”\u003c/p>\n\u003cp>Then I send them the trailer.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p5GYrBB86Fo'\n title='//www.youtube.com/embed/p5GYrBB86Fo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I have a good feeling about \u003ci>Casa de mi Padre\u003c/i>. I didn’t always have this feeling though. After the press screening, I’ll admit I was confused. When a friendly girl who was probably employed by the studio or something asked me on my way out if I liked the movie, I had to be honest and say, “Well…it was interesting? Let me think about it.”\u003c/p>\n\u003cp>Which is what I have been doing ever since.\u003c/p>\n\u003cp>In terms of a Will Ferrell movie, \u003ci>Casa de mi Padre\u003c/i> is very plot driven. But we’re talking about Will Ferrell, who is mostly a king of insane characters who sometimes stretch into movies gracefully (\u003ci>Anchor Man\u003c/i>) and sometimes stretch awkwardly (\u003ci>Semi-Pro\u003c/i>). Usually, though, all “plot” is driven by character. But \u003ci>Casa de mi Padre\u003c/i> is a stretched out idea instead of a stretched out character so the idea — what if we made a totally insane, beautiful, violent movie sort of like a telenovela mixed with a western in which Will Ferrell speaks Spanish? — drives the plot.\u003c/p>\n\u003cp>So the plot is a basic, kind of familiar one, perfect for say, a movie you would watch in Spanish class in eighth grade: Armando (Will Ferrell) is a simple ranchero whose mother died under suspicious circumstances when he was a child. He lives with his father, who thinks he’s a stupid failure (maybe because his Spanish is so rudimentary) on their ranch where they are frequently served drinks by scantily clad maids. Armando spends his days with his ranchero pals (one of whom is played by Efren Ramirez who you will recognize as Pedro from \u003ci>Napoleon Dynamite\u003c/i>), rescuing calves and watching the local drug lord, La Onza (Gael Garcia Bernal), murder people. When Armando’s brother (Diego Luna) returns to the ranch with his beautiful fiancé, Armando discovers that he too is a drug dealer and that his brother’s fiancé is also the niece of La Onza. I know I said it’s simple but it is also sort of complicated.\u003c/p>\n\u003cp>And then there are cigarettes and blood dripping from a white rose and a rousing song called “Yo No Se!” and the sex scene I mention before in which the girl turns into a mannequin but just for a second. And Molly Shannon yells out, “Mexico is the best-ico!”\u003c/p>\n\u003cp>A lot of really great stuff happens in \u003ci>Casa de mi Padre\u003c/i>, more than I can even list, so don’t worry, I haven’t ruined the experience for you. And anyway, the more I think about it, the more I am convinced that once this movie completely bombs at the box office, it will become a cult classic, so you’ll probably be watching it at least once a week for the rest of your life.\u003c/p>\n\u003cp>In an insane lucky break, I got to sit at a table with a few other people in the Ritz Carleton in San Francisco and ask Will Ferrell himself what he thought about who might actually see this movie. Here is what he said:\u003cbr>\nhttps://soundcloud.com/kqed/will-ferrell-2\u003c/p>\n\u003cp>Here’s the gem from that exchange: “…with the strength of the cast and myself in the movie, I thought for sure a major studio, at that price would say, ‘oh yeah let’s take a chance.’ But no one bought it.”\u003c/p>\n\u003cp>When he said that, it became clear why he was being interviewed by a bunch of not-really-anybodies in San Francisco. Why the film is being released more widely in Mexico than in the US. Why some of it is complete nonsense. And why ultimately, it is so good. Because \u003ci>Casa de mi Padre\u003c/i> was really made for the love of making it, without a major studio trying to slide in a Pepsi can or a reasonable ending. Not to get bodies in theaters, not to make a ton of money (or any money for that matter). Just because Will Ferrell and his crew are at a point in their careers where they can take “only 5 million dollars” and do whatever they want with it.\u003c/p>\n\u003cp>And for me, the final product works, comedically, ideologically and aesthetically. Here is Will Ferrell talking about the visual style of the movie, a mix of low-budget sight gags, super saturated color, magical-looking sets and detailed visual effects:\u003cbr>\nhttps://soundcloud.com/kqed/will-ferrell-2-2\u003c/p>\n\u003cp>I’ve liked pretty much everything Will Ferrell has done, from his cheerleader character on \u003ci>Saturday Night Live\u003c/i> to the movie \u003ci>Stepbrothers\u003c/i>. He consistently makes me laugh like a maniac. But I think \u003ci>Casa de mi Padre\u003c/i> might be the next level of Will Ferrell, the level where he goes beyond what makes everyone happy and we get to see the totally insane inner-workings of his mind, where maybe his failures will be epic but his successes will also be epic. And sometimes they might even happen in the same movie.\u003c/p>\n\u003cp>I say we are lucky that instead of going the Adam Sandler route and pandering to the lowest common denominator by playing his own twin sister, Will Ferrell has decided to use his success to make the art he’s always wanted to make, even if it makes half the audience squirm in their seats. And on that subject, I will let him have the final word:\u003cbr>\nhttps://soundcloud.com/kqed/will-ferrell-3\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.casademipadremovie.com/\">\u003ci>Casa de mi Padre\u003c/i>\u003c/a> opens March 16 in limited theaters in the U.S. Go see it, hype it up, so your friends in the Midwest can get the big screen experience before they inevitably watch it 30 more times on Netflix.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fistful of Festivals: 5 to Watch in March",
"headTitle": "Fistful of Festivals: 5 to Watch in March | KQED",
"content": "\u003cp>Film buffs in New York and Paris have the great good fortune that every worthwhile film made in the world in the course of a year comes through their town for at least one show. (This poses a great challenge to filmgoers, needless to say.) The Bay Area is right behind, thanks to our plethora of independent festivals. The old joke is that there’s a festival hereabouts every weekend; this month, that’s true. San Jose’s \u003ca href=\"http://www.cinequest.org/indexCQ.php\">\u003cb>Cinequest\u003c/b>\u003c/a> is already in mid-swing as March begins, and continues through March 11. In San Francisco, meanwhile, the Roxie cracks open the vault for a week of underexposed early-1930s movies, \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=1C6F6826-1143-DBB3-C673D133398DBA01\">\u003cb>Hollywood Before the Code: Nasty-Ass Films for a Nasty-Ass World\u003c/b>\u003c/a> (March 2-8). And that’s just the beginning. Ready, set, action!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taste-waste.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Taste the Waste\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://sfgreenfilmfest.org/\">\u003cb>San Francisco Green Film Festival\u003c/b>\u003c/a>: The second annual edition of this idealistic social-issue-slash-cultural event, running March 1-7, offers moving evidence that filmmakers in every country are galvanized by the state of the environment. Of course, global = local at this crucial point in the planet’s well being. In \u003ci>Taste the Waste\u003c/i> (Tuesday, March 6, 5:30pm, San Francisco Film Society Cinema), German director Valentin Thum’s shocking exposé of the vast amount of food assured of rotting by our system of food production and distribution, speaks to all of us. For \u003ca href=\"http://prod3.agileticketing.net/WebSales/pages/VerboseEventList.aspx?epguid=df96a797-2eb8-4d69-a253-8fb45678d64c&\">tickets and information\u003c/a> visit sfgreenfilmfest.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pink-ribbon.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Pink Ribbons, Inc.\u003c/i>\u003c/p>\n\u003cp>Injustice and its correctives propels the \u003ca href=\"http://www.ybca.org/2012-human-rights-watch-film-festival\">\u003cb>2012 Human Rights Watch International Film Festival\u003c/b>\u003c/a>, unspooling on Thursday nights throughout March at Yerba Buena Center for the Arts. Swiss-Canadian filmmaker Léa Pool’s investigation of breast-cancer fundraising, \u003ci>Pink Ribbons, Inc.\u003c/i> (Thursday, March 29, 7pm & 9pm, YBCA), will be of particular interest to those galvanized by last month’s Susan G. Komen For the Cure decision to defund Planned Parenthood. For \u003ca href=\"http://www.ybca.org/2012-human-rights-watch-film-festival\">more information\u003c/a> visit www.ybca.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sunbeaten.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sun Beaten Path\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://festival.caamedia.org/30/\">\u003cb>San Francisco International Asian American Film Festival\u003c/b>\u003c/a>: A different Asian country stakes a claim every year to being the hottest spot in world cinema, with Hong Kong, South Korea and China holding the mantle recently. Any of the imports (and most of the American indies) in the 30th annual festival is well worth a look, but I’m especially attracted to \u003ci>Sun Beaten Path\u003c/i> (Saturday, March 10, 8:30pm, Pacific Film Archive; Sunday, March 11, 4:30pm, Sundance Kabuki), a picturesque Chinese drama about a guilt-ridden, grief-stricken young Tibetan on a redemptive pilgrimage. The SFIAAFF runs March 8-18 in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.caamedia.org/30/\">tickets and information\u003c/a> visit caamedia.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fifth-heaven.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Fifth Heaven\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.eastbayjewishfilm.org/\">\u003cb>East Bay Jewish Film Festival\u003c/b>\u003c/a>: My strategy with this surprisingly ambitious program, unspooling March 10-18, is to hone in on the Israeli films receiving their Bay Area premieres. How convenient, then, that the 2011 dramas \u003ci>Ahoti Ha’Yafah\u003c/i> (\u003ci>My Beautiful Sister\u003c/i>) and \u003ci>The Fifth Heaven\u003c/i> play back-to-back on March 13. For \u003ca href=\"http://www.eastbayjewishfilm.org/12/lineup.html\">tickets and information\u003c/a> visit eastbayjewishfilm.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/joffrey.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Joffrey: Mavericks of American Dance\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://sfdancefilmfest.org/home.html\">\u003cb>San Francisco Dance Film Festival\u003c/b>\u003c/a>: The movies and dancing are a natural combination; films were originally called “motion pictures,” after all. This ethereal bash opens March 15 at the Delancey Screening Room with the S.F. premiere of Ron Honsa’s documentary about the Jacob’s Pillow Dance Festival, \u003ci>Never Stand Still\u003c/i>, with the director on hand, and lowers the curtain March 18 at the S.F. Film Society Cinema with the local debut of \u003ci>Joffrey: Mavericks of American Dance\u003c/i> accompanied by director Bob Hercules and an array of ballet luminaries. For \u003ca href=\"http://sfdancefilmfest.org/sfdff.html\">tickets and information\u003c/a> visit sfdancefilmfest.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://disposablefilmfest.com/\">\u003cb>Disposable Film Festival\u003c/b>\u003c/a>: Dance is the most ephemeral of the arts, but personal digital video — shot on cellphones, iPads, webcams and the like — is arguably more immediate, and just as fleeting. This youth-oriented fest opens Thursday, March 22 with a program of short films at the Castro and continues throughout the weekend with free panels, seminars and screenings downtown at Hotel Rex and in the Mission at Typekit’s HQ. Cameras have replaced journals and diaries for a sizable number of teens and tweens. One day soon, everyone will be ready for his or her close-up. For \u003ca href=\"http://disposablefilmfest.com/events/\">tickets and information\u003c/a> visit disposablefilmfest.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film buffs in New York and Paris have the great good fortune that every worthwhile film made in the world in the course of a year comes through their town for at least one show. (This poses a great challenge to filmgoers, needless to say.) The Bay Area is right behind, thanks to our plethora of independent festivals. The old joke is that there’s a festival hereabouts every weekend; this month, that’s true. San Jose’s \u003ca href=\"http://www.cinequest.org/indexCQ.php\">\u003cb>Cinequest\u003c/b>\u003c/a> is already in mid-swing as March begins, and continues through March 11. In San Francisco, meanwhile, the Roxie cracks open the vault for a week of underexposed early-1930s movies, \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=1C6F6826-1143-DBB3-C673D133398DBA01\">\u003cb>Hollywood Before the Code: Nasty-Ass Films for a Nasty-Ass World\u003c/b>\u003c/a> (March 2-8). And that’s just the beginning. Ready, set, action!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taste-waste.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Taste the Waste\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://sfgreenfilmfest.org/\">\u003cb>San Francisco Green Film Festival\u003c/b>\u003c/a>: The second annual edition of this idealistic social-issue-slash-cultural event, running March 1-7, offers moving evidence that filmmakers in every country are galvanized by the state of the environment. Of course, global = local at this crucial point in the planet’s well being. In \u003ci>Taste the Waste\u003c/i> (Tuesday, March 6, 5:30pm, San Francisco Film Society Cinema), German director Valentin Thum’s shocking exposé of the vast amount of food assured of rotting by our system of food production and distribution, speaks to all of us. For \u003ca href=\"http://prod3.agileticketing.net/WebSales/pages/VerboseEventList.aspx?epguid=df96a797-2eb8-4d69-a253-8fb45678d64c&\">tickets and information\u003c/a> visit sfgreenfilmfest.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pink-ribbon.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Pink Ribbons, Inc.\u003c/i>\u003c/p>\n\u003cp>Injustice and its correctives propels the \u003ca href=\"http://www.ybca.org/2012-human-rights-watch-film-festival\">\u003cb>2012 Human Rights Watch International Film Festival\u003c/b>\u003c/a>, unspooling on Thursday nights throughout March at Yerba Buena Center for the Arts. Swiss-Canadian filmmaker Léa Pool’s investigation of breast-cancer fundraising, \u003ci>Pink Ribbons, Inc.\u003c/i> (Thursday, March 29, 7pm & 9pm, YBCA), will be of particular interest to those galvanized by last month’s Susan G. Komen For the Cure decision to defund Planned Parenthood. For \u003ca href=\"http://www.ybca.org/2012-human-rights-watch-film-festival\">more information\u003c/a> visit www.ybca.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/sunbeaten.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sun Beaten Path\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://festival.caamedia.org/30/\">\u003cb>San Francisco International Asian American Film Festival\u003c/b>\u003c/a>: A different Asian country stakes a claim every year to being the hottest spot in world cinema, with Hong Kong, South Korea and China holding the mantle recently. Any of the imports (and most of the American indies) in the 30th annual festival is well worth a look, but I’m especially attracted to \u003ci>Sun Beaten Path\u003c/i> (Saturday, March 10, 8:30pm, Pacific Film Archive; Sunday, March 11, 4:30pm, Sundance Kabuki), a picturesque Chinese drama about a guilt-ridden, grief-stricken young Tibetan on a redemptive pilgrimage. The SFIAAFF runs March 8-18 in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.caamedia.org/30/\">tickets and information\u003c/a> visit caamedia.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fifth-heaven.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Fifth Heaven\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.eastbayjewishfilm.org/\">\u003cb>East Bay Jewish Film Festival\u003c/b>\u003c/a>: My strategy with this surprisingly ambitious program, unspooling March 10-18, is to hone in on the Israeli films receiving their Bay Area premieres. How convenient, then, that the 2011 dramas \u003ci>Ahoti Ha’Yafah\u003c/i> (\u003ci>My Beautiful Sister\u003c/i>) and \u003ci>The Fifth Heaven\u003c/i> play back-to-back on March 13. For \u003ca href=\"http://www.eastbayjewishfilm.org/12/lineup.html\">tickets and information\u003c/a> visit eastbayjewishfilm.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/joffrey.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Joffrey: Mavericks of American Dance\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://sfdancefilmfest.org/home.html\">\u003cb>San Francisco Dance Film Festival\u003c/b>\u003c/a>: The movies and dancing are a natural combination; films were originally called “motion pictures,” after all. This ethereal bash opens March 15 at the Delancey Screening Room with the S.F. premiere of Ron Honsa’s documentary about the Jacob’s Pillow Dance Festival, \u003ci>Never Stand Still\u003c/i>, with the director on hand, and lowers the curtain March 18 at the S.F. Film Society Cinema with the local debut of \u003ci>Joffrey: Mavericks of American Dance\u003c/i> accompanied by director Bob Hercules and an array of ballet luminaries. For \u003ca href=\"http://sfdancefilmfest.org/sfdff.html\">tickets and information\u003c/a> visit sfdancefilmfest.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://disposablefilmfest.com/\">\u003cb>Disposable Film Festival\u003c/b>\u003c/a>: Dance is the most ephemeral of the arts, but personal digital video — shot on cellphones, iPads, webcams and the like — is arguably more immediate, and just as fleeting. This youth-oriented fest opens Thursday, March 22 with a program of short films at the Castro and continues throughout the weekend with free panels, seminars and screenings downtown at Hotel Rex and in the Mission at Typekit’s HQ. Cameras have replaced journals and diaries for a sizable number of teens and tweens. One day soon, everyone will be ready for his or her close-up. For \u003ca href=\"http://disposablefilmfest.com/events/\">tickets and information\u003c/a> visit disposablefilmfest.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nothing elevates a film screening from the prosaic and routine like having the director, lead actor/actress or a key collaborator on hand to proffer insights and spin anecdotes. Admittedly, everyone isn’t as articulate and witty as Tomas Alfredson and Gary Oldman (in marvelous form following a November preview of \u003ci>Tinker Tailor Soldier Spy\u003c/i> at the Century 9) or as candid and disarming as Josh Radnor after the Sundance Film Festival USA screening of his brand new \u003ci>Liberal Arts\u003c/i> at the Sundance Kabuki last month. It’s a safe bet, though, that the eclectic contingent of colorful personalities visiting the Bay Area in the coming days and weeks will deliver the goods.\u003c/p>\n\u003cp>\u003cb>Mark Isham:\u003c/b> For those with long memories, the gifted jazzman and composer will always be identified with the seductively lush melodies that cosseted Alan Rudolph’s films in the ’80s and ’90s. (Coincidentally, one of those movies, \u003ci>The Moderns\u003c/i>, plays the Castro on Wed., Feb. 1.) But did you know that Isham grew up in the Bay Area, and played trumpet with the San Francisco and Oakland Symphonies in his teens? A veritable prodigy whose brilliant career includes a breathtaking number of film scores spanning 30 years, Isham makes a rare appearance Saturday, February 4 at the Pacific Film Archive in Berkeley to speak about the special challenges of making music for the movies. Expect his talk to provide moviegoers with fresh ears and eyes for the second part of the evening: Robert Redford’s elegiac \u003ci>A River Runs Through It\u003c/i> (1992), featuring one of Isham’s sparest and most tender scores. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/bts_isham\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mash.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cb>Elliott Gould, Sally Kellerman and Kathryn Altman:\u003c/b> The late, great Robert Altman used music as well as any director ever has, in movie after movie after movie. SF Sketchfest’s sweet-and-salty event on Saturday, February 4 at the Castro, however, focuses on his twisted gift for black comedy. \u003ci>M*A*S*H: Celebrating Robert Altman\u003c/i> pairs his widow with two of the key actors from his 1970 youth-culture breakthrough for a recollection and resurrection of a high point in American political satire. Their no-holds-barred repartee provides the perfect lead-in for a sure-to-be-raucous screening of a risk-taking classic. For \u003ca href=\"http://www.sfsketchfest.com/performers/index_autoselect.php?performer=mash.jpg\">more information\u003c/a> visit sfsketchfest.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/444.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Abel Ferrara and Shanyn Leigh:\u003c/b> Only SF Indiefest would have the devil-may-care brio to program an end-of-the-world drama on Opening Night. Nothing like sending your devoted audience out on an upbeat note, eh? Actually, \u003ci>4:44 Last Day on Earth\u003c/i> (Thursday, February 9 at the Roxie) is more introspective than cautionary (or horrifying), with Leigh and Willem Dafoe as an artistic couple filling their (and the species’) last doomed hours with painting, sex, music, Chinese take-out and the full spectrum of emotions. The \u003ci>Bad Lieutenant\u003c/i> helmer and his lead actress will be on hand to jump-start the party, followed throughout the fest by numerous filmmakers and actors from around the country. Of special note: Local writer-director Maria Breaux presents the S.F. premiere of her road movie-cum-redemption parable, \u003ci>Mother Country\u003c/i>, Feb. 11 and 12. S.F. Indiefest runs February 9-23, 2012 at the Roxie. For \u003ca href=\"http://sfindie.virb.com/\">more information\u003c/a> visit sfindie.virb.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lovestory.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cb>Ali MacGraw:\u003c/b> “Love means never having to say you’re sorry.” Did you cringe, laugh or tear up? (Or smack your forehead in professional jealousy, in which case you are Nicholas Sparks.) The gut-punch line of \u003ci>Love Story\u003c/i> (1970) was on the poster, in the trailer and even (if memory serves) on the cover of Erich Segal’s best-selling novel. It’s as hard to accept now as then that the flick received seven Academy Award nominations; much easier to believe that it was fodder for one of \u003ci>Mad\u003c/i> magazine’s best movie parodies. Ali MacGraw (who copped one of those nominations, for dying so beautifully) graces the Castro stage on Tuesday, February 14 for a boisterous Valentine’s Day tribute produced by the indefatigable Marc Huestis, followed by the tragic rich guy/poor girl romance on the big screen. Bring a handkerchief, and your partner, and leave your jokes about the 1% at home. For \u003ca href=\"http://www.castrotheatre.com/p-list.html#feb14\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/playlikelion.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Joshua Mellars and Alam Khan:\u003c/b> The late Ali Akbar Khan was more than a brilliant musician, teacher and keeper of the flame of Indian music. He was an icon and an inspiration whose unwavering integrity and lacerating honesty put him on a pedestal to his students, fellow musicians and fans. Alam Khan, Ali’s young American-born son and himself a devoted and talented musician, struggles to establish his own path while adhering to his father’s legacy. The two men’s sagas crisscross in East Bay filmmaker Joshua Mellars’ mood- and spirit-raising \u003ci>Play Like a Lion\u003c/i>, which screened last fall in the Mill Valley Film Festival and plays Sunday, Febrary 19 at the Asian Art Museum of San Francisco. Mellars and Alam Khan (who gives a concert at the museum on February 26) will field questions and compliments after the screening, capping a blissful afternoon of tradition, music and love. For \u003ca href=\"http://www.societyforasianart.org/programs/member-events/play-lion-documentary-screening\">more information\u003c/a> visit societyforasianart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing elevates a film screening from the prosaic and routine like having the director, lead actor/actress or a key collaborator on hand to proffer insights and spin anecdotes. Admittedly, everyone isn’t as articulate and witty as Tomas Alfredson and Gary Oldman (in marvelous form following a November preview of \u003ci>Tinker Tailor Soldier Spy\u003c/i> at the Century 9) or as candid and disarming as Josh Radnor after the Sundance Film Festival USA screening of his brand new \u003ci>Liberal Arts\u003c/i> at the Sundance Kabuki last month. It’s a safe bet, though, that the eclectic contingent of colorful personalities visiting the Bay Area in the coming days and weeks will deliver the goods.\u003c/p>\n\u003cp>\u003cb>Mark Isham:\u003c/b> For those with long memories, the gifted jazzman and composer will always be identified with the seductively lush melodies that cosseted Alan Rudolph’s films in the ’80s and ’90s. (Coincidentally, one of those movies, \u003ci>The Moderns\u003c/i>, plays the Castro on Wed., Feb. 1.) But did you know that Isham grew up in the Bay Area, and played trumpet with the San Francisco and Oakland Symphonies in his teens? A veritable prodigy whose brilliant career includes a breathtaking number of film scores spanning 30 years, Isham makes a rare appearance Saturday, February 4 at the Pacific Film Archive in Berkeley to speak about the special challenges of making music for the movies. Expect his talk to provide moviegoers with fresh ears and eyes for the second part of the evening: Robert Redford’s elegiac \u003ci>A River Runs Through It\u003c/i> (1992), featuring one of Isham’s sparest and most tender scores. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/bts_isham\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mash.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cb>Elliott Gould, Sally Kellerman and Kathryn Altman:\u003c/b> The late, great Robert Altman used music as well as any director ever has, in movie after movie after movie. SF Sketchfest’s sweet-and-salty event on Saturday, February 4 at the Castro, however, focuses on his twisted gift for black comedy. \u003ci>M*A*S*H: Celebrating Robert Altman\u003c/i> pairs his widow with two of the key actors from his 1970 youth-culture breakthrough for a recollection and resurrection of a high point in American political satire. Their no-holds-barred repartee provides the perfect lead-in for a sure-to-be-raucous screening of a risk-taking classic. For \u003ca href=\"http://www.sfsketchfest.com/performers/index_autoselect.php?performer=mash.jpg\">more information\u003c/a> visit sfsketchfest.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/444.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Abel Ferrara and Shanyn Leigh:\u003c/b> Only SF Indiefest would have the devil-may-care brio to program an end-of-the-world drama on Opening Night. Nothing like sending your devoted audience out on an upbeat note, eh? Actually, \u003ci>4:44 Last Day on Earth\u003c/i> (Thursday, February 9 at the Roxie) is more introspective than cautionary (or horrifying), with Leigh and Willem Dafoe as an artistic couple filling their (and the species’) last doomed hours with painting, sex, music, Chinese take-out and the full spectrum of emotions. The \u003ci>Bad Lieutenant\u003c/i> helmer and his lead actress will be on hand to jump-start the party, followed throughout the fest by numerous filmmakers and actors from around the country. Of special note: Local writer-director Maria Breaux presents the S.F. premiere of her road movie-cum-redemption parable, \u003ci>Mother Country\u003c/i>, Feb. 11 and 12. S.F. Indiefest runs February 9-23, 2012 at the Roxie. For \u003ca href=\"http://sfindie.virb.com/\">more information\u003c/a> visit sfindie.virb.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lovestory.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cb>Ali MacGraw:\u003c/b> “Love means never having to say you’re sorry.” Did you cringe, laugh or tear up? (Or smack your forehead in professional jealousy, in which case you are Nicholas Sparks.) The gut-punch line of \u003ci>Love Story\u003c/i> (1970) was on the poster, in the trailer and even (if memory serves) on the cover of Erich Segal’s best-selling novel. It’s as hard to accept now as then that the flick received seven Academy Award nominations; much easier to believe that it was fodder for one of \u003ci>Mad\u003c/i> magazine’s best movie parodies. Ali MacGraw (who copped one of those nominations, for dying so beautifully) graces the Castro stage on Tuesday, February 14 for a boisterous Valentine’s Day tribute produced by the indefatigable Marc Huestis, followed by the tragic rich guy/poor girl romance on the big screen. Bring a handkerchief, and your partner, and leave your jokes about the 1% at home. For \u003ca href=\"http://www.castrotheatre.com/p-list.html#feb14\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/playlikelion.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Joshua Mellars and Alam Khan:\u003c/b> The late Ali Akbar Khan was more than a brilliant musician, teacher and keeper of the flame of Indian music. He was an icon and an inspiration whose unwavering integrity and lacerating honesty put him on a pedestal to his students, fellow musicians and fans. Alam Khan, Ali’s young American-born son and himself a devoted and talented musician, struggles to establish his own path while adhering to his father’s legacy. The two men’s sagas crisscross in East Bay filmmaker Joshua Mellars’ mood- and spirit-raising \u003ci>Play Like a Lion\u003c/i>, which screened last fall in the Mill Valley Film Festival and plays Sunday, Febrary 19 at the Asian Art Museum of San Francisco. Mellars and Alam Khan (who gives a concert at the museum on February 26) will field questions and compliments after the screening, capping a blissful afternoon of tradition, music and love. For \u003ca href=\"http://www.societyforasianart.org/programs/member-events/play-lion-documentary-screening\">more information\u003c/a> visit societyforasianart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s an arresting image, Sam Worthington out on that 40th-story ledge. He’s a fairly tough-looking guy, after all, and we know him best as the tooth-gritting blockbuster hero of\u003cem> Avatar\u003c/em> and \u003cem>Clash of the Titans\u003c/em>, so it’s head-spinning to see the man’s beefy figure as a speck hovering so precariously close to New York’s infinite sky.\u003c/p>\n\u003cp>The camera swirls around Worthington’s disgraced former cop Nick Cassidy, inching out past that thin strip of architecture, then back in. What if he trips, or jumps? For a while, anything seems possible, and it’s both exhilarating and terrifying.\u003c/p>\n\u003cp>Then the wool comes off, and it’s clear that director Asger Leth and screenwriter Pablo Fenjves have ambitions considerably less grand than their protagonist’s perch. Cassidy’s ledge game — with all the studio-unfriendly moral ambiguities it entails — is just a con, a photo op for the crowds, and Nick’s apparent desire to exit the material world is a front. What he truly, passionately wants to do is steal some jewelry.\u003c/p>\n\u003cp>As Nick, from way up high, barks instructions into a microphone, we watch a diamond heist play out inside a metallic gray high-security complex. Well, “high-security”: This is the sort of Hollywood vault designed for easy criminal access, where everything is Fort Knox-level secure except the air vents, and where the entire computer system comes undone with the snipping of a single red wire.\u003c/p>\n\u003cp>Nick’s brother (Jamie Bell) and his barely dressed girlfriend (Genesis Rodriguez) are pulling the heist on his nemesis, a snarly real-estate mogul (Ed Harris, enjoying himself) who framed Nick into a life sentence he’s currently on the run from. But just in case Nick’s justified revenge plot has created the illusion of importance, Bell and Rodriguez re-affirm the plan’s frivolity by bickering and squabbling about their relationship the entire time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elizabeth Banks, projecting a sort of exasperated allure as Nick’s negotiator, brings a level of gravity to the situation not felt by anyone else, including Nick. Her character’s backstory — the last guy she tried to talk off a bridge ignored her and jumped into the great beyond — is intriguingly messy, but since we know far earlier than we should that Nick’s not planning anything life-threatening, this detail is wasted. With miscues like this, the film aims for Hitchcock and gets a bit turned around; we’re\u003cem> The Audience That Knew Too Much\u003c/em>.\u003c/p>\n\u003cp>Director Leth comes from an esteemed filmmaking family — his father is Jorgen Leth, the renowned experimentalist best known for his 1967 short \u003cem>The Perfect Human\u003c/em>. And he knows his way around a scene, as evidenced by the film’s dizzying ledge work. All this helps explain why the film’s descent into generic silliness feels more painful than it should for a late-January thriller.\u003c/p>\n\u003cp>That’s not to say \u003cem>Man on a Ledge\u003c/em> is completely bereft of entertainment value or invention. It’s always fun to see TV reporters depicted as attention-crazed sociopaths, and Kyra Sedgwick fits that bill nicely. Harris, too, is great fun in a tailored suit and an I-am-the-1-percent smirk. And there’s an endearing quality to Nick’s brashness, the way he uses his platform to captivate a growing crowd of admirers. Maybe that’s the grandest way to go: proclaiming your existence to the heavens by bellowing, “I am an innocent man!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who remember Joel Schumacher’s \u003cem>Phone Booth\u003c/em>, an eerie, economical 2003 thriller set entirely in and around Colin Farrell’s public glass prison, it’s hard not to wonder what \u003cem>Man on a Ledge\u003c/em> could have been with just a little more restraint. Both films place men in extraordinary predicaments under the public eye, but \u003cem>Phone Booth\u003c/em> demonstrated faith in the power of both claustrophobia and the slow reveal. The twitchy \u003cem>Ledge\u003c/em> can’t wait to open up its scope, but it loses its footing in the process — and Nick didn’t start with too much room to stand. Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an arresting image, Sam Worthington out on that 40th-story ledge. He’s a fairly tough-looking guy, after all, and we know him best as the tooth-gritting blockbuster hero of\u003cem> Avatar\u003c/em> and \u003cem>Clash of the Titans\u003c/em>, so it’s head-spinning to see the man’s beefy figure as a speck hovering so precariously close to New York’s infinite sky.\u003c/p>\n\u003cp>The camera swirls around Worthington’s disgraced former cop Nick Cassidy, inching out past that thin strip of architecture, then back in. What if he trips, or jumps? For a while, anything seems possible, and it’s both exhilarating and terrifying.\u003c/p>\n\u003cp>Then the wool comes off, and it’s clear that director Asger Leth and screenwriter Pablo Fenjves have ambitions considerably less grand than their protagonist’s perch. Cassidy’s ledge game — with all the studio-unfriendly moral ambiguities it entails — is just a con, a photo op for the crowds, and Nick’s apparent desire to exit the material world is a front. What he truly, passionately wants to do is steal some jewelry.\u003c/p>\n\u003cp>As Nick, from way up high, barks instructions into a microphone, we watch a diamond heist play out inside a metallic gray high-security complex. Well, “high-security”: This is the sort of Hollywood vault designed for easy criminal access, where everything is Fort Knox-level secure except the air vents, and where the entire computer system comes undone with the snipping of a single red wire.\u003c/p>\n\u003cp>Nick’s brother (Jamie Bell) and his barely dressed girlfriend (Genesis Rodriguez) are pulling the heist on his nemesis, a snarly real-estate mogul (Ed Harris, enjoying himself) who framed Nick into a life sentence he’s currently on the run from. But just in case Nick’s justified revenge plot has created the illusion of importance, Bell and Rodriguez re-affirm the plan’s frivolity by bickering and squabbling about their relationship the entire time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elizabeth Banks, projecting a sort of exasperated allure as Nick’s negotiator, brings a level of gravity to the situation not felt by anyone else, including Nick. Her character’s backstory — the last guy she tried to talk off a bridge ignored her and jumped into the great beyond — is intriguingly messy, but since we know far earlier than we should that Nick’s not planning anything life-threatening, this detail is wasted. With miscues like this, the film aims for Hitchcock and gets a bit turned around; we’re\u003cem> The Audience That Knew Too Much\u003c/em>.\u003c/p>\n\u003cp>Director Leth comes from an esteemed filmmaking family — his father is Jorgen Leth, the renowned experimentalist best known for his 1967 short \u003cem>The Perfect Human\u003c/em>. And he knows his way around a scene, as evidenced by the film’s dizzying ledge work. All this helps explain why the film’s descent into generic silliness feels more painful than it should for a late-January thriller.\u003c/p>\n\u003cp>That’s not to say \u003cem>Man on a Ledge\u003c/em> is completely bereft of entertainment value or invention. It’s always fun to see TV reporters depicted as attention-crazed sociopaths, and Kyra Sedgwick fits that bill nicely. Harris, too, is great fun in a tailored suit and an I-am-the-1-percent smirk. And there’s an endearing quality to Nick’s brashness, the way he uses his platform to captivate a growing crowd of admirers. Maybe that’s the grandest way to go: proclaiming your existence to the heavens by bellowing, “I am an innocent man!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who remember Joel Schumacher’s \u003cem>Phone Booth\u003c/em>, an eerie, economical 2003 thriller set entirely in and around Colin Farrell’s public glass prison, it’s hard not to wonder what \u003cem>Man on a Ledge\u003c/em> could have been with just a little more restraint. Both films place men in extraordinary predicaments under the public eye, but \u003cem>Phone Booth\u003c/em> demonstrated faith in the power of both claustrophobia and the slow reveal. The twitchy \u003cem>Ledge\u003c/em> can’t wait to open up its scope, but it loses its footing in the process — and Nick didn’t start with too much room to stand. Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bingham Ray, an icon in the independent film world who was hired as executive director of the \u003ca href=\"http://www.sffs.org/\">San Francisco Film Society\u003c/a> just over two months ago, died Monday, January 23 in a Utah hospital. Ray, 57, had suffered a couple of strokes while attending the \u003ca href=\"http://www.sundance.org/festival/\">Sundance Film Festival\u003c/a>.\u003c/p>\n\u003cp>The news was a shocking blow to SFFS staffers and board members who had endured the illness and death last August of popular executive director Graham Leggat after a remarkably successful five-year tenure. For the second time in six months, the organization (the parent of the \u003ca href=\"http://www.sffs.org/Exhibition/SF-International-Film-Festival.aspx\">San Francisco International Film Festival\u003c/a>) mourns the loss of its leader and must deal with the transition to a new chief executive.\u003c/p>\n\u003cp>Reached by phone at Sundance yesterday, a shaken director of programming Rachel Rosen said, “We’ve been emailing back and forth a lot, and we’re looking forward to being together again in a few days when those of us who are here get back in the city. There’s been a tremendous amount of support going back and forth going across the wires.”\u003c/p>\n\u003cp>Sundance is the kickoff to the film industry’s calendar, and many of Ray’s associates from New York, Los Angeles and elsewhere were at the festival when he was stricken.\u003c/p>\n\u003cp>“This is where all of his friends gathered every year, so everybody’s here,” said SFFS director of publicity Hilary Hart yesterday. “He’s been taken care of and surrounded by family and friends since he first felt poorly and someone suggested he get medical attention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I have to say that’s one of the most moving things about the past few days,” Rosen said, “to see an industry that can be very competitive, and works very hard, come together to show concern and support and sadness and shock.”\u003c/p>\n\u003cp>The 10 or so Film Society staff and board members attending Sundance to scout films and tout the SFIFF to filmmakers had also been preparing for the annual SFFS party at the festival, scheduled for yesterday. In the wake of Ray’s unexpected death, an ad hoc, invitation-only memorial took place instead, attended by longtime colleagues such as producer Christine Vachon, Sony Classics topper Tom Bernard and New York MoMA’s chief curator of film Rajendra Roy.\u003c/p>\n\u003cp>“What we decided to do [Sunday] night, because we knew his situation was dire, was cancel the party and invite who we knew to be Bingham’s close friends,” Hart said last night. “We didn’t know he was going to die this morning, but we wanted to give people an opportunity to come together.”\u003c/p>\n\u003cp>It was known in Bay Area film circles that Ray had raised the hackles of at least a few staff members in his brief term at the head of the Film Society. That aspect of his management style was apparently well known to his friends and admirers.\u003c/p>\n\u003cp>“The party turned into a tribute,” Hart said. “People talked about how much they fought with Bingham over the years, how difficult a person he was, and how they still loved him. It was remarkable, and it was really helpful to the [SFFS] staff. Fighting with him didn’t mean you weren’t friends, which was kind of unusual. We had seen the rough part. We wish we had gotten a bit more experience with him.”\u003c/p>\n\u003cp>With the S.F. International Film Festival rapidly approaching in late April, it is incumbent upon the board to quickly choose Ray’s successor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really not focused on that right now,” Rosen said. “Right now is the time to be thinking about Bingham and his family.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bingham Ray, an icon in the independent film world who was hired as executive director of the \u003ca href=\"http://www.sffs.org/\">San Francisco Film Society\u003c/a> just over two months ago, died Monday, January 23 in a Utah hospital. Ray, 57, had suffered a couple of strokes while attending the \u003ca href=\"http://www.sundance.org/festival/\">Sundance Film Festival\u003c/a>.\u003c/p>\n\u003cp>The news was a shocking blow to SFFS staffers and board members who had endured the illness and death last August of popular executive director Graham Leggat after a remarkably successful five-year tenure. For the second time in six months, the organization (the parent of the \u003ca href=\"http://www.sffs.org/Exhibition/SF-International-Film-Festival.aspx\">San Francisco International Film Festival\u003c/a>) mourns the loss of its leader and must deal with the transition to a new chief executive.\u003c/p>\n\u003cp>Reached by phone at Sundance yesterday, a shaken director of programming Rachel Rosen said, “We’ve been emailing back and forth a lot, and we’re looking forward to being together again in a few days when those of us who are here get back in the city. There’s been a tremendous amount of support going back and forth going across the wires.”\u003c/p>\n\u003cp>Sundance is the kickoff to the film industry’s calendar, and many of Ray’s associates from New York, Los Angeles and elsewhere were at the festival when he was stricken.\u003c/p>\n\u003cp>“This is where all of his friends gathered every year, so everybody’s here,” said SFFS director of publicity Hilary Hart yesterday. “He’s been taken care of and surrounded by family and friends since he first felt poorly and someone suggested he get medical attention.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have to say that’s one of the most moving things about the past few days,” Rosen said, “to see an industry that can be very competitive, and works very hard, come together to show concern and support and sadness and shock.”\u003c/p>\n\u003cp>The 10 or so Film Society staff and board members attending Sundance to scout films and tout the SFIFF to filmmakers had also been preparing for the annual SFFS party at the festival, scheduled for yesterday. In the wake of Ray’s unexpected death, an ad hoc, invitation-only memorial took place instead, attended by longtime colleagues such as producer Christine Vachon, Sony Classics topper Tom Bernard and New York MoMA’s chief curator of film Rajendra Roy.\u003c/p>\n\u003cp>“What we decided to do [Sunday] night, because we knew his situation was dire, was cancel the party and invite who we knew to be Bingham’s close friends,” Hart said last night. “We didn’t know he was going to die this morning, but we wanted to give people an opportunity to come together.”\u003c/p>\n\u003cp>It was known in Bay Area film circles that Ray had raised the hackles of at least a few staff members in his brief term at the head of the Film Society. That aspect of his management style was apparently well known to his friends and admirers.\u003c/p>\n\u003cp>“The party turned into a tribute,” Hart said. “People talked about how much they fought with Bingham over the years, how difficult a person he was, and how they still loved him. It was remarkable, and it was really helpful to the [SFFS] staff. Fighting with him didn’t mean you weren’t friends, which was kind of unusual. We had seen the rough part. We wish we had gotten a bit more experience with him.”\u003c/p>\n\u003cp>With the S.F. International Film Festival rapidly approaching in late April, it is incumbent upon the board to quickly choose Ray’s successor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really not focused on that right now,” Rosen said. “Right now is the time to be thinking about Bingham and his family.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Bresson Movies Will Make You Weep at the Pacific Film Archive",
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"content": "\u003cp>It’s hard to write about him because everybody already has, and because words seem so inert and abject when up against his moving pictures and sounds. How’s this? If you can only see one Robert Bresson film, see all of them. And you can: As part of a touring Bresson retrospective, the full baker’s dozen of his features will be available for a few weeks at Pacific Film Archive.\u003c/p>\n\u003cp>“Understated” is the most frequent of the grasping Netflix tags; also “cerebral” and “dark.” That gets close, in a manner apropos of a rental. But you don’t want to rent these. You need a safe space for clarity and urgent quietude (set against, say, church bells in the distance, or a train whistle, or a firing squad), which is what Bresson’s films provide and what they deserve. There are reasons people can be brought to tearful, quasi-religious fits just through whispers of scene-summarizing phrases, like, “Mouchette rolls down the grassy slope,” or, “The donkey lies down in the field of sheep.” Watch the movies in a dark room full of strangers and you’ll see.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bresson2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Les Anges du Péché\u003c/i>\u003cbr>\u003c/center>\n\u003cp>A few necessary biographical details: French, Catholic, originally a painter, briefly a prisoner of war, eventually a titan of the artform, permanently an enigma. How to parse the “transcendental style” ascribed to him by the guy who went on to write \u003ci>Taxi Driver\u003c/i>? Filmmakers use Bresson to wake themselves up. Any auteur you admire likely has had to reckon with him, or is “still coming to terms,” as Scorsese put it. “Lapidary” was Tarkovsky’s word, and indeed Bresson seemed to go beyond directing into engraving. In Godard’s estimation, “Bresson is to French cinema what Mozart is to German music and Dostoyevsky is to Russian literature.” That probably would seem true even if Mozart and Dostoyevsky didn’t figure so indelibly into Bresson’s films.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bresson3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>A Man Escaped\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Visit or revisit them if only to tap into that burning purity of creative purpose. Discover how \u003ci>A Man Escaped\u003c/i> obviates all your movie Stalags and Shawshanks and Alcatrazes. Recall how well \u003ci>Au Hasard Balthazar\u003c/i>, the one with the donkey, works as a modern update of Apuleius’ “The Golden Ass,” or a pet-sitter selection test, or an antidote to our new on-screen saturation of animals digitally manipulated into grotesquely adorable monsters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The care Bresson took not to anthropomorphize could be said to have carried over to people. It became his custom to have no use for actors, only “models.” His notes to self are forthright: “Radically suppress \u003ci>intentions\u003c/i> in your models” just about sums it up. Yet also this: “Between them and me: telepathic exchanges, divination.” He certainly knew how to look at human faces. Teenagers, especially. And if the enclosures he built for them seem governed by a forcible placidity, with people periodically trampled by aesthetics, that must be par for the rigorous course of his pretense aversion — not to mention the correlation between suffering and saintliness. The pickpocket at the racetrack, the country priest at his diary, Joan of Arc at the stake — they all just seem so definitively in their elements.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bresson4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Four Nights of a Dreamer\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Now, if \u003ci>Four Nights of a Dreamer\u003c/i> seems at first like an ill-advised detour into the diaphanous moods and clothes of the early 1970s, bear in mind that it begins with a suicidal impulse and ends with inevitable romantic disappointment. If that whole Peugeot-and-Jordache thing going on in \u003cb>L’Argent\u003c/b> feels a little weird, just remember it was the commercially corrupted early ’80s; and soon enough a spiral of half-accidental criminality leads back into the familiar territory, culminating in a confession that’s all the more striking for its Bressonian blankness: “I just killed an entire family.”\u003c/p>\n\u003cp>“It is with something clean and precise,” Bresson wrote to himself, “that you will force the attention of inattentive eyes and ears.” He had that right, and hence his enduring gallery of stoic self-sacrificers — repeatedly degraded by their experiences, forever exalted by his attention, and ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Austere Perfectionism: The Films of Robert Bresson\u003c/b> runs Thursday, January 19, through Saturday, February 25, 2012, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">tickets and more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to write about him because everybody already has, and because words seem so inert and abject when up against his moving pictures and sounds. How’s this? If you can only see one Robert Bresson film, see all of them. And you can: As part of a touring Bresson retrospective, the full baker’s dozen of his features will be available for a few weeks at Pacific Film Archive.\u003c/p>\n\u003cp>“Understated” is the most frequent of the grasping Netflix tags; also “cerebral” and “dark.” That gets close, in a manner apropos of a rental. But you don’t want to rent these. You need a safe space for clarity and urgent quietude (set against, say, church bells in the distance, or a train whistle, or a firing squad), which is what Bresson’s films provide and what they deserve. There are reasons people can be brought to tearful, quasi-religious fits just through whispers of scene-summarizing phrases, like, “Mouchette rolls down the grassy slope,” or, “The donkey lies down in the field of sheep.” Watch the movies in a dark room full of strangers and you’ll see.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bresson2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Les Anges du Péché\u003c/i>\u003cbr>\u003c/center>\n\u003cp>A few necessary biographical details: French, Catholic, originally a painter, briefly a prisoner of war, eventually a titan of the artform, permanently an enigma. How to parse the “transcendental style” ascribed to him by the guy who went on to write \u003ci>Taxi Driver\u003c/i>? Filmmakers use Bresson to wake themselves up. Any auteur you admire likely has had to reckon with him, or is “still coming to terms,” as Scorsese put it. “Lapidary” was Tarkovsky’s word, and indeed Bresson seemed to go beyond directing into engraving. In Godard’s estimation, “Bresson is to French cinema what Mozart is to German music and Dostoyevsky is to Russian literature.” That probably would seem true even if Mozart and Dostoyevsky didn’t figure so indelibly into Bresson’s films.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bresson3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>A Man Escaped\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Visit or revisit them if only to tap into that burning purity of creative purpose. Discover how \u003ci>A Man Escaped\u003c/i> obviates all your movie Stalags and Shawshanks and Alcatrazes. Recall how well \u003ci>Au Hasard Balthazar\u003c/i>, the one with the donkey, works as a modern update of Apuleius’ “The Golden Ass,” or a pet-sitter selection test, or an antidote to our new on-screen saturation of animals digitally manipulated into grotesquely adorable monsters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The care Bresson took not to anthropomorphize could be said to have carried over to people. It became his custom to have no use for actors, only “models.” His notes to self are forthright: “Radically suppress \u003ci>intentions\u003c/i> in your models” just about sums it up. Yet also this: “Between them and me: telepathic exchanges, divination.” He certainly knew how to look at human faces. Teenagers, especially. And if the enclosures he built for them seem governed by a forcible placidity, with people periodically trampled by aesthetics, that must be par for the rigorous course of his pretense aversion — not to mention the correlation between suffering and saintliness. The pickpocket at the racetrack, the country priest at his diary, Joan of Arc at the stake — they all just seem so definitively in their elements.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bresson4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Four Nights of a Dreamer\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Now, if \u003ci>Four Nights of a Dreamer\u003c/i> seems at first like an ill-advised detour into the diaphanous moods and clothes of the early 1970s, bear in mind that it begins with a suicidal impulse and ends with inevitable romantic disappointment. If that whole Peugeot-and-Jordache thing going on in \u003cb>L’Argent\u003c/b> feels a little weird, just remember it was the commercially corrupted early ’80s; and soon enough a spiral of half-accidental criminality leads back into the familiar territory, culminating in a confession that’s all the more striking for its Bressonian blankness: “I just killed an entire family.”\u003c/p>\n\u003cp>“It is with something clean and precise,” Bresson wrote to himself, “that you will force the attention of inattentive eyes and ears.” He had that right, and hence his enduring gallery of stoic self-sacrificers — repeatedly degraded by their experiences, forever exalted by his attention, and ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Austere Perfectionism: The Films of Robert Bresson\u003c/b> runs Thursday, January 19, through Saturday, February 25, 2012, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu\">tickets and more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Henri-Georges Clouzot’s Dark Side | KQED",
"content": "\u003cp>The Pacific Film Archive treats us to not one, not two, but \u003ci>three\u003c/i> essential filmmaker retrospectives spanning this month and next: \u003cb>Austere Perfectionism: Robert Bresson\u003c/b>, \u003cb>Howard Hawks: The Measure of Man\u003c/b>, and \u003cb>Henri-Georges Clouzot: The Cinema of Disenchantment\u003c/b>. Any movie lover would be well advised to stake out the Berkeley theater and put the rest of his or her life on Pause (the new Hold). Laughs will be a precious commodity, as the series titles suggest, but that’s often the price of seeing human nature without blinders.\u003c/p>\n\u003cp>Hawks and Bresson are well-fixed in the public eye, but Clouzot requires some reintroduction. On the basis of his well-known mid-’50s films, \u003ci>The Wages of Fear\u003c/i> (Jan. 21) and \u003ci>Diabolique\u003c/i> (Jan. 27), his reputation in this country is of a director of suspense. Now there was a time when directors of thrillers were viewed as low-aiming entertainers. That all changed when the \u003ci>Cahiers du Cinema\u003c/i> critics elevated Alfred Hitchcock from accomplished genre filmmaker to artist of the first rank. Clouzot’s stock rose likewise, at least in France, but all these years later the pendulum has swung back and craftsmen of suspense (Hitch excepted) aren’t held in high esteem.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wagesoffear.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Wages of Fear\u003c/i>\u003c/p>\n\u003cp>Clouzot has been pigeonholed and underrated, I think, because it’s too painful to confront the simmering, shattering pessimism of his films. “The Cinema of Disenchantment” is a reference to David Thomson’s typically astute and pithy assessment of Clouzot in \u003ca href=\"http://en.wikipedia.org/wiki/The_New_Biographical_Dictionary_of_Film\">\u003ci>The New Biographical Dictionary of Film\u003c/i>\u003c/a>. As bleak as that view is, I submit it doesn’t go quite far enough. Clouzot was bitter and angry — and with good reason.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/corbeau.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Le Corbeau\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the Occupation of France, Clouzot worked for the German-run production company Continental Films as a screenwriter and then a director. His stunning \u003ci>Le Corbeau\u003c/i> (\u003ci>The Raven\u003c/i>) (Jan. 14), transposed the actual 1920s case of an individual who wrote anonymous, terror-inducing letters in the vein of “I know what horrible thing you did last week” into a scathing indictment of small-town, Vichy-era collaboration and paranoia-fueled injustice. The film was attacked from all sides, and after the war Clouzot was tried as a collaborator and barred from filmmaking for life (his term was eventually reduced to two years).\u003c/p>\n\u003cp>Imagine, for a moment, his fury and despair. Directors such as Jean-Pierre Melville and Claude Chabrol were marked forever by the moral weakness and callous opportunism they witnessed during the Occupation. In Clouzot’s case, the wounds were even deeper, and darkened his world view — at least as expressed in his artful and impeccably crafted movies — into chilling nihilism.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/diabolique.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Diabolique\u003c/i>\u003c/p>\n\u003cp>If you wonder why contemporary neo-noirs, especially those made by American filmmakers and starring actors with perfect complexions, often feel like dress-up play-acting with nothing at stake, there’s your answer. Living through war tests and hardens people. On the other hand, if the greatest betrayal a director has experienced was being dumped by a college sweetheart in a Starbucks, he’s unlikely to make white-knuckle movies about moral dilemmas.\u003c/p>\n\u003cp>From this angle, Clouzot isn’t so much a director of suspense or action as a progenitor of hardboiled postwar noir. It would be nice if some of the folks crowding the Castro for \u003ca href=\"http://www.noircity.com/\">Noir City\u003c/a> next weekend to revel in bald-faced cynicism and adult (bad) behavior would trek to the PFA for a taste of Clouzot’s acid-dipped moviemaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Henri-Georges Clouzot: The Cinema of Disenchantment\u003c/b> screens January 12-February 4, 2012 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/clouzot\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Pacific Film Archive treats us to not one, not two, but \u003ci>three\u003c/i> essential filmmaker retrospectives spanning this month and next: \u003cb>Austere Perfectionism: Robert Bresson\u003c/b>, \u003cb>Howard Hawks: The Measure of Man\u003c/b>, and \u003cb>Henri-Georges Clouzot: The Cinema of Disenchantment\u003c/b>. Any movie lover would be well advised to stake out the Berkeley theater and put the rest of his or her life on Pause (the new Hold). Laughs will be a precious commodity, as the series titles suggest, but that’s often the price of seeing human nature without blinders.\u003c/p>\n\u003cp>Hawks and Bresson are well-fixed in the public eye, but Clouzot requires some reintroduction. On the basis of his well-known mid-’50s films, \u003ci>The Wages of Fear\u003c/i> (Jan. 21) and \u003ci>Diabolique\u003c/i> (Jan. 27), his reputation in this country is of a director of suspense. Now there was a time when directors of thrillers were viewed as low-aiming entertainers. That all changed when the \u003ci>Cahiers du Cinema\u003c/i> critics elevated Alfred Hitchcock from accomplished genre filmmaker to artist of the first rank. Clouzot’s stock rose likewise, at least in France, but all these years later the pendulum has swung back and craftsmen of suspense (Hitch excepted) aren’t held in high esteem.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wagesoffear.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Wages of Fear\u003c/i>\u003c/p>\n\u003cp>Clouzot has been pigeonholed and underrated, I think, because it’s too painful to confront the simmering, shattering pessimism of his films. “The Cinema of Disenchantment” is a reference to David Thomson’s typically astute and pithy assessment of Clouzot in \u003ca href=\"http://en.wikipedia.org/wiki/The_New_Biographical_Dictionary_of_Film\">\u003ci>The New Biographical Dictionary of Film\u003c/i>\u003c/a>. As bleak as that view is, I submit it doesn’t go quite far enough. Clouzot was bitter and angry — and with good reason.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/corbeau.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Le Corbeau\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the Occupation of France, Clouzot worked for the German-run production company Continental Films as a screenwriter and then a director. His stunning \u003ci>Le Corbeau\u003c/i> (\u003ci>The Raven\u003c/i>) (Jan. 14), transposed the actual 1920s case of an individual who wrote anonymous, terror-inducing letters in the vein of “I know what horrible thing you did last week” into a scathing indictment of small-town, Vichy-era collaboration and paranoia-fueled injustice. The film was attacked from all sides, and after the war Clouzot was tried as a collaborator and barred from filmmaking for life (his term was eventually reduced to two years).\u003c/p>\n\u003cp>Imagine, for a moment, his fury and despair. Directors such as Jean-Pierre Melville and Claude Chabrol were marked forever by the moral weakness and callous opportunism they witnessed during the Occupation. In Clouzot’s case, the wounds were even deeper, and darkened his world view — at least as expressed in his artful and impeccably crafted movies — into chilling nihilism.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/diabolique.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Diabolique\u003c/i>\u003c/p>\n\u003cp>If you wonder why contemporary neo-noirs, especially those made by American filmmakers and starring actors with perfect complexions, often feel like dress-up play-acting with nothing at stake, there’s your answer. Living through war tests and hardens people. On the other hand, if the greatest betrayal a director has experienced was being dumped by a college sweetheart in a Starbucks, he’s unlikely to make white-knuckle movies about moral dilemmas.\u003c/p>\n\u003cp>From this angle, Clouzot isn’t so much a director of suspense or action as a progenitor of hardboiled postwar noir. It would be nice if some of the folks crowding the Castro for \u003ca href=\"http://www.noircity.com/\">Noir City\u003c/a> next weekend to revel in bald-faced cynicism and adult (bad) behavior would trek to the PFA for a taste of Clouzot’s acid-dipped moviemaking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Henri-Georges Clouzot: The Cinema of Disenchantment\u003c/b> screens January 12-February 4, 2012 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/clouzot\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Act Naturally: 5 to Watch in January | KQED",
"content": "\u003cp>One of the great pleasures of movie-going is watching favorite actors and actresses go through their paces. Likability isn’t the same thing as great acting, of course, which is why God (or Adolph Zukor, Louis B. Mayer and Harry Cohn) made character actors as well as movie stars. The strange thing is that every single one of us thinks we can identify an exceptional performance, even if we haven’t been near a stage since the third grade. Maybe we can; if you believe the character, then the actor did his or her job. This is an excellent month to evaluate your expertise and test your taste, as an extraordinary range of acting styles graces local screens.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/reddesert500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Red Desert\u003c/i>\u003c/p>\n\u003cp>\u003cb>Richard Harris\u003c/b>: I was a novice film journalist when I showed up for a round-table interview with Richard Harris at a Nob Hill hotel in 1990. The blustery British actor was weaving across the country promoting \u003ci>The Field\u003c/i>, Irish director Jim Sheridan’s follow-up to \u003ci>My Left Foot\u003c/i>, and he met every question with a long, entertaining and altogether irrelevant anecdote. It eventually dawned on me that the savvy vet was giving a well-rehearsed performance, and (a little piqued, I admit) I tried to derail his spiel and salvage my self-respect by asking him about his work in \u003ci>Red Desert\u003c/i> (1964), which had just played the Roxie in a newly restored print. The smile evaporated from Harris’ face and he snapped, “[Michelangelo] Antonioni isn’t half the director people think he is.” The mask snapped back into place, but I had my prize: A candid moment of unguarded truth. \u003ci>Red Desert\u003c/i> screens Jan. 19, 21 and 22 at the Yerba Buena Center for the Arts Screening Room. For \u003ca href=\"http://www.ybca.org/red-desert\">more information\u003c/a> ybca.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/devilsisland500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>King of Devil’s Island\u003c/i>\u003c/p>\n\u003cp>\u003cb>Stellan Skarsgard\u003c/b>: The subtle Swedish actor Stellan Skarsgard (\u003ci>Breaking the Waves\u003c/i>) exudes authority with a ruffian undercurrent of cruelty. In Marius Holst’s \u003ci>King of Devil’s Island\u003c/i>, set in the early years of the last century, Skarsgard plays the imperious governor of a Norwegian island that’s home to a harsh reformatory. He proves weaker than he looks, unexpectedly, cinching the moral void at the center of this fact-based prison-break movie. \u003ci>King of Devil’s Island\u003c/i> opens Friday, Jan. 6 at the SF Film Society Cinema. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/king-of-devils-island.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/sing500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sing Your Song\u003c/i>\u003c/p>\n\u003cp>\u003cb>Harry Belafonte\u003c/b>: Can we agree that all performance involves some acting? Singers, in particular, learn quickly that having a great voice isn’t enough; they have to know how to put a song over. Harry Belafonte was one of the smoothest at the game and, conveniently for purposes of this column, also a pretty fair screen actor. (His portrayal of a soft-spoken, menacingly cultured gangster is one of the pleasures of Robert Altman’s underrated \u003ci>Kansas City\u003c/i>). Belafonte’s career as both artist and activist provides plenty of grist for Suzanne Rostock’s much-praised documentary, \u003ci>Sing Your Song\u003c/i>, opening Friday, Jan. 27 at the Roxie. For \u003ca href=\"http://roxie.com/events/details.cfm?EventID=F5E90CCF-1143-DBB3-C6AAAC9741766544&View=weeklist&linkDate=%7Bts%20%272012-01-27%2000%3A00%3A00%27%7D\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/countrypriest500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Diary of a Country Priest\u003c/i>\u003c/p>\n\u003cp>\u003cb>Robert Bresson\u003c/b>: The uncompromisingly rigorous French master Robert Bresson worked with non-actors, eliminating if not subverting the entire concept of performance. The French master’s unwavering goal was to depict the interior world of his characters, and acting (to his way of thinking) obscured more than it revealed. After you’ve seen a couple of his uniquely pure and astringent films, it makes complete sense. \u003cb>Austere Perfectionism: The Films of Robert Bresson\u003c/b> screens Jan. 19-Feb. 25 at the Pacific Film Archive; this month brings the masterpieces \u003ci>Au hasard Balthasar\u003c/i> (1966), \u003ci>Mouchette\u003c/i> (1967), \u003ci>Pickpocket\u003c/i> (1959) and \u003ci>Diary of a Country Priest\u003c/i> (1950).For \u003ca href=\"http://bampfa.berkeley.edu/filmseries/bresson\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/dickinson500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Angie Dickinson on the set of \u003ci>The Killers\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Film Noir\u003c/b>: Everybody’s got a favorite noir icon, from Gloria Grahame to Dana Andrews, Mary Astor to John Garfield, Gene Tierney to Alan Ladd. They each get their moment in the streetlights at \u003cb>Noir City X\u003c/b>, but the searchlight shines brightest on special guest Angie Dickinson, who takes the stage Saturday, Jan. 21 between \u003ci>The Killers\u003c/i> (1964) and \u003ci>Point Blank\u003c/i> (1967). If you’ve got the urge to splurge on postwar style, and the moxie to play the part, slink on over to the Swedish-American Hall on Saturday, Jan. 28 for \u003ci>Everybody Comes to Eddie’s: The Noir City Nightclub\u003c/i>. \u003cb>Noir City X\u003c/b> runs Jan. 20-29 at the Castro Theatre in San Francisco. For \u003ca href=\"http://www.noircity.com/\">more information\u003c/a> visit noircity.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the great pleasures of movie-going is watching favorite actors and actresses go through their paces. Likability isn’t the same thing as great acting, of course, which is why God (or Adolph Zukor, Louis B. Mayer and Harry Cohn) made character actors as well as movie stars. The strange thing is that every single one of us thinks we can identify an exceptional performance, even if we haven’t been near a stage since the third grade. Maybe we can; if you believe the character, then the actor did his or her job. This is an excellent month to evaluate your expertise and test your taste, as an extraordinary range of acting styles graces local screens.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/reddesert500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Red Desert\u003c/i>\u003c/p>\n\u003cp>\u003cb>Richard Harris\u003c/b>: I was a novice film journalist when I showed up for a round-table interview with Richard Harris at a Nob Hill hotel in 1990. The blustery British actor was weaving across the country promoting \u003ci>The Field\u003c/i>, Irish director Jim Sheridan’s follow-up to \u003ci>My Left Foot\u003c/i>, and he met every question with a long, entertaining and altogether irrelevant anecdote. It eventually dawned on me that the savvy vet was giving a well-rehearsed performance, and (a little piqued, I admit) I tried to derail his spiel and salvage my self-respect by asking him about his work in \u003ci>Red Desert\u003c/i> (1964), which had just played the Roxie in a newly restored print. The smile evaporated from Harris’ face and he snapped, “[Michelangelo] Antonioni isn’t half the director people think he is.” The mask snapped back into place, but I had my prize: A candid moment of unguarded truth. \u003ci>Red Desert\u003c/i> screens Jan. 19, 21 and 22 at the Yerba Buena Center for the Arts Screening Room. For \u003ca href=\"http://www.ybca.org/red-desert\">more information\u003c/a> ybca.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/devilsisland500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>King of Devil’s Island\u003c/i>\u003c/p>\n\u003cp>\u003cb>Stellan Skarsgard\u003c/b>: The subtle Swedish actor Stellan Skarsgard (\u003ci>Breaking the Waves\u003c/i>) exudes authority with a ruffian undercurrent of cruelty. In Marius Holst’s \u003ci>King of Devil’s Island\u003c/i>, set in the early years of the last century, Skarsgard plays the imperious governor of a Norwegian island that’s home to a harsh reformatory. He proves weaker than he looks, unexpectedly, cinching the moral void at the center of this fact-based prison-break movie. \u003ci>King of Devil’s Island\u003c/i> opens Friday, Jan. 6 at the SF Film Society Cinema. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/king-of-devils-island.aspx\">more information\u003c/a> visit sffs.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=\"//u.s.kqed.org/2011/12/27/sing500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sing Your Song\u003c/i>\u003c/p>\n\u003cp>\u003cb>Harry Belafonte\u003c/b>: Can we agree that all performance involves some acting? Singers, in particular, learn quickly that having a great voice isn’t enough; they have to know how to put a song over. Harry Belafonte was one of the smoothest at the game and, conveniently for purposes of this column, also a pretty fair screen actor. (His portrayal of a soft-spoken, menacingly cultured gangster is one of the pleasures of Robert Altman’s underrated \u003ci>Kansas City\u003c/i>). Belafonte’s career as both artist and activist provides plenty of grist for Suzanne Rostock’s much-praised documentary, \u003ci>Sing Your Song\u003c/i>, opening Friday, Jan. 27 at the Roxie. For \u003ca href=\"http://roxie.com/events/details.cfm?EventID=F5E90CCF-1143-DBB3-C6AAAC9741766544&View=weeklist&linkDate=%7Bts%20%272012-01-27%2000%3A00%3A00%27%7D\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/countrypriest500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Diary of a Country Priest\u003c/i>\u003c/p>\n\u003cp>\u003cb>Robert Bresson\u003c/b>: The uncompromisingly rigorous French master Robert Bresson worked with non-actors, eliminating if not subverting the entire concept of performance. The French master’s unwavering goal was to depict the interior world of his characters, and acting (to his way of thinking) obscured more than it revealed. After you’ve seen a couple of his uniquely pure and astringent films, it makes complete sense. \u003cb>Austere Perfectionism: The Films of Robert Bresson\u003c/b> screens Jan. 19-Feb. 25 at the Pacific Film Archive; this month brings the masterpieces \u003ci>Au hasard Balthasar\u003c/i> (1966), \u003ci>Mouchette\u003c/i> (1967), \u003ci>Pickpocket\u003c/i> (1959) and \u003ci>Diary of a Country Priest\u003c/i> (1950).For \u003ca href=\"http://bampfa.berkeley.edu/filmseries/bresson\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/dickinson500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Angie Dickinson on the set of \u003ci>The Killers\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Film Noir\u003c/b>: Everybody’s got a favorite noir icon, from Gloria Grahame to Dana Andrews, Mary Astor to John Garfield, Gene Tierney to Alan Ladd. They each get their moment in the streetlights at \u003cb>Noir City X\u003c/b>, but the searchlight shines brightest on special guest Angie Dickinson, who takes the stage Saturday, Jan. 21 between \u003ci>The Killers\u003c/i> (1964) and \u003ci>Point Blank\u003c/i> (1967). If you’ve got the urge to splurge on postwar style, and the moxie to play the part, slink on over to the Swedish-American Hall on Saturday, Jan. 28 for \u003ci>Everybody Comes to Eddie’s: The Noir City Nightclub\u003c/i>. \u003cb>Noir City X\u003c/b> runs Jan. 20-29 at the Castro Theatre in San Francisco. For \u003ca href=\"http://www.noircity.com/\">more information\u003c/a> visit noircity.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>1. The Very Stealthy Swedish Invasion\u003c/b>\u003c/p>\n\u003cp>As Stieg Larsson bestsellers continue becoming international movie sensations and remakes thereof, like David Fincher’s take on \u003ci>The Girl with The Dragon Tattoo\u003c/i>, Swedish filmmakers calmly excel at disclosing other countries’ more obscure political machinations. Göran Hugo Olsson’s \u003ci>The Black Power Mixtape 1967-1975\u003c/i> is a knowingly incomplete outsider’s portrait of African-American cultural history. Tomas Alfredson’s \u003ci>Tinker Tailor Soldier Spy\u003c/i> is the definitively English Cold War espionage thriller — formerly a 1974 John le Carre novel, then a 1979 BBC miniseries, now a showpiece for a masterfully recessive performance by Gary Oldman. Both films derive their power from reticence bordering on evasiveness: It’s about not just what’s said and shown, but also what isn’t.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/likecrazy.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Like Crazy\u003c/i>\u003c/p>\n\u003cp>\u003cb>2. The Little Indie Film As De Facto Canon Camera Commercial\u003c/b>\u003cbr>It seems worth noting that Andrew Haigh’s \u003ci>Weekend\u003c/i> and Drake Doremus’ \u003ci>Like Crazy\u003c/i> both were photographed using the same (relatively) inexpensive Canon digital camera, the EOS 5D Mark II. Both are movies about young people in tentative relationships (\u003ci>Weekend\u003c/i> features Tom Cullen and Chris New; \u003ci>Like Crazy\u003c/i> has Anton Yelchin and Felicity Jones). Both are narratively slight but intimately striking — as befits the mesmerizing shallow focus that apparently is this camera’s specialty. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/pina.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Pina\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>3. The Totally Teutonic 3-D\u003c/b>\u003cbr>For \u003ci>Cave of Forgotten Dreams\u003c/i>, Werner Herzog went spelunking among 30,000-year-old cave paintings in southern France, the earliest known human artifacts. For \u003ci>Pina\u003c/i>, Wim Wenders’ camera went dancing with the legendary late choreographer Pina Bausch and her Tanztheater Wuppertal ensemble. Both made use of contemporary 3-D technology to achieve spatial and philosophical depth.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/carnage.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Carnage\u003c/i>\u003c/p>\n\u003cp>\u003cb>4. The Ineffectual Parent Played by John C. Reilly\u003c/b>\u003c/p>\n\u003cp>In \u003ci>We Need to Talk About Kevin\u003c/i>, Lynne Ramsay’s adaptation of Lionel Shriver’s novel about the perpetrator of a high-school massacre and his guilt racked mother, Reilly plays the malefactor’s too-credulous father. In \u003ci>Carnage\u003c/i>, Roman Polanski’s adaptation of Yasmina Reza’s play about two pairs of parents processing a playground fight between their boys, Reilly plays the victim’s too-credulous father.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/rise500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Rise of the Planet of the Apes\u003c/i>\u003c/p>\n\u003cp>\u003cb>5. The San Francisco Disaster (Movie)\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Contagion\u003c/i> dared to do without the historically obligatory havoc-on-the-Golden-Gate-Bridge scene. \u003ci>Rise of the Planet of the Apes\u003c/i> dared to revitalize the historically obligatory havoc-on-the-Golden-Gate-Bridge scene.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>1. The Very Stealthy Swedish Invasion\u003c/b>\u003c/p>\n\u003cp>As Stieg Larsson bestsellers continue becoming international movie sensations and remakes thereof, like David Fincher’s take on \u003ci>The Girl with The Dragon Tattoo\u003c/i>, Swedish filmmakers calmly excel at disclosing other countries’ more obscure political machinations. Göran Hugo Olsson’s \u003ci>The Black Power Mixtape 1967-1975\u003c/i> is a knowingly incomplete outsider’s portrait of African-American cultural history. Tomas Alfredson’s \u003ci>Tinker Tailor Soldier Spy\u003c/i> is the definitively English Cold War espionage thriller — formerly a 1974 John le Carre novel, then a 1979 BBC miniseries, now a showpiece for a masterfully recessive performance by Gary Oldman. Both films derive their power from reticence bordering on evasiveness: It’s about not just what’s said and shown, but also what isn’t.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/likecrazy.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Like Crazy\u003c/i>\u003c/p>\n\u003cp>\u003cb>2. The Little Indie Film As De Facto Canon Camera Commercial\u003c/b>\u003cbr>It seems worth noting that Andrew Haigh’s \u003ci>Weekend\u003c/i> and Drake Doremus’ \u003ci>Like Crazy\u003c/i> both were photographed using the same (relatively) inexpensive Canon digital camera, the EOS 5D Mark II. Both are movies about young people in tentative relationships (\u003ci>Weekend\u003c/i> features Tom Cullen and Chris New; \u003ci>Like Crazy\u003c/i> has Anton Yelchin and Felicity Jones). Both are narratively slight but intimately striking — as befits the mesmerizing shallow focus that apparently is this camera’s specialty. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/pina.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Pina\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>3. The Totally Teutonic 3-D\u003c/b>\u003cbr>For \u003ci>Cave of Forgotten Dreams\u003c/i>, Werner Herzog went spelunking among 30,000-year-old cave paintings in southern France, the earliest known human artifacts. For \u003ci>Pina\u003c/i>, Wim Wenders’ camera went dancing with the legendary late choreographer Pina Bausch and her Tanztheater Wuppertal ensemble. Both made use of contemporary 3-D technology to achieve spatial and philosophical depth.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/carnage.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Carnage\u003c/i>\u003c/p>\n\u003cp>\u003cb>4. The Ineffectual Parent Played by John C. Reilly\u003c/b>\u003c/p>\n\u003cp>In \u003ci>We Need to Talk About Kevin\u003c/i>, Lynne Ramsay’s adaptation of Lionel Shriver’s novel about the perpetrator of a high-school massacre and his guilt racked mother, Reilly plays the malefactor’s too-credulous father. In \u003ci>Carnage\u003c/i>, Roman Polanski’s adaptation of Yasmina Reza’s play about two pairs of parents processing a playground fight between their boys, Reilly plays the victim’s too-credulous father.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/27/rise500.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Rise of the Planet of the Apes\u003c/i>\u003c/p>\n\u003cp>\u003cb>5. The San Francisco Disaster (Movie)\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Contagion\u003c/i> dared to do without the historically obligatory havoc-on-the-Golden-Gate-Bridge scene. \u003ci>Rise of the Planet of the Apes\u003c/i> dared to revitalize the historically obligatory havoc-on-the-Golden-Gate-Bridge scene.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In lieu of the customary and arbitrary year-end list of the best movies of the year, your curmudgeonly correspondent offers up a tenfold survey of the state of the art.\u003c/p>\n\u003cp>1. \u003cb>Big Ideas on the big screen.\u003c/b> Even in the age of the blockbuster, there’ve always been directors exploring profound philosophical concerns. They were usually alienated Europeans such as Jean-Luc Godard, and their movies didn’t reach and provoke discussion among mainstream Americans. Not one but \u003ci>two\u003c/i> films with lofty intellectual and artistic ambitions breached the gates in 2011, as Terrence Malick’s \u003ci>The Tree of Life\u003c/i> and Lars Von Trier’s \u003ci>Melancholia\u003c/i> asked us to contemplate our place in the cosmos as well as our relationships with other people. Are they timeless masterpieces or gorgeously photographed hooey? Both directors were plainly more interested in Big Ideas than in their human protagonists — a charge also levied at Stanley Kubrick about \u003ci>2001: A Space Odyssey\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-artist.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Artist\u003c/i>\u003c/p>\n\u003cp>2. \u003cb>Paying homage to cinema’s pioneers.\u003c/b> French director Michel Hazanivicius saluted (and mocked) the craft of Hollywood silent filmmaking in \u003ci>The Artist\u003c/i>, while Martin Scorsese honored early French filmmaker George Meliés’ innovative science-fiction illusions in \u003ci>Hugo\u003c/i>. Beyond the transatlantic, cross-cultural implications — which can best be seen as evidence that directors view themselves as kindred spirits, and members of the same clan—both films promote the value of our collective cinematic heritage, as well as a love for celluloid. It’s not a coincidence that Hazanivicius and Scorsese made their works as 35mm film is on the verge of being completely displaced by digital cameras. If this is too abstract or inside baseball for you, pick up a copy of \u003ci>Treasures 5: The West, 1898-1938\u003c/i>, the new box set of restored and preserved films released by the National Film Preservation Foundation. (The San Francisco-based nonprofit was just honored with the San Francisco Film Critics Circle’s Marlon Riggs Award.) There’s our history, in two-reelers and travelogues with a couple of rare features, to marvel at and savor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-marilyn.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>My Week With Marilyn\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3. \u003cb>Musical performances.\u003c/b> It was not uncommon through the 1940s for Hollywood dramas to include a musical number to satisfy audiences who remembered the days when a live show preceded the movie. One of my pantheon films, the Raymond Chandler private-eye caper \u003ci>The Big Sleep\u003c/i> (1946), features Lauren Bacall singing a jazzy tune at an illicit roadhouse gambling house. (Of course, once upon a time movie stars came out of vaudeville or the theater, and were trained singers, dancers, jugglers, joke-tellers and dramatic line-readers.) Carey Mulligan’s breathy, slowed-down rendition of “New York, New York” is a tense highlight of \u003ci>Shame\u003c/i>, while Michelle Williams’ opening and closing numbers as MM in \u003ci>My Week With Marilyn\u003c/i> add a dash of wit and style to a slight movie about moviemaking. Other musical moments that stick with me: Jean Dujardin and Berenice Bejo’s tap-dancing climax in \u003ci>The Artist\u003c/i> and cult leader John Hawkes’ spooky solo acoustic “ballad” in \u003ci>Martha Marcy May Marlene\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-paris.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Midnight in Paris\u003c/i>\u003c/p>\n\u003cp>4. \u003cb>Bastardized history.\u003c/b> The aforementioned Godard has long railed at American directors, especially Steven Spielberg, for cultural imperialism. The Swiss-based director has his own failings, character and otherwise, but you could appreciate his outrage if you listened to \u003ci>Hugo\u003c/i>‘s French characters speaking English with British accents, or swallowed Spielberg’s glossily art-directed and simple-minded slant on World War I in \u003ci>War Horse\u003c/i>. The real takeaway of these movies — every true event or work of literature in the history of the world is fair game for American filmmakers with large enough budgets — makes the globetrotting, explosion-spewing arrogance of the James Bond flicks look like eco-tourism. A separate kind of ignominy attends to Woody Allen for resurrecting the Left Bank in the 1920s Paris in \u003ci>Midnight in Paris\u003c/i> with every cliché intact. For the record, I concede but don’t accept the possibility that Allen wasn’t pandering to Americans’ Cliff Notes awareness of Hemingway, Picasso, Dali, Man Ray, et al, but satirizing our superficial knowledge.\u003c/p>\n\u003cp>5. \u003cb>The end of trust.\u003c/b> The mood of the country is grim and tentative, notwithstanding the bonhomie and booze of the holiday season and the optimism we’ll be force-fed in next year’s election campaign. My favorite film of 2011, Tomas Alfredson’s \u003ci>Tinker Tailor Soldier Spy\u003c/i>, deftly depicted the ambitions, rivalries and jealousies of the top intelligence operatives charged with protecting England during the Cold War. Look no further than the halls of Congress, where the nation’s interests and priorities are ignored in the pursuit of personal power and material wealth, for the film’s contemporary relevance. The themes of manipulation, mistrust and betrayal that propel \u003ci>Tinker Tailor\u003c/i>, as well as Ralph Fiennes’ bold and muscular adaptation of Shakespeare’s \u003ci>Coriolanus\u003c/i>, reflect the moment: Bankers pocket bonuses while the Occupy movement is beaten and busted by mayors around the country.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-help.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Help\u003c/i>\u003c/p>\n\u003cp>6. \u003cb>Hollywood won’t die.\u003c/b> That’s the good news, believe it or not. For all the junk that American movie industry puts out 10 months of the year, and the pretentious, pandering twaddle that’s passed off as “quality film” the other two months, there is a particular kind of well-executed, smooth-edged entertainment with social-issue undertones that Hollywood still gets right once or twice a year. This year’s model was Tate Taylor’s \u003ci>The Help\u003c/i> which, for all its pat homilies and eliding of real-life degradation, at least did not pander to a fifth-grade mentality. That’s about the best what we can hope for.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-mill.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Mill and the Cross\u003c/i>\u003c/p>\n\u003cp>7. \u003cb>The invisibility of foreign films.\u003c/b> You have to be one dedicated filmgoer to see more than a couple foreign films a year. The number of releases keeps shrinking, and their runs get shorter. The most unique and revelatory import of 2011, Lech Majewski’s \u003ci>The Mill and the Cross\u003c/i> bucked the trend and hung around for weeks, perhaps because it tapped into the art history and museum audience. Michel Leclerc’s \u003ci>The Names of Love\u003c/i> improbably meshed outspoken political commentary and full-frontal nudity to terrific effect, while Apichatpong Weerasethakul’s meditative and mysterious \u003ci>Uncle Boonmee Who Can Recall His Past Lives\u003c/i> beguiled in a completely different way. Keep an eye out for Polish director Agnieskza Holland’s visceral and mesmerizing \u003ci>In Darkness\u003c/i> (opening Feb. 10), a fact-based Holocaust drama that takes on the sticky question of whether the Poles were opportunists, victims, collaborators, heroes and/or anti-Semites.\u003c/p>\n\u003cp>8. \u003cb>Real life, with a twist, rules.\u003c/b> Most weeks of the year, in most cities in the country, the best film playing in theaters was a documentary. It was likely also the most creative, and the most inspired. Documentarians are actively playing with the line between fact and fiction — a line that reality TV has made more negotiable than ever — and the results are genuinely exciting. In \u003ci>The Arbor\u003c/i>, Clio Barnard cast actors to lip-synch to audio interviews she did with the daughters and family members of British playwright Andrea Dunbar (\u003ci>Rita, Sue and Bob Too!\u003c/i>). This was some of the best acting on display all year, but it’s not a gimmick: It adds real poignancy while echoing Dunbar’s own gift for turning her real-life circumstances into drama. I also adored Michael Madsen’s \u003ci>Into Eternity\u003c/i>, a cool, stylized, Big Ideas study of an underground Finnish facility being constructed to store nuclear waste, and Cindy Meehl’s deeply humanist \u003ci>Buck\u003c/i>, a ground-level portrait of a soft-spoken horse (and people) trainer who knows more about horses (and people) than the director of \u003ci>War Horse\u003c/i>. Bay Area filmmakers enjoyed a banner year, led by Kelly Duane de la Vega and Katie Galloway’s \u003ci>Better This World \u003c/i>, David Weissman’s \u003ci>We Were Here\u003c/i>, Yoav Potash’s \u003ci>Crime After Crime\u003c/i> and Lynn Hershman Leeson’s \u003ci>!Women Art Revolution\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-weekend.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Weekend\u003c/i>\u003c/p>\n\u003cp>9. \u003cb>It’s always independents’ day.\u003c/b> A problem with contemporary American movies is that their makers lack the real-world seasoning, from manual labor to battlefield experience, of previous generations. Film school is not a substitute, needless to say. And yet a few thoughtful, substantive independent movies are produced each year, poking out from the steaming pile of flicks about twenty-something love affairs, dysfunctional families, quirky road trips and gun-toting crime. The directors of \u003ci>Martha Marcy May Marlene\u003c/i>, \u003ci>Take Shelter\u003c/i>, \u003ci>Weekend\u003c/i> and \u003ci>Like Crazy\u003c/i> understand cinema as an art form rather than simply a medium for telling stories to people to lazy to read.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>10. \u003cb>Cinema’s immortals, R.I.P.\u003c/b> The parade of stars ascending into the heavens of immortality was led by Elizabeth Taylor, Jane Russell and Peter Falk. The last 12 months claimed way too many heavyweight directors, including Raul Ruiz (\u003ci>Mysteries of Lisbon\u003c/i>, Ken Russell (\u003ci>The Devils\u003c/i>), Sidney Lumet (\u003ci>Dog Day Afternoon\u003c/i>), Gary Winick (\u003ci>Tadpole\u003c/i>) and the Bay Area’s George Kuchar (\u003ci>Hold Me While I’m Naked\u003c/i>). And we also lost Graham Leggat, the executive director of the San Francisco Film Society (presenter of the S.F. International Film Festival and countless year-round programs). For all he accomplished in his five-plus years at the helm, he left us much too soon, and far too young.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In lieu of the customary and arbitrary year-end list of the best movies of the year, your curmudgeonly correspondent offers up a tenfold survey of the state of the art.\u003c/p>\n\u003cp>1. \u003cb>Big Ideas on the big screen.\u003c/b> Even in the age of the blockbuster, there’ve always been directors exploring profound philosophical concerns. They were usually alienated Europeans such as Jean-Luc Godard, and their movies didn’t reach and provoke discussion among mainstream Americans. Not one but \u003ci>two\u003c/i> films with lofty intellectual and artistic ambitions breached the gates in 2011, as Terrence Malick’s \u003ci>The Tree of Life\u003c/i> and Lars Von Trier’s \u003ci>Melancholia\u003c/i> asked us to contemplate our place in the cosmos as well as our relationships with other people. Are they timeless masterpieces or gorgeously photographed hooey? Both directors were plainly more interested in Big Ideas than in their human protagonists — a charge also levied at Stanley Kubrick about \u003ci>2001: A Space Odyssey\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-artist.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Artist\u003c/i>\u003c/p>\n\u003cp>2. \u003cb>Paying homage to cinema’s pioneers.\u003c/b> French director Michel Hazanivicius saluted (and mocked) the craft of Hollywood silent filmmaking in \u003ci>The Artist\u003c/i>, while Martin Scorsese honored early French filmmaker George Meliés’ innovative science-fiction illusions in \u003ci>Hugo\u003c/i>. Beyond the transatlantic, cross-cultural implications — which can best be seen as evidence that directors view themselves as kindred spirits, and members of the same clan—both films promote the value of our collective cinematic heritage, as well as a love for celluloid. It’s not a coincidence that Hazanivicius and Scorsese made their works as 35mm film is on the verge of being completely displaced by digital cameras. If this is too abstract or inside baseball for you, pick up a copy of \u003ci>Treasures 5: The West, 1898-1938\u003c/i>, the new box set of restored and preserved films released by the National Film Preservation Foundation. (The San Francisco-based nonprofit was just honored with the San Francisco Film Critics Circle’s Marlon Riggs Award.) There’s our history, in two-reelers and travelogues with a couple of rare features, to marvel at and savor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-marilyn.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>My Week With Marilyn\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3. \u003cb>Musical performances.\u003c/b> It was not uncommon through the 1940s for Hollywood dramas to include a musical number to satisfy audiences who remembered the days when a live show preceded the movie. One of my pantheon films, the Raymond Chandler private-eye caper \u003ci>The Big Sleep\u003c/i> (1946), features Lauren Bacall singing a jazzy tune at an illicit roadhouse gambling house. (Of course, once upon a time movie stars came out of vaudeville or the theater, and were trained singers, dancers, jugglers, joke-tellers and dramatic line-readers.) Carey Mulligan’s breathy, slowed-down rendition of “New York, New York” is a tense highlight of \u003ci>Shame\u003c/i>, while Michelle Williams’ opening and closing numbers as MM in \u003ci>My Week With Marilyn\u003c/i> add a dash of wit and style to a slight movie about moviemaking. Other musical moments that stick with me: Jean Dujardin and Berenice Bejo’s tap-dancing climax in \u003ci>The Artist\u003c/i> and cult leader John Hawkes’ spooky solo acoustic “ballad” in \u003ci>Martha Marcy May Marlene\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-paris.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Midnight in Paris\u003c/i>\u003c/p>\n\u003cp>4. \u003cb>Bastardized history.\u003c/b> The aforementioned Godard has long railed at American directors, especially Steven Spielberg, for cultural imperialism. The Swiss-based director has his own failings, character and otherwise, but you could appreciate his outrage if you listened to \u003ci>Hugo\u003c/i>‘s French characters speaking English with British accents, or swallowed Spielberg’s glossily art-directed and simple-minded slant on World War I in \u003ci>War Horse\u003c/i>. The real takeaway of these movies — every true event or work of literature in the history of the world is fair game for American filmmakers with large enough budgets — makes the globetrotting, explosion-spewing arrogance of the James Bond flicks look like eco-tourism. A separate kind of ignominy attends to Woody Allen for resurrecting the Left Bank in the 1920s Paris in \u003ci>Midnight in Paris\u003c/i> with every cliché intact. For the record, I concede but don’t accept the possibility that Allen wasn’t pandering to Americans’ Cliff Notes awareness of Hemingway, Picasso, Dali, Man Ray, et al, but satirizing our superficial knowledge.\u003c/p>\n\u003cp>5. \u003cb>The end of trust.\u003c/b> The mood of the country is grim and tentative, notwithstanding the bonhomie and booze of the holiday season and the optimism we’ll be force-fed in next year’s election campaign. My favorite film of 2011, Tomas Alfredson’s \u003ci>Tinker Tailor Soldier Spy\u003c/i>, deftly depicted the ambitions, rivalries and jealousies of the top intelligence operatives charged with protecting England during the Cold War. Look no further than the halls of Congress, where the nation’s interests and priorities are ignored in the pursuit of personal power and material wealth, for the film’s contemporary relevance. The themes of manipulation, mistrust and betrayal that propel \u003ci>Tinker Tailor\u003c/i>, as well as Ralph Fiennes’ bold and muscular adaptation of Shakespeare’s \u003ci>Coriolanus\u003c/i>, reflect the moment: Bankers pocket bonuses while the Occupy movement is beaten and busted by mayors around the country.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-help.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Help\u003c/i>\u003c/p>\n\u003cp>6. \u003cb>Hollywood won’t die.\u003c/b> That’s the good news, believe it or not. For all the junk that American movie industry puts out 10 months of the year, and the pretentious, pandering twaddle that’s passed off as “quality film” the other two months, there is a particular kind of well-executed, smooth-edged entertainment with social-issue undertones that Hollywood still gets right once or twice a year. This year’s model was Tate Taylor’s \u003ci>The Help\u003c/i> which, for all its pat homilies and eliding of real-life degradation, at least did not pander to a fifth-grade mentality. That’s about the best what we can hope for.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-mill.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Mill and the Cross\u003c/i>\u003c/p>\n\u003cp>7. \u003cb>The invisibility of foreign films.\u003c/b> You have to be one dedicated filmgoer to see more than a couple foreign films a year. The number of releases keeps shrinking, and their runs get shorter. The most unique and revelatory import of 2011, Lech Majewski’s \u003ci>The Mill and the Cross\u003c/i> bucked the trend and hung around for weeks, perhaps because it tapped into the art history and museum audience. Michel Leclerc’s \u003ci>The Names of Love\u003c/i> improbably meshed outspoken political commentary and full-frontal nudity to terrific effect, while Apichatpong Weerasethakul’s meditative and mysterious \u003ci>Uncle Boonmee Who Can Recall His Past Lives\u003c/i> beguiled in a completely different way. Keep an eye out for Polish director Agnieskza Holland’s visceral and mesmerizing \u003ci>In Darkness\u003c/i> (opening Feb. 10), a fact-based Holocaust drama that takes on the sticky question of whether the Poles were opportunists, victims, collaborators, heroes and/or anti-Semites.\u003c/p>\n\u003cp>8. \u003cb>Real life, with a twist, rules.\u003c/b> Most weeks of the year, in most cities in the country, the best film playing in theaters was a documentary. It was likely also the most creative, and the most inspired. Documentarians are actively playing with the line between fact and fiction — a line that reality TV has made more negotiable than ever — and the results are genuinely exciting. In \u003ci>The Arbor\u003c/i>, Clio Barnard cast actors to lip-synch to audio interviews she did with the daughters and family members of British playwright Andrea Dunbar (\u003ci>Rita, Sue and Bob Too!\u003c/i>). This was some of the best acting on display all year, but it’s not a gimmick: It adds real poignancy while echoing Dunbar’s own gift for turning her real-life circumstances into drama. I also adored Michael Madsen’s \u003ci>Into Eternity\u003c/i>, a cool, stylized, Big Ideas study of an underground Finnish facility being constructed to store nuclear waste, and Cindy Meehl’s deeply humanist \u003ci>Buck\u003c/i>, a ground-level portrait of a soft-spoken horse (and people) trainer who knows more about horses (and people) than the director of \u003ci>War Horse\u003c/i>. Bay Area filmmakers enjoyed a banner year, led by Kelly Duane de la Vega and Katie Galloway’s \u003ci>Better This World \u003c/i>, David Weissman’s \u003ci>We Were Here\u003c/i>, Yoav Potash’s \u003ci>Crime After Crime\u003c/i> and Lynn Hershman Leeson’s \u003ci>!Women Art Revolution\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/11-weekend.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Weekend\u003c/i>\u003c/p>\n\u003cp>9. \u003cb>It’s always independents’ day.\u003c/b> A problem with contemporary American movies is that their makers lack the real-world seasoning, from manual labor to battlefield experience, of previous generations. Film school is not a substitute, needless to say. And yet a few thoughtful, substantive independent movies are produced each year, poking out from the steaming pile of flicks about twenty-something love affairs, dysfunctional families, quirky road trips and gun-toting crime. The directors of \u003ci>Martha Marcy May Marlene\u003c/i>, \u003ci>Take Shelter\u003c/i>, \u003ci>Weekend\u003c/i> and \u003ci>Like Crazy\u003c/i> understand cinema as an art form rather than simply a medium for telling stories to people to lazy to read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>10. \u003cb>Cinema’s immortals, R.I.P.\u003c/b> The parade of stars ascending into the heavens of immortality was led by Elizabeth Taylor, Jane Russell and Peter Falk. The last 12 months claimed way too many heavyweight directors, including Raul Ruiz (\u003ci>Mysteries of Lisbon\u003c/i>, Ken Russell (\u003ci>The Devils\u003c/i>), Sidney Lumet (\u003ci>Dog Day Afternoon\u003c/i>), Gary Winick (\u003ci>Tadpole\u003c/i>) and the Bay Area’s George Kuchar (\u003ci>Hold Me While I’m Naked\u003c/i>). And we also lost Graham Leggat, the executive director of the San Francisco Film Society (presenter of the S.F. International Film Festival and countless year-round programs). For all he accomplished in his five-plus years at the helm, he left us much too soon, and far too young.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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