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"content": "\u003cp>One thing to be afraid, be very afraid of going in to \u003cb>Fear(s) of the Dark\u003c/b>, a French animation anthology opening here just in time for Halloween, is that the range of its quality will be drastic.\u003c/p>\n\u003cp>True, like the proverbial bag of candy gathered from trick-or-treating, this one is necessarily mixed — and, to make matters scarier, it comes without any hope of rationing favorites and trading letdowns away. But that’s also the fun of it, the chancy thrill we hope to get from confining ourselves to a movie theater and sitting there for a while in the dark.\u003c/p>\n\u003cp>OK, forget the candy-bag simile; here’s another. Like a good nightmare, which is to say a bad nightmare, the (mostly) black-and-white animation on offer from these six eminent graphic artists seems at once brusquely literal and obliquely expressionistic. It tends not to explain or justify itself; all you know is that you’re there in the middle of it.\u003c/p>\n\u003cp>The crafty showpiece from Charles Burns combines Kafka, ’50s B-movie sci-fi paranoia and graphic-novel chic in conventional but compelling ways. A lonely nerd finally gets a girlfriend but finds her quite horrifically domineering, in a way that involves malevolent subcutaneous insects. Subcutaneous insects are bad enough as it is; them having evil agendas is really more than any meek young man can handle. This is a smartly designed and richly textured work. Maybe its best quality is that its style and substance seem so unified.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That also goes for the evocative charcoals of Lorenzo Mattotti and Jerry Kramsky’s campfire-worthy folk-tale, about an unseen creature terrorizing a rural Italian town; and for a collection of interstitials by Blutch (Christian Hinker). Together, Blutch’s contributions form a political allegory that is as deliberately blunt as its hastily-penciled technique. A spiteful, 18th-century French nobleman struts through a village remorselessly unleashing his attack dogs on hapless innocents. Guess what becomes of him?\u003c/p>\n\u003cp>Marie Caillou and Romain Slocombe’s installment, about a Japanese girl tormented not just by her classmates, but also by a hostile undead decapitated Samurai warrior and a wicked needle-wielding doctor who insists that she power through her elaborate nightmares, peels back the inherent creepiness of its cutesy, anime-influenced faux-naïve aesthetic to reveal all sorts of twisted goings on underneath.\u003c/p>\n\u003cp>That seems consistent with the greater goal of \u003cb>Fear(s) of the Dark\u003c/b>, which typically forgoes the banal horror-film shock tactics more common this side of the Atlantic, in order to try and get at something more subtle and sophisticated, something more conspicuously grown-up.\u003c/p>\n\u003cp>Of course, it’s not lost on these artists that the most unnerving adult fears evolve from childhood issues left unresolved. Take the monologue of existential insecurities — “I’m scared of having a hard time proving the superiority of western civilization to an Afghan villager watching TV with me,” or, “I’m scared of being irredeemably bourgeois” — recited over Pierre di Sciullo’s jig of geometric patterns, for one lightly self-parodying example.\u003c/p>\n\u003cp>Or Richard McGuire’s remarkably old-fashioned and dazzlingly stylish contribution, the best of the lot, in which a man takes refuge from a blizzard in a pitch-dark haunted house. Nearly all of we see is only what he can manage to reveal by the light of a match — and sometimes that’s more than we wanted to see. It’s exactly what the movies always seem to have understood: Sometimes it’s less frightening to just stay in the dark.\u003c/p>\n\u003cp>\u003cb>Fear(s) of the Dark\u003c/b> opens October 31, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck Cinema in Berkeley.For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a> visit www.landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> . \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That also goes for the evocative charcoals of Lorenzo Mattotti and Jerry Kramsky’s campfire-worthy folk-tale, about an unseen creature terrorizing a rural Italian town; and for a collection of interstitials by Blutch (Christian Hinker). Together, Blutch’s contributions form a political allegory that is as deliberately blunt as its hastily-penciled technique. A spiteful, 18th-century French nobleman struts through a village remorselessly unleashing his attack dogs on hapless innocents. Guess what becomes of him?\u003c/p>\n\u003cp>Marie Caillou and Romain Slocombe’s installment, about a Japanese girl tormented not just by her classmates, but also by a hostile undead decapitated Samurai warrior and a wicked needle-wielding doctor who insists that she power through her elaborate nightmares, peels back the inherent creepiness of its cutesy, anime-influenced faux-naïve aesthetic to reveal all sorts of twisted goings on underneath.\u003c/p>\n\u003cp>That seems consistent with the greater goal of \u003cb>Fear(s) of the Dark\u003c/b>, which typically forgoes the banal horror-film shock tactics more common this side of the Atlantic, in order to try and get at something more subtle and sophisticated, something more conspicuously grown-up.\u003c/p>\n\u003cp>Of course, it’s not lost on these artists that the most unnerving adult fears evolve from childhood issues left unresolved. Take the monologue of existential insecurities — “I’m scared of having a hard time proving the superiority of western civilization to an Afghan villager watching TV with me,” or, “I’m scared of being irredeemably bourgeois” — recited over Pierre di Sciullo’s jig of geometric patterns, for one lightly self-parodying example.\u003c/p>\n\u003cp>Or Richard McGuire’s remarkably old-fashioned and dazzlingly stylish contribution, the best of the lot, in which a man takes refuge from a blizzard in a pitch-dark haunted house. Nearly all of we see is only what he can manage to reveal by the light of a match — and sometimes that’s more than we wanted to see. It’s exactly what the movies always seem to have understood: Sometimes it’s less frightening to just stay in the dark.\u003c/p>\n\u003cp>\u003cb>Fear(s) of the Dark\u003c/b> opens October 31, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck Cinema in Berkeley.For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a> visit www.landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> . \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Clint Eastwood, his admirers like to say, makes old-fashioned movies with old-fashioned values. My heart swells just typing those words, but I’m not duped by nostalgia or sentimentality. As the Carmel codger proves for the ‘nth time with the glossy and ponderous \u003cb>Changeling\u003c/b>, professionalism without inspiration may be no hindrance to a plumber, but it is a fatal handicap for a filmmaker.\u003c/p>\n\u003cp>In the post-Tarantino world, where films unfold out of order or simultaneously move forward and backward in time, a linear story requires something extra — inspiration, passion, gritty mise-en-scene or enormous energy — to engage audiences on a visceral level. Eastwood’s solemn movies, with their attention to craft and detail, oh-so-tasteful sensibility, perfunctory plotting, metronome pacing and palpable yet punchless morality, don’t command our attention and demand our souls so much as ask us to sit politely and cluck in righteous indignation. That worked OK in the ’50s, as Stanley Kramer’s career attests, but not anymore.\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens with a melancholy saxophone and a thick-lipped, heavily made-up Angelina Jolie, a double-barreled homage to the quintessential celluloid saga of L.A. corruption, \u003cb>Chinatown\u003c/b> (starring thick-lipped, heavily made-up Faye Dunaway). This isn’t the postwar period, however, but 1928, a kindler, gentler era when a single mother could work at the phone company and own a modest home. And yet, notwithstanding Eastwood’s two-hour-plus crusade to put St. Angie on a pedestal, it’s a man’s world.\u003c/p>\n\u003cp>J. Michael Straczynski’s simplistic script, based on a true story but inevitably embellished in places, imagines switchboard supervisor Christine Collins (Jolie) arriving home late from work one Saturday to find her nine-year-old son Walter missing. After several miserable weeks, the police declare they have found the boy in Illinois, and they stage a media-packed reunion at the train station. But Collins knows instantly that the lad isn’t Walter, and persists in challenging the arrogant police captain to reopen the case.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> puts Collins through the wringer, ratcheting her anguish and persecution and cinching her underdog status, only to squander all that emotional currency by switching gears to a policier and crime story. The two roads eventually meet up, but our intimate connection with the main character has been lost.\u003c/p>\n\u003cp>Curiously, despite the ample opportunities afforded by the disparate plot threads and the passage of time, Eastwood includes nary a whiff of the Depression, or of the gangs of orphans, runaways and unwanted children haunting L.A. and riding the rails in the ’20s and ’30s. His social commentary is limited to some passing digs at the pack mentality of newspapermen and a full-scale indictment of the brutal and uncontrolled authority of the LAPD.\u003c/p>\n\u003cp>As a way to amuse myself, I read the latter as a vague reference to the Bush years — the above-the-law arrogance of those in power, the sheep-like note-taking of the press corps, the Guantanamo-style rendition of troublemakers. Eastwood’s ineffectual wrist-slaps, mere weeks before the administration evacuates the premises, barely warrant mentioning. But it’s instructive — or perhaps just sadly comical — that the fellow serving up this cautionary historical fable about the abuse of police power enthusiastically played “Dirty” Harry Callahan, an ends-justify-the-means cop who leapt to pop-culture superstardom as the right-wing poster boy for Nixon-era law-and-order.\u003c/p>\n\u003cp>Even more insulting, depending on your sensitivity to Hollywood’s consistently unflattering portrayals of women, is the condescension heaped on Collins. Much is made — by every male character along with the filmmakers — of her gallant and courageous stand against the forces of evil. But if one looks closely, she’s more of a victim and a symbol than a heroine. The actual work of freeing the citizenry from the LAPD’s yoke is spearheaded by a fearless Presbyterian minister with an unrelenting radio program (John Malkovich, channeling Vincent Price) and the high-powered upper-crust attorney who takes the LAPD to court.\u003c/p>\n\u003cp>The most depressing aspect of \u003cb>Changeling\u003c/b> isn’t either of those violations, or the six or so endings it takes before we are finally released to continue with our lives. It is Eastwood’s stultifying pretension that he is revealing Great American Truths. An anachronism and Olympian spoon-feeder, Eastwood sells his characters short and does even worse by his audiences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens Friday, October 24, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clint Eastwood, his admirers like to say, makes old-fashioned movies with old-fashioned values. My heart swells just typing those words, but I’m not duped by nostalgia or sentimentality. As the Carmel codger proves for the ‘nth time with the glossy and ponderous \u003cb>Changeling\u003c/b>, professionalism without inspiration may be no hindrance to a plumber, but it is a fatal handicap for a filmmaker.\u003c/p>\n\u003cp>In the post-Tarantino world, where films unfold out of order or simultaneously move forward and backward in time, a linear story requires something extra — inspiration, passion, gritty mise-en-scene or enormous energy — to engage audiences on a visceral level. Eastwood’s solemn movies, with their attention to craft and detail, oh-so-tasteful sensibility, perfunctory plotting, metronome pacing and palpable yet punchless morality, don’t command our attention and demand our souls so much as ask us to sit politely and cluck in righteous indignation. That worked OK in the ’50s, as Stanley Kramer’s career attests, but not anymore.\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens with a melancholy saxophone and a thick-lipped, heavily made-up Angelina Jolie, a double-barreled homage to the quintessential celluloid saga of L.A. corruption, \u003cb>Chinatown\u003c/b> (starring thick-lipped, heavily made-up Faye Dunaway). This isn’t the postwar period, however, but 1928, a kindler, gentler era when a single mother could work at the phone company and own a modest home. And yet, notwithstanding Eastwood’s two-hour-plus crusade to put St. Angie on a pedestal, it’s a man’s world.\u003c/p>\n\u003cp>J. Michael Straczynski’s simplistic script, based on a true story but inevitably embellished in places, imagines switchboard supervisor Christine Collins (Jolie) arriving home late from work one Saturday to find her nine-year-old son Walter missing. After several miserable weeks, the police declare they have found the boy in Illinois, and they stage a media-packed reunion at the train station. But Collins knows instantly that the lad isn’t Walter, and persists in challenging the arrogant police captain to reopen the case.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> puts Collins through the wringer, ratcheting her anguish and persecution and cinching her underdog status, only to squander all that emotional currency by switching gears to a policier and crime story. The two roads eventually meet up, but our intimate connection with the main character has been lost.\u003c/p>\n\u003cp>Curiously, despite the ample opportunities afforded by the disparate plot threads and the passage of time, Eastwood includes nary a whiff of the Depression, or of the gangs of orphans, runaways and unwanted children haunting L.A. and riding the rails in the ’20s and ’30s. His social commentary is limited to some passing digs at the pack mentality of newspapermen and a full-scale indictment of the brutal and uncontrolled authority of the LAPD.\u003c/p>\n\u003cp>As a way to amuse myself, I read the latter as a vague reference to the Bush years — the above-the-law arrogance of those in power, the sheep-like note-taking of the press corps, the Guantanamo-style rendition of troublemakers. Eastwood’s ineffectual wrist-slaps, mere weeks before the administration evacuates the premises, barely warrant mentioning. But it’s instructive — or perhaps just sadly comical — that the fellow serving up this cautionary historical fable about the abuse of police power enthusiastically played “Dirty” Harry Callahan, an ends-justify-the-means cop who leapt to pop-culture superstardom as the right-wing poster boy for Nixon-era law-and-order.\u003c/p>\n\u003cp>Even more insulting, depending on your sensitivity to Hollywood’s consistently unflattering portrayals of women, is the condescension heaped on Collins. Much is made — by every male character along with the filmmakers — of her gallant and courageous stand against the forces of evil. But if one looks closely, she’s more of a victim and a symbol than a heroine. The actual work of freeing the citizenry from the LAPD’s yoke is spearheaded by a fearless Presbyterian minister with an unrelenting radio program (John Malkovich, channeling Vincent Price) and the high-powered upper-crust attorney who takes the LAPD to court.\u003c/p>\n\u003cp>The most depressing aspect of \u003cb>Changeling\u003c/b> isn’t either of those violations, or the six or so endings it takes before we are finally released to continue with our lives. It is Eastwood’s stultifying pretension that he is revealing Great American Truths. An anachronism and Olympian spoon-feeder, Eastwood sells his characters short and does even worse by his audiences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Changeling\u003c/b> opens Friday, October 24, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Probably the two most common shorthand reminders of Arabic contributions to human civilization are algebra and the annual \u003cb>Arab Film Festival\u003c/b>. Handily, these are related.\u003c/p>\n\u003cp>\u003c/p>\u003cp>That is, some algebra surely will be required to figure out how to negotiate a festival packing 16 fiction features, 16 documentary features, 25 fiction shorts and 15 documentary shorts (plus some panel discussions, receptions and an awards ceremony) into 13 days and four cities (San Francisco, Berkeley, San Jose and Los Angeles), all while umpteen other don’t-miss Bay Area film festivals seem to also be going on. But do the math, because the \u003cb>Arab Film Festival\u003c/b>, which turns 12 this year, is a no-seriously-don’t-miss festival.\u003c/p>\n\u003cp>It is a fair point that being reminded all the time of Arabs’ contributions to human civilization might seem a little patronizing. Then again, so might the 900 much more familiar movies full of offensive, idiotic, cringe-inducing stereotypes that Jack Shaheen examined a few years ago in his bestseller \u003cb>Reel Bad Arabs: How Hollywood Vilifies a People\u003c/b>.\u003c/p>\n\u003cp>Those movies aren’t playing at the \u003cb>Arab Film Festival\u003c/b> — the general idea being that your faint recollection of Chuck Norris and Lee Marvin taking on Lebanese terrorists in 1986’s \u003cb>The Delta Force\u003c/b> may be less important to the larger cause of cultural literacy and world citizenship than your awareness of, say, Lebanese director (and San Francisco State University alumna) Mai Masri’s \u003cb>33 Days\u003c/b>, a documentary about Israel’s attack on Lebanon in the summer of 2006.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And no, not every film being shown here is intended as a course of instruction. That’s nearly impossible anyway, given the steadily increasing breadth of material this ambitious festival has to work with. Even the titles alone — such as \u003cb>Bahraini Tale\u003c/b>, \u003cb>Arafat & I\u003c/b>, \u003cb>Paloma Delight\u003c/b>, \u003cb>Refugees for Life\u003c/b>, \u003cb>Slingshot Hip Hop\u003c/b>, to take a random sample — can attest to the \u003cb>Arab Film Festival\u003c/b>‘s wide diversity of tone and technique.\u003c/p>\n\u003cp>It opens on Thursday, October 16, with the Bay Area premiere of director Daoud Aoulad-Syad’s sly new comedy \u003cb>Waiting for Pasolini\u003c/b>, in which a Moroccan village, once frequented by various American and European film shoots, prepares itself for an impending Italian production. This is a movie about the many universal mysteries of what movies do to us, and a fitting introduction to an indispensably illuminating festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 12th annual \u003cb>Arab Film Festival\u003c/b> runs October 16 through 28, 2008 at venues in San Francisco, Berkeley, San Jose and Los Angeles.For \u003ca href=\"http://www.aff.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit aff.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And no, not every film being shown here is intended as a course of instruction. That’s nearly impossible anyway, given the steadily increasing breadth of material this ambitious festival has to work with. Even the titles alone — such as \u003cb>Bahraini Tale\u003c/b>, \u003cb>Arafat & I\u003c/b>, \u003cb>Paloma Delight\u003c/b>, \u003cb>Refugees for Life\u003c/b>, \u003cb>Slingshot Hip Hop\u003c/b>, to take a random sample — can attest to the \u003cb>Arab Film Festival\u003c/b>‘s wide diversity of tone and technique.\u003c/p>\n\u003cp>It opens on Thursday, October 16, with the Bay Area premiere of director Daoud Aoulad-Syad’s sly new comedy \u003cb>Waiting for Pasolini\u003c/b>, in which a Moroccan village, once frequented by various American and European film shoots, prepares itself for an impending Italian production. This is a movie about the many universal mysteries of what movies do to us, and a fitting introduction to an indispensably illuminating festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 12th annual \u003cb>Arab Film Festival\u003c/b> runs October 16 through 28, 2008 at venues in San Francisco, Berkeley, San Jose and Los Angeles.For \u003ca href=\"http://www.aff.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit aff.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ever since the archaic Production Code crumbled 40 years ago, and screen sex and nudity became staples of the American cinema, audiences have taken enormous pleasure in watching movie stars disrobe. In the Internet age, the nude bodies viewed most frequently belong to ordinary people. These different acts of voyeurism trigger dissimilar fantasies, raising a question: What do amateurs have that stars don’t?\u003c/p>\n\u003cp>This rumination on the implications of on-camera sex is inspired by the return of Jack Stevenson, a collector, curator and writer (\u003cb>Land of a Thousand Balconies\u003c/b>) who launched his career in San Francisco before moving to Denmark in the ’90s. His biannual visit to Yerba Beuna Center For the Arts this weekend includes three programs of vintage skin and salaciousness under the banner \u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b>. For all the lust and lasciviousness on display, though, it’s Peoria-innocent compared to the stuff you can watch today with the right URL and a couple of mouse clicks.\u003c/p>\n\u003cp>The first half of tonight’s double bill is entitled “Home Movies,” and comprises four short 16mm films made in 1968 with nonprofessionals. (In every sense of the word, presumably, though one wonders.) The one previewed for the press, the playful, awkward \u003cb>His Father’s Call-Girl\u003c/b>, unspools inside the long-gone Green Door Books on Sixth Street, a no-frills shop that sold a variety of porn mags. Larry and his hot date Lola drop in to browse and, in short order, the dirty old man behind the counter is filming them having sex in the back room.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The tawdriness of \u003cb>His Father’s Call-Girl\u003c/b> has been diluted by the passage of time, or perhaps we are charmed at the thought that this otherwise unremarkable movie immortalizes the firmness and flexibility of its now-septuagenarian stars. Lola’s big hair, frosted to a fare-thee-well, provides another time-stamp, as well as a useful historical corrective to the perception that every San Francisco gal in those days was an Herbal Essence-scented hippie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s truly surprising about this particular relic is the absence of swear words, dirty talk and sexual technique. The actors, though enthusiastic, rely on a pretty limited (and only partly visible) bedroom repertoire. The Sexual Revolution may have removed the stigma of multiple partners, but it took another couple decades before the average American was comfortable experimenting with a broader range of, um, activities.\u003c/p>\n\u003cp>The second show, “Underground,” unearths a 65-minute feature from 1968, \u003cb>The Meatrack\u003c/b>. A monotone, cold-hearted hunk doesn’t just propel the flick; he gives it its name. Everybody wants a piece of the studly J.C., from horny housewives to male drivers who know what kind of ride a hitchhiker in a faded jean jacket is seeking. Since the soft-core sex is just as obscured as that in \u003cb>His Father’s Call-Girl\u003c/b>, the film’s most interesting aspect is the artsy flashbacks to J.C.’s childhood and adolescence, which etch a psychological profile. “You just take account of what you got,” his bitter mother lectures him, “and use it for all it’s worth.”\u003c/p>\n\u003cp>J.C.’s bisexuality doesn’t feel like a political statement so much as a business decision. Director Richard Stockton is an equal-opportunity titillator, just as J.C. is an opportunist open to any offer. (The film boasts precious few exterior shots, but there’s a brief sequence in Union Square that includes glimpses of no less than five airline offices. These few seconds assure the film’s historical value.)\u003c/p>\n\u003cp>Jack Stevenson’s residency concludes Saturday night with “Flaming Striptease ? A History of Live Sex Performance.” As you’d expect, the Condor Club, made internationally famous by Carol Doda, makes a couple of appearances in this 90-minute collection of clips covering the entire range from burlesque to topless dancing to live sex acts. My favorite bit consisted of a Latino rock band, not untalented but way too much in thrall to Carlos Santana, playing behind a couple of girls dancing in g-strings. It’s entertainment, it’s art and it’s commerce, all wrapped up in one happy sliver of ’60s nightlife.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b> screens October 9 and 11, 2008 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since the archaic Production Code crumbled 40 years ago, and screen sex and nudity became staples of the American cinema, audiences have taken enormous pleasure in watching movie stars disrobe. In the Internet age, the nude bodies viewed most frequently belong to ordinary people. These different acts of voyeurism trigger dissimilar fantasies, raising a question: What do amateurs have that stars don’t?\u003c/p>\n\u003cp>This rumination on the implications of on-camera sex is inspired by the return of Jack Stevenson, a collector, curator and writer (\u003cb>Land of a Thousand Balconies\u003c/b>) who launched his career in San Francisco before moving to Denmark in the ’90s. His biannual visit to Yerba Beuna Center For the Arts this weekend includes three programs of vintage skin and salaciousness under the banner \u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b>. For all the lust and lasciviousness on display, though, it’s Peoria-innocent compared to the stuff you can watch today with the right URL and a couple of mouse clicks.\u003c/p>\n\u003cp>The first half of tonight’s double bill is entitled “Home Movies,” and comprises four short 16mm films made in 1968 with nonprofessionals. (In every sense of the word, presumably, though one wonders.) The one previewed for the press, the playful, awkward \u003cb>His Father’s Call-Girl\u003c/b>, unspools inside the long-gone Green Door Books on Sixth Street, a no-frills shop that sold a variety of porn mags. Larry and his hot date Lola drop in to browse and, in short order, the dirty old man behind the counter is filming them having sex in the back room.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The tawdriness of \u003cb>His Father’s Call-Girl\u003c/b> has been diluted by the passage of time, or perhaps we are charmed at the thought that this otherwise unremarkable movie immortalizes the firmness and flexibility of its now-septuagenarian stars. Lola’s big hair, frosted to a fare-thee-well, provides another time-stamp, as well as a useful historical corrective to the perception that every San Francisco gal in those days was an Herbal Essence-scented hippie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s truly surprising about this particular relic is the absence of swear words, dirty talk and sexual technique. The actors, though enthusiastic, rely on a pretty limited (and only partly visible) bedroom repertoire. The Sexual Revolution may have removed the stigma of multiple partners, but it took another couple decades before the average American was comfortable experimenting with a broader range of, um, activities.\u003c/p>\n\u003cp>The second show, “Underground,” unearths a 65-minute feature from 1968, \u003cb>The Meatrack\u003c/b>. A monotone, cold-hearted hunk doesn’t just propel the flick; he gives it its name. Everybody wants a piece of the studly J.C., from horny housewives to male drivers who know what kind of ride a hitchhiker in a faded jean jacket is seeking. Since the soft-core sex is just as obscured as that in \u003cb>His Father’s Call-Girl\u003c/b>, the film’s most interesting aspect is the artsy flashbacks to J.C.’s childhood and adolescence, which etch a psychological profile. “You just take account of what you got,” his bitter mother lectures him, “and use it for all it’s worth.”\u003c/p>\n\u003cp>J.C.’s bisexuality doesn’t feel like a political statement so much as a business decision. Director Richard Stockton is an equal-opportunity titillator, just as J.C. is an opportunist open to any offer. (The film boasts precious few exterior shots, but there’s a brief sequence in Union Square that includes glimpses of no less than five airline offices. These few seconds assure the film’s historical value.)\u003c/p>\n\u003cp>Jack Stevenson’s residency concludes Saturday night with “Flaming Striptease ? A History of Live Sex Performance.” As you’d expect, the Condor Club, made internationally famous by Carol Doda, makes a couple of appearances in this 90-minute collection of clips covering the entire range from burlesque to topless dancing to live sex acts. My favorite bit consisted of a Latino rock band, not untalented but way too much in thrall to Carlos Santana, playing behind a couple of girls dancing in g-strings. It’s entertainment, it’s art and it’s commerce, all wrapped up in one happy sliver of ’60s nightlife.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema From the ’60s\u003c/b> screens October 9 and 11, 2008 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For many years, America has made a sport of wondering why the French are so healthy. They smoke like fiends, which explains the low rates of obesity. They drink wine like it’s going out of style, which explains the low rates of heart disease. But what accounts for that robust vitality, that way they have of seeming so completely at ease in a messy, crowded and often monstrous world?\u003c/p>\n\u003cp>The answer is obvious. It’s the cinema.\u003c/p>\n\u003cp>If there is anything the French seem to appreciate more than wine, cigarettes and a breezy contempt for unsophisticated Americans, it is the glorious, inexhaustible art of cinema. Case in point: \u003cb>French Cinema Now\u003c/b>, by which the San Francisco Film Society imports ten French movies to the Clay Theatre for a multitude of rich emotional and intellectual experiences, spread out judiciously over five days.\u003c/p>\n\u003cp>Ten films may not seem like many, but they are expertly chosen. Honestly, there’s not a single movie in this lot that’s safe to toss into the category of “oh, well, if time is tight, it would be OK to skip that one.” Not if you want to reap the full benefits of the French cinema experience, anyway.\u003c/p>\n\u003cp>\u003cb>Six In Paris\u003c/b>, a 1965 Paris-valentine portmanteau from six distinguished directors of the French New Wave. \u003cb>The Class\u003c/b>, a docudrama of a year in the life of suburban high school students from the brilliant, socially conscious and philosophically rigorous director Laurent Cantet. \u003cb>Welcome to the Sticks\u003c/b>, a comedy of regionalist status anxiety, which most Americans, and denizens of the Bay Area in particular, surely can understand. Seriously, doctors should be recommending this stuff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now’s a good time to get in on this sous-le-radar health craze if for no other reason than the onscreen ubiquity of the extraordinarily lively French actor Mathieu Amalric. He’s the guy from \u003cb>The Diving Bell and the Butterfly\u003c/b> who delivered pretty much an entire performance from one eyeball, and is no doubt perfectly cast as the villain, a nefarious business mogul, in the forthcoming James Bond movie \u003cb>Quantum of Solace\u003c/b>.\u003c/p>\n\u003cp>He’s also in three of the films in \u003cb>French Cinema Now\u003c/b>. First, in the festival’s opener, \u003cb>A Christmas Tale\u003c/b>, Amalric plays a wayward son, carrying on. This movie is the latest from much-adored filmmaker Arnaud Desplechin, who makes a compelling case that in fact the French are just like us. They have highly dramatic, absurdly comedic, almost catastrophically dysfunctional family reunions at Christmastime too. It’s just that in their case, mom is Catherine Deneuve. (OK, yes, some are born into privilege.)\u003c/p>\n\u003cp>Desplechin obviously pays attention to the many wondrous nuances of life, people and movies, and so he uses Amalric often. In \u003cb>My Sex Life…or How I Got Into an Argument\u003c/b>, an oh-it-is-so-exactly-like-that dramedy of grad-school life from 1996, the actor ably plays a neurotic assistant professor of philosophy.\u003c/p>\n\u003cp>Mais bien sur, Amalric plays well with other directors, too. In \u003cb>Actresses\u003c/b>, he shines as a hot-headed and tyrannical theater director making life complicated for a melancholic middle-aged actress (director/co-writer/star Valeria Bruni Tedeschi).\u003c/p>\n\u003cp>And of course Amalric’s is only one of the many engaging personalities with which to become acquainted through this short and potent fest. Of these there are so many, in fact, that the SFFS has wisely elected to make \u003cb>French Cinema Now\u003c/b> an annual event. If nothing else, it may prove a great service to the American lifespan.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>French Cinema Now\u003c/b> runs October 8 through 12, 2008 at the Clay Theatre in San Francisco.For \u003ca href=\"http://www.sffs.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many years, America has made a sport of wondering why the French are so healthy. They smoke like fiends, which explains the low rates of obesity. They drink wine like it’s going out of style, which explains the low rates of heart disease. But what accounts for that robust vitality, that way they have of seeming so completely at ease in a messy, crowded and often monstrous world?\u003c/p>\n\u003cp>The answer is obvious. It’s the cinema.\u003c/p>\n\u003cp>If there is anything the French seem to appreciate more than wine, cigarettes and a breezy contempt for unsophisticated Americans, it is the glorious, inexhaustible art of cinema. Case in point: \u003cb>French Cinema Now\u003c/b>, by which the San Francisco Film Society imports ten French movies to the Clay Theatre for a multitude of rich emotional and intellectual experiences, spread out judiciously over five days.\u003c/p>\n\u003cp>Ten films may not seem like many, but they are expertly chosen. Honestly, there’s not a single movie in this lot that’s safe to toss into the category of “oh, well, if time is tight, it would be OK to skip that one.” Not if you want to reap the full benefits of the French cinema experience, anyway.\u003c/p>\n\u003cp>\u003cb>Six In Paris\u003c/b>, a 1965 Paris-valentine portmanteau from six distinguished directors of the French New Wave. \u003cb>The Class\u003c/b>, a docudrama of a year in the life of suburban high school students from the brilliant, socially conscious and philosophically rigorous director Laurent Cantet. \u003cb>Welcome to the Sticks\u003c/b>, a comedy of regionalist status anxiety, which most Americans, and denizens of the Bay Area in particular, surely can understand. Seriously, doctors should be recommending this stuff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now’s a good time to get in on this sous-le-radar health craze if for no other reason than the onscreen ubiquity of the extraordinarily lively French actor Mathieu Amalric. He’s the guy from \u003cb>The Diving Bell and the Butterfly\u003c/b> who delivered pretty much an entire performance from one eyeball, and is no doubt perfectly cast as the villain, a nefarious business mogul, in the forthcoming James Bond movie \u003cb>Quantum of Solace\u003c/b>.\u003c/p>\n\u003cp>He’s also in three of the films in \u003cb>French Cinema Now\u003c/b>. First, in the festival’s opener, \u003cb>A Christmas Tale\u003c/b>, Amalric plays a wayward son, carrying on. This movie is the latest from much-adored filmmaker Arnaud Desplechin, who makes a compelling case that in fact the French are just like us. They have highly dramatic, absurdly comedic, almost catastrophically dysfunctional family reunions at Christmastime too. It’s just that in their case, mom is Catherine Deneuve. (OK, yes, some are born into privilege.)\u003c/p>\n\u003cp>Desplechin obviously pays attention to the many wondrous nuances of life, people and movies, and so he uses Amalric often. In \u003cb>My Sex Life…or How I Got Into an Argument\u003c/b>, an oh-it-is-so-exactly-like-that dramedy of grad-school life from 1996, the actor ably plays a neurotic assistant professor of philosophy.\u003c/p>\n\u003cp>Mais bien sur, Amalric plays well with other directors, too. In \u003cb>Actresses\u003c/b>, he shines as a hot-headed and tyrannical theater director making life complicated for a melancholic middle-aged actress (director/co-writer/star Valeria Bruni Tedeschi).\u003c/p>\n\u003cp>And of course Amalric’s is only one of the many engaging personalities with which to become acquainted through this short and potent fest. Of these there are so many, in fact, that the SFFS has wisely elected to make \u003cb>French Cinema Now\u003c/b> an annual event. If nothing else, it may prove a great service to the American lifespan.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>French Cinema Now\u003c/b> runs October 8 through 12, 2008 at the Clay Theatre in San Francisco.For \u003ca href=\"http://www.sffs.org\" target=\"offsite\" rel=\"noopener\">tickets andinformation\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wayne Wang: A Thousand Years of Good Prayers",
"headTitle": "Wayne Wang: A Thousand Years of Good Prayers | KQED",
"content": "\u003cp>Director Wayne Wang’s recent big studio movies have starred Jennifer Lopez (\u003cb>Maid in Manhattan\u003c/b>), Queen Latifah (\u003cb>Last Holiday\u003c/b>) and a lovable canine (\u003cb>Because of Winn Dixie\u003c/b>.) With his latest, \u003cb>A Thousand Years of Good Prayers\u003c/b>, the director of 1982’s \u003cb>Chan is Missing\u003c/b>, considered a landmark in Asian American cinema, returns to his indie roots and another story of the Chinese in America.\u003c/p>\n\u003cp>We sat down in San Francisco to discuss the movie. Wang ignored the nuts, dried fruit and blueberries set out for him (“Too healthy for me. I like chocolate.”) and talked about the relationship between language and freedom, the difficulty of communication, and the importance of breathing.\u003c/p>\n\u003cp>I asked Wang why he wanted to make a movie of Yiyun Li’s story about a widower from China, Mr. Shi, who visits his divorced daughter, Yilan, in America. The relationship between the father and daughter is strained, and she doesn’t appreciate his efforts to fix her life. Wang says there were lots of reasons the story appealed to him. “I identified personally quite a lot,” he said. “I came to America and learned a new language and culture and freedom.”\u003c/p>\n\u003cp>As a teenager, Wang moved to the Bay Area from Hong Kong and went to the California College of Arts and Crafts (now CCA) in Oakland. Wang says he had a hard time communicating with his father, as the daughter and father do in the movie. Some of his favorite scenes in \u003cb>A Thousand Years of Good Prayers\u003c/b> are the ones between Mr. Shi and an Iranian woman he meets in the park. Although neither one speaks English well, they are able to talk to each other about their fears that their children don’t want them around.\u003c/p>\n\u003cp>“They find a commonality in their body language,” Wang says. “They are able to express themselves. The father and daughter speak the same language, but they don’t communicate.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wanted to know why Wang has veered wildly between styles and subject matters with his movies. For example, after making \u003cb>The Joy Luck Club\u003c/b>, Amy Tan’s story of mothers and daughters, he worked with writer Paul Auster on \u003cb>Smoke\u003c/b>, a comedy set in a smoke shop in Brooklyn. He says he hates the idea of being pinned down.\u003c/p>\n\u003cp>“After \u003cb>The Joy Luck Club\u003c/b>, all I was getting offered was Chinese women movies,” he says. “So I went to Brooklyn and made a guy movie.”\u003c/p>\n\u003cp>In Hollywood movies all the silences and pauses are taken out, Wang says. The pacing in \u003cb>A Thousand Years of Good Prayers\u003c/b> is radically different. “My doctor always tells me I have very shallow breathing,” he says. “With this movie, I wanted to breathe. I wanted to take my time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Thousand Years of Good Prayers\u003c/b> opens Friday, September 26, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Wayne Wang’s recent big studio movies have starred Jennifer Lopez (\u003cb>Maid in Manhattan\u003c/b>), Queen Latifah (\u003cb>Last Holiday\u003c/b>) and a lovable canine (\u003cb>Because of Winn Dixie\u003c/b>.) With his latest, \u003cb>A Thousand Years of Good Prayers\u003c/b>, the director of 1982’s \u003cb>Chan is Missing\u003c/b>, considered a landmark in Asian American cinema, returns to his indie roots and another story of the Chinese in America.\u003c/p>\n\u003cp>We sat down in San Francisco to discuss the movie. Wang ignored the nuts, dried fruit and blueberries set out for him (“Too healthy for me. I like chocolate.”) and talked about the relationship between language and freedom, the difficulty of communication, and the importance of breathing.\u003c/p>\n\u003cp>I asked Wang why he wanted to make a movie of Yiyun Li’s story about a widower from China, Mr. Shi, who visits his divorced daughter, Yilan, in America. The relationship between the father and daughter is strained, and she doesn’t appreciate his efforts to fix her life. Wang says there were lots of reasons the story appealed to him. “I identified personally quite a lot,” he said. “I came to America and learned a new language and culture and freedom.”\u003c/p>\n\u003cp>As a teenager, Wang moved to the Bay Area from Hong Kong and went to the California College of Arts and Crafts (now CCA) in Oakland. Wang says he had a hard time communicating with his father, as the daughter and father do in the movie. Some of his favorite scenes in \u003cb>A Thousand Years of Good Prayers\u003c/b> are the ones between Mr. Shi and an Iranian woman he meets in the park. Although neither one speaks English well, they are able to talk to each other about their fears that their children don’t want them around.\u003c/p>\n\u003cp>“They find a commonality in their body language,” Wang says. “They are able to express themselves. The father and daughter speak the same language, but they don’t communicate.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wanted to know why Wang has veered wildly between styles and subject matters with his movies. For example, after making \u003cb>The Joy Luck Club\u003c/b>, Amy Tan’s story of mothers and daughters, he worked with writer Paul Auster on \u003cb>Smoke\u003c/b>, a comedy set in a smoke shop in Brooklyn. He says he hates the idea of being pinned down.\u003c/p>\n\u003cp>“After \u003cb>The Joy Luck Club\u003c/b>, all I was getting offered was Chinese women movies,” he says. “So I went to Brooklyn and made a guy movie.”\u003c/p>\n\u003cp>In Hollywood movies all the silences and pauses are taken out, Wang says. The pacing in \u003cb>A Thousand Years of Good Prayers\u003c/b> is radically different. “My doctor always tells me I have very shallow breathing,” he says. “With this movie, I wanted to breathe. I wanted to take my time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>A Thousand Years of Good Prayers\u003c/b> opens Friday, September 26, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hey kids, let’s put on a Marxist film collective! That, more or less, was a founding principle of Cine Manifest, the seven-member strong (and sometimes less strong) assembly of San Francisco filmmakers working from 1972 through 1978 to make politically potent movies that regular people could tolerate.\u003c/p>\n\u003cp>Judy Irola’s breezy personal documentary \u003cb>Cine Manifest\u003c/b>, new to DVD this week, brings a fond, proud and wistful recollection of the group’s formation and probably inevitable dissolution. Together they shared credit for two earnestly humane and deservedly acclaimed features, \u003cb>Over-Under, Sideways Down\u003c/b> (1977) and \u003cb>Northern Lights\u003c/b> (1978), plus several shorter films of zany vitality celebrating each other’s birthdays, a good deal of infighting, and many, many talking-points memoranda.\u003c/p>\n\u003cp>The gang consisted of Eugene Corr, Peter Gessner, John Hanson, Stephen Lighthill, Rob Nilsson, Steve Wax and Irola — the only woman, whose membership the others had at first denied but reconsidered when she wrote them a note explaining how dumb that was of them.\u003c/p>\n\u003cp>Later, although the collective’s budgetary constraints compelled Irola to give up her Ms. Magazine subscription, she was able to offer much-needed feedback on the portrayal of women in the lads’ scripts, to point out that somebody had to clean the toilets (“I didn’t join so I could be your maid. Love & kisses, Judy”), and to provide the essential, starkly gorgeous black-and-white cinematography of \u003cb>Northern Lights\u003c/b>, a docudrama about Scandinavian immigrant farmers in North Dakota co-written and co-directed by Hanson and Nilsson.\u003c/p>\n\u003cp>\u003cb>Cine Manifest\u003c/b>, the movie, is a touch overlong and lacks external context; it feels like a private (which is not to say exclusive) pet project, perhaps better suited to a featurette than its own full DVD. But it’s an important testimony on behalf of Bay Area artistic ideals, which benefits from the perspective, grace, and good humor of hindsight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think our achievement was not as filmmakers, but it maybe was as a little social experiment,” Gessner says. “It may not have any application to anybody else. I mean, no other film groups tried to follow our example, maybe ’cause they looked at us as a car wreck.”\u003c/p>\n\u003cp>An equally reflective Nilsson looks back on some of his ideas from the period as “pretentious as hell,” but forgives himself, and his comrades because “we were all trying.” Nilsson’s subsequent career in particular has made an impressive case for the cooperative approach to filmmaking, most recently with his astonishing \u003cb>9 @ Night\u003c/b> film series, about life in San Francisco’s Tenderloin.\u003c/p>\n\u003cp>As for Cine Manifest’s brushes with mainstream Hollywood, well, the director of \u003cb>Rebel Without a Cause\u003c/b> did once lie strung out in a sleeping bag on their editing room floor. “Oh my god,” Hanson says, “We evicted Nick Ray. Is that our legacy?”\u003c/p>\n\u003cp>Not entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Cine Manifest\u003c/b> DVD drops on September 23, 2008. For \u003ca href=\"http://www.cinemanifest.com\" target=\"offsite\" rel=\"noopener\">moreinformation\u003c/a>, visit cinemanifest.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think our achievement was not as filmmakers, but it maybe was as a little social experiment,” Gessner says. “It may not have any application to anybody else. I mean, no other film groups tried to follow our example, maybe ’cause they looked at us as a car wreck.”\u003c/p>\n\u003cp>An equally reflective Nilsson looks back on some of his ideas from the period as “pretentious as hell,” but forgives himself, and his comrades because “we were all trying.” Nilsson’s subsequent career in particular has made an impressive case for the cooperative approach to filmmaking, most recently with his astonishing \u003cb>9 @ Night\u003c/b> film series, about life in San Francisco’s Tenderloin.\u003c/p>\n\u003cp>As for Cine Manifest’s brushes with mainstream Hollywood, well, the director of \u003cb>Rebel Without a Cause\u003c/b> did once lie strung out in a sleeping bag on their editing room floor. “Oh my god,” Hanson says, “We evicted Nick Ray. Is that our legacy?”\u003c/p>\n\u003cp>Not entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Cine Manifest\u003c/b> DVD drops on September 23, 2008. For \u003ca href=\"http://www.cinemanifest.com\" target=\"offsite\" rel=\"noopener\">moreinformation\u003c/a>, visit cinemanifest.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The days of civil rights sit-ins and anti-Vietnam marches are long gone, even our memories of ACT-UP or demonstrations against the Gulf Wars have gone a little blurry. Challenging the status quo through banner-waving and synchronized chanting has been replaced by all cap pronouncements on blogs and viral videos — forms of protest which may reach a global audience, but lose the sense of community and power that masses of actual human bodies provide.\u003c/p>\n\u003cp>It’s refreshing, then, and simultaneously troubling to see an account of a massive street protest in Stuart Townsend’s \u003cb>Battle in Seattle\u003c/b>. The story of the 40,000-person protests and riots that engulfed the 1999 meeting of the World Trade Organization (WTO) presents an almost nostalgic image: idealistic marchers braving tear gas and billy clubs to shut down the machinations of corporate greed and globalization.\u003c/p>\n\u003cp>The movie weaves together archival footage taken from the WTO protests with the fictional stories of four protestors, two riot cops, a newscaster and the mayor of Seattle. \u003cb>Battle in Seattle\u003c/b> creates a portrait of the city as it was during the talks — a violent and dramatic battleground between governments who support free trade and individuals who believe that global trade policies sacrifice human rights and environmental concerns to the bottom line.\u003c/p>\n\u003cp>An ensemble cast featuring Woody Harrelson, Charlize Theron, Michelle Rodriquez and Ray Liotta lends insight into the personal dramas underlaying one of recent history’s most important events. And, ultimately, \u003cb>Battle in Seattle\u003c/b> delivers an inspirational message: activism can succeed. The protestors who block off intersections and infiltrate WTO meetings break down talks meant to establish a new set of trade agreements for the 21st century.\u003c/p>\n\u003cp>\u003cb>Battle for Seattle\u003c/b> simultaneously presents the tragedy inherent to civil disobedience in the sacrifices the protestors must make to get their point across. Protestors at the WTO conference suffered through brutal and often unprovoked attacks by heavily-armed policemen and National Guardsmen. Over 600 protestors, many of whom had done nothing wrong, were arrested. And for what? For practicing their right to free speech? For standing up for the African children who couldn’t receive AIDS medication because of its prohibitive cost? For speaking on behalf of an endangered turtle whose habitat was being threatened by shipping lanes?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the protestors shut down the WTO in 1999, the organization met in Qatar two years later to hammer out almost the exact same policies. The fact that the movie \u003cb>Battle in Seattle\u003c/b> exists at all is proof that activism is a costly and losing fight: nine years removed from the WTO riots, the world needs a movie to remind it that the protests even happened. Moreover, the film is a sad reminder of the current state of our world, where terrorism is never far from the mind. Watching \u003cb>Battle in Seattle\u003c/b>, I couldn’t help but wonder when something was going to blow up, or envision the shifty-looking Doctors Without Borders representative as a secret agent sent to teach the world’s powers a lesson about getting involved in the affairs of others. As difficult as it is to admit, if some of the declarations made by activist characters in \u003cb>Battle in Seattle\u003c/b> were made today, by people with a different skin tone, Homeland Security would go into Orange Alert.\u003c/p>\n\u003cp>Ultimately, the average people who stand toe-to-toe against riot police, chanting peacefully and preparing to be attacked, get their voices heard. In that way, there is something beautiful about \u003cb>Battle in Seattle\u003c/b>. The movie reminds us that people can make a difference, that nonviolent protestors can make a stand for what they believe in, and can open the world’s eyes to the important and troubling decisions being made behind closed doors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Battle in Seattle\u003c/b> opens Friday, September 19, 2008.\u003c/p>\n\n",
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"content": "\u003cp>When Jean-Luc Godard exploded on the scene as one of the brilliant young rabble-rousers of the French New Wave, he was assuredly a man of his time. He was also ahead of his time, with a penchant for quoting from other movies, elliptical storytelling and irreverent soundtracks. Godard’s early films were emblems of ’60s youth culture and big hits on their initial release, yet their innovation and genius may best be appreciated all these decades later.\u003c/p>\n\u003cp>The Pacific Film Archive series \u003cb>Jean-Luc Godard: Movie Love in the Sixties\u003c/b> spans Godard’s breezy 1959 breakthrough \u003cb>Breathless\u003c/b> through the deliciously anti-romantic and unsentimental 1966 duo of \u003cb>Two or Three Things I Know About Her\u003c/b> and \u003cb>Masculine Feminine\u003c/b>. Godard’s astonishing creative output in such a compressed period of time, all the while rapidly evolving his style (rather than repeating a formula), calls to mind nothing so much as the Beatles circa 1964-67.\u003c/p>\n\u003cp>The series begins tonight with \u003cb>Band of Outsiders\u003c/b> (1964), a ramshackle crime movie whose vibe trumps its plot. Two young guys, engaged in a kind of laid-back competition for a pretty girl, allow her to cajole them into embarking on a break-in and burglary. Godard started out as a film critic, and the movie reflects his adoration for the crime genre as well as his primal urge to mock, subvert and reinvent. Ultimately, \u003cb>Band Of Outsiders\u003c/b> is about our attraction to coolness and, by extension, to what was once Ground Zero for coolness — the movies.\u003c/p>\n\u003cp>That same year, Godard made \u003cb>Contempt\u003c/b>, a movie about the movies that stands as one of his lushest masterpieces. It’s old hat now for moviemakers to pay homage to films that influenced them by using a particular camera angle or move, or by borrowing a character name or an article of clothing. (I daresay there would be no Tarantino without Godard, which Quentin openly acknowledged when he named his production company A Band Apart Films, after \u003cb>Bande a part (Band of Outsiders)\u003c/b>. Godard’s gorgeous study of alienation and artifice amid the ruins of Rome centers on a screenwriter (Michel Piccoli), his wife (Brigitte Bardot), a soulless producer (Jack Palance) and a pained American director (Fritz Lang). It’s an eviscerating parable of the pitched battle between art and commerce, set to Georges Delerue’s enveloping, heartbreaking score.\u003c/p>\n\u003cp>Godard was always as artistically and politically uncompromising a filmmaker as you could name, which enamored him to moviegoers in Europe and the States. In this country, at least, the audience for his hearty stew of philosophical investigation, formal experimentation and oblique narrative gradually dwindled in the ’70s to the point that distribution of his films became erratic. Although Godard continues to make terrific movies that push the grammar and possibilities of filmmaking, he is off the cultural radar pretty much everywhere outside of New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The PFA series is a marvelous opportunity to discover, or rediscover, Godard at the beginning of his career, when he was perhaps most in love with the basic pleasures of exposing celluloid. Leaving aside the unassailable greatness of the films on display, I have a hunch that younger audiences in particular will find Godard’s style not so much radical as familiar, after all these years of MTV-style editing, and absurdist Michel Gondry/Charlie Kaufman/Wes Anderson storytelling. Most filmmakers come off as dated when you look back at their work after 40 years. Godard seems more accessible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Jean-Luc Godard: Movie Love in the Sixties\u003c/b> screens September 5 through October 17, 2008 at the Pacific film Archive in Berkeley. For \u003ca>more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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